Holiday Cheer, Part 2

And now, the conclusion of Everett’s Top 10

5. I’ll be home for Christmas

In a time when so many servicemen and women are not able to celebrate Christmas with their loved ones, I feel it’s necessary to include this one on my list. It really speaks volumes about how cherished family time is, especially at this time of year.

4. Silent Night / First Noel

I know, I know. I cheated last time, and I’m cheating this time, including two songs under one line item. These are both such classics in terms of words and melody that I can’t bear to exclude one or the other. Of course, the first half of my list included mostly modern songs. With this pair of songs I am headed back a century. Both of these date back to the mid nineteenth century. While Stille Nacht has a composer that we know (Gruber), the First Noel has a more indeterminate history. We don’t really know who wrote the music, although we can trace it back to some songbooks from Great Britain in the 19th century.

3. Messiah

For those of you well acquainted with Handel’s Messiah, you will not question its inclusion here. If you don’t know it well or have never sung it, it is well worth it. It’s been reported that a number of poets have learned Italian simply to be able to read Dante’s Divine Comedy. I would say that a musical analogy, at least to sacred vocal music, would be that it would be worth learning to read music if only to be able to sing Handel’s Messiah. There are so many scriptures that I have memorized simply because I have sung the Messiah so many times. And while I’ve sung the Hallelujah chorus too many times for it to hold much of a special musical draw for me, there are so many other great arias and choruses… Thou wilt not leave his soul in hell, I know that my Redeemer liveth, Surely He hath borne our griefs and carried our sorrows… And many, many more!

2. O Holy Night

Originally set to a French poem (Placide Cappeau) by the composer of French operas, Adolphe Adam, this is one of the most vocally rewarding of Christmas carols to sing. Maybe the fact that an opera composer wrote it has something to do with that. I mean, really, when it comes down to it, it’s an opera aria. So for those of you who say you don’t like opera, if you like this song, then you might want to give opera a chance. A special note regarding the lyrics: our well known English version differs significantly from the French in numerous respects. But just to iterate one of the key differences, instead of “O Night, Divine, O Holy Night” at the end, the French translates to “Christmas, Christmas, here is the Redeemer,” a much more fitting emphasis, to my understanding.

1. And finally, my favorite Christmas carol is . . . drum roll please . . . Adventi ének. I mentioned this in a Notes post back in 2007. And while I’m sure you don’t recognize it from this title. My favorite arrangement of this song is by the Hungarian composer Zoltán Kodály. And you can view it here, courtesy of YouTube. The tune dates back hundreds of years and has a storied past. Please click on one of the links and give it a listen, if you are interested in finding out my favorite Christmas carol of all time.

Merry Christmas to all, and to all a good night!

Christmas Music Ramblings

So it’s Christmas time! Everybody’s at the mall. Those of us that have snow to play in are playing in it (or dreading shoveling it). This is the time of year when everybody’s happy all the time (except while driving). But what marks this season more than anything else for me is when the Christmas music begins to be played everywhere; in the mall, on the radio, in CD players all over the world and in churches all over the world. There is no doubt what season this is.

So I would like to simply mention a couple CDs and songs that I like and maybe you guys could mention some to me.

The first song I’d like to mention is “Happy Xmas” by John Lennon. Yes, I used the term Xmas and yes, I said John Lennon. I’m not saying I’m a John Lennon fan, but there’s just something about this particular song that causes me to put that baby on repeat. Maybe it’s the children from the Harlem Community Choir that give the song its appeal. Perhaps it’s the lyrics that promote peace on earth. After all, who wants to think about war, fighting and killing while we celebrate the birth of Christ? As for the Xmas part; “X” is simply an abbreviation for the word Christ in Greek, people have been using it for over 1,000 years and Christ is still in Christmas people. Besides, with this economy Christ may be the only thing some of us will be receiving this holiday season, and I say that sincerely.

Of course, everybody likes the Trans Siberian Orchestra’s “Christmas Eve/Sarajevo 12/24.” That’s a great twist on a seasonal song. It’s not exactly what one has in mind when you think of “God Rest Ye Merry Gentlemen” and “Carol of the Bells.” I love this song and I’m not one that gets into a lot of heavy guitar stuff.

An album that I think is great is Emmanuel by Norman Hutchins that features several other artists. We are actually using 2 of the songs for our Christmas service this year. They put a twist on quite a few traditional Christmas songs that could help you have a “churchy” Christmas if you like.

And finally, an album that is not so new, but I enjoy listening to even now is Israel Houghton’s A Timeless Christmas. This upbeat Christmas CD keeps me bobbing my head in the car, in the music room at the church, and even right now while I’m typing this. And if that doesn’t sound like a testimonial on a commercial, I don’t know what does. They should be paying me for this free advertisement. Ha ha ha ha.

Merry Christmas and God Bless!
P.S. Don’t forget to show your families how much you love and appreciate them.

Holiday Cheer, Part 1

I think I’ve mentioned I’m not much one for Christmas carols. But then again, who doesn’t love a bit of Schadenfreude. Few things make me happier than playing Christmas carols on my iPod before Thanksgiving in the presence of someone who likes Christmas carols less than I do.

So, from a guy who doesn’t care all that much for Christmas carols, here is the first half of my “Top 10 Favorite Christmas Music.” I hope to publish an ad hoc post before 12/25 for the other half of the list.

10. Let It Snow / Winter Wonderland / White Christmas

Okay. I guess this is cheating just a little bit. I named three carols here instead of picking just one because they all revolve around the same kind of thing: snow and cold. Snow, mostly, I guess. White Christmas is justly famous. Its inherent lyric romanticism can’t be beat. The resounding and buoyant joy of the other two always gets my toes a’ tappin’. And I love to bring a little Schadenfreude by singing them randomly to people who like snow less than I do. Especially when it’s snowing.

9. Nutcracker

For this first half of my list, the only thing composed before 1900 is this piece by Peter Tchaikovsky. It’s really a brilliant composition. What’s not to love about the music of the Nutcracker ballet? I like the ballet, too, of course, but it’s the music that I encounter year after year and I do not seem to easily tire of.

8. Linus & Lucy

Please don’t be irritated with me for having such irreligious compositions in my list. I just love this tune. There’s nothing Christmas about it. It was popularized in A Charlie Brown Christmas, but then again, it’s more of a Charlie Brown song than anything.

7. Christmas Song

“Chestnuts roasting o’er an open fire.” It doesn’t get much more Christmas-y than that! Well. Maybe except for the following tune. Then again, I am not talking about traditional carols here. All of the tunes in this first half of my top 10 don’t really have much to do with Christmas, per se. Christmas isn’t about the music, or the presents, or the decorations. It isn’t about the food, getting the house ready for guests or even the precious moments of family time that we are privileged to share.

6. Sleigh Ride

I have to confess, I did not grow up with this song. It’s one that came into my life around the same time as my wife. She is a big fan of this style of old-time Christmas song done in an era gone by (think: Johnny Mathis). It did not take long to sway me. I am convinced, the Johnny Mathis version of this song is simply the best.

For those of you who may be wondering, in the second half of my list, in addition to the much older median age of the musical composition, there is a much greater spiritual emphasis in the lyrics.

Change: Not Always a Good Thing

I was at a loss of things to write about, so I began recalling some musically relevant things I’ve experienced. The only thing I can think of right now is the various age limits we place on involvement in our music departments. Some time ago, I was faced with the dilemma of not having enough “solid” singers on the praise team. I knew that I had some children that were 11 and 12 that were able to sing and even harmonize as well as any adult.

What do you think I did?

Well, with my pastor’s permission, I removed the age requirement (15 years old) for being on the praise team. This requirement was in place long before my arrival, but no one seemed to have a problem with the fresh new faces on the praise team. Of course I was totally fair about this and allowed anyone who was interested in singing to audition. Some did not make the cut and only a few did. The result was the same as with adults; there were hints of jealousy and resentment from several that did not make the cut, but we were able to talk through everything and move on.

About six months into everything, a visiting elder asked if there was no children’s choir. The pastor said there was. The elder asked why there were children singing on the praise team if they had a choir to sing in. The pastor explained the need for skilled singers and the elder responded by saying this decision may not send the right kind of message. The pastor and I took these thoughts into careful consideration. But we continued with the younger singers on the praise team. A few months later, an issue came up that brought attention to the fact that certain people were under the age of 15 and this led to the reinstatement of the 15 year old age requirement.

The worst part about the whole situation was telling the children they could not be on the praise team. But the children seemed to have no problem with that as they were beginning to feel the pressure of being depended upon like an adult. These children were on time for rehearsals, behaved in practice, and held their own while singing with their parents and other adults. It’s a shame, but I had less disciplinary problems from them than some of the twenty-somethings.

Some of the children’s parents were the ones who had the biggest bone to pick with me. And I could understand the anger; we gave their children something and took it away. But with the pastor’s support, we were able to put that fire out.

Looking back, I learned that maybe it isn’t the best thing to use children until they are a certain age. The level of responsibility placed on someone on a praise team can be taxing to young children. There are even times when practices become uncomfortable because you can’t teach young children the same as adults. You just have to work with what you have. We should be very careful that we try not to change things on impulse as we might find out later, the need probably wasn’t as urgent as it seemed. You have to consider ALL the people affected by your decisions. If we were not so fortunate in this situation, we could have lost people in that local assembly over someone singing 2 times a month. All I have left to say is be careful out there people. PLEASE be careful.
God Bless!

Sacred vs. Secular

This is Shyla Salmon posting for Ann Ahrens who apparently has "nothing to say" today. Of course I don't believe her claim, but I'm here nonetheless.
She instructed me to write something, anything about music. So, that's what i'll do.

Recently, I have been becoming increasingly aware of the subconscious tendency I have to categorize music under two categories: Christian and Non-Christian. I have also become aware of how faulty this is.
Has the song itself been converted to Christianity? When did any four piece minute of music decide to follow Christ and begin to manifest the fruits of the spirit?
I know there are times when i'm strolling down the grocery store aisle and hear a song that has words like "God", or "hallelujah" and immediately proclaim with joy: "This song MUST be Christian". As if, on an imaginary scoreboard I am tallying "1 for the Christians, 0 for Non-christians"
But isn't music God's? Isn't He the ultimate reference point for all things? Don't get me wrong.
Of course there is music that is filled with vulgarity and references to things that do not bring God glory. With every gift there are boundaries, everything can be perverted-But that is the true test: Does it glorify the God of the universe, or does it defame Him?
The questions we should be asking ourselves should be more like: Does what I am listening to draw me to Christ? Does it stir up a deep awe and reverence of Him in my soul?
Of course, what stirs my affections for Jesus, may actually rob yours.
For example, Beyonce's new hit single "Smash Into You" and Coldplay's "Fix You" are both songs that cause me to weep in remembrance of my experiences with the Lord, even though the writers of these songs may have not penned it about Jesus. And recently, at a Mutemath concert during their song "Obsession" I was moved to worship (I worshipped Jesus, not the strikingly talented, goodlooking lead singer). I understand that not every Christian worships the Lord to Beyonce, but you get my drift.
In any case, I believe it is important for us to rid ourselves of automatic stereotyping that may or may not be subconscious. I wonder if we were more concerned about encouraging the glorification of God through music, than condemning it to Hell, maybe through unexpected avenues we would see Jesus more clearly and love Him more dearly.


What I'm listening to: Brand New's newest album Daisy, and Switchfoot's Hello Hurricane
What I'm reading: Turning Points by Mark Noll

This is Shyla Salmon, signing off
Stop by my blog www.shylasal.wordpress.com if you get the chance :)

Make a joyful noise

“You did what? You didn’t. You didn’t seriously kick him out of the choir, did you?”

“No way. Get out! I can’t believe you did that. What did you say? What did he say?”

“No… You didn’t say that, really. Tell me you didn’t just say that there was no way that he was ever going to be able to carry a tune.”

. . .

I really have a hard time with this one. On the one hand I do not feel that there is EVER an excuse to disallow someone from singing unto the LORD. I don’t think God is pleased when we hold our music to such a standard where it is not something where anyone can participate. I don’t just mean congregational singing. I mean in the spotlight. On the stage. In front of God and every one.

“But Everett, you can’t mean to tell me that you’re going to let someone who is extremely tonally challenged sing a special!”

Um… well… I think I would. It would be painful to me. It would probably be painful to a number of other people. But I would test the spirit. I wouldn’t let the lack of musicality diminish the person’s heartfelt song unto the LORD.

Perhaps God is more pleased with the sincere special sung by the tonally challenged than some of my efforts, which, although perhaps containing more talent, contains less sincerity. I will admit with a high degree of shame that I have gotten up to sing a special with little or no preparation, and with little or no anointing. And that I have witnessed some with much less musicality offer much more sincere worship unto the LORD.

I do think we should be prepared. And we absolutely need the LORD’s anointing. And we need to practice. We need to make a sound that is not only joyful, but also pleasing to the ear, ours, the congregations’ and the LORD’s. But face it. You will always have the tonally challenged among you. Let them sing in the masse choir. You don’t have to let them sing in your “audition-only ensemble.” You don’t have to let them sing a special. At least, not more than once. However, if their worship outshines that of any of the more practiced among you, let it be a lesson in humility for those with the trained ear. Let it be a lesson in God’s grace that any one of us can lift up our voice in song. After all. It is His hand that created each one of us. Let us glory in the off key singing. Let us revel in the simple fact that we are His creation.

Give Me Some Breathing Room

“My heart is steadfast, O God; I will sing and make music with all my soul.” Psalm 108:1

College story. It was a long ensemble trip. A crowded van. A lot of bodies in a little space. One guy got tired of being crammed against so many other people and needed an escape. His way of dealing was to pull out his headphones and visit what he called his “bigger, free environment.”

I use that trick on a daily basis. In our floundering economy, I consider myself blessed to have a steady government job with lots of benefits and paid holidays. But that doesn’t make the eight hours pass any quicker.

In my small, windowless office, I sometimes feel like my soul is suffocating. It needs to sing. So I grab my iPod, a stack of papers, and head to the filing room. While I sort away the alphabetized records, I sing along, shuffle my feet, and let my soul breathe for awhile.

Music has that magical ability to transport us out of our claustrophobic lives into a bigger, free environment.

If we let it.

Sometimes it takes a conscious choice to hear the melody over the ringing cell phones, or crying babies. You don’t even need an iPod. Just flip that switch in your heart.

Why not join me today? Whether you work from home or the office, you can still take the time to make some music. On the outside, we may be sitting sedately in our desk chairs, typing away at our keyboards. But, on the inside, our souls are singing. Together we’ll form a silent choir of praise, spreading across state lines.

Well, it’s time for me to go to work. Chances are I’ll head for the file room with my iPod at some point today. I may even dance around a little. Oh man, I hope my boss isn’t reading this.

Playing skillfully... and other loud noises

I am so thankful for TJ's post because it gives me something to rant, I mean talk about. Regarding the unskilled person involved in music ministry...

First of all, I want to say that consecration should be a prerequisite for ministry of any kind. The anointing is not something we should spend a lot of time hammering into leadership, if we do then we have some serious issues that obviously take precedent over any talent and ability problems. My opinion on this matter assumes that those involved are leadership material, and do not need to be instructed on how to live a consecrated life that is Spirit-led.

Music is a skill building art, it requires time, discipline, and much practice. I wonder if the popularity of three chord worship songs is connected in any way to the rampant laziness and lack of discipline we deal with among musicians and singers? If you state that you desire to minister before the Lord in music and what you offer is out of tune, sloppy, or distracting to the congregation trying to pursue the presence of God, do you think He is just pleased that your desire is sincere? I am tired of apologizing to someone because the assume they can bring a half-hearted offering into the sanctuary and we should accept it because they are sincere. There are too many ministries who need help for you to be wasting all this time pursuing what is most likely an ego driven dream rather than a call from God.

In 1 Chronicles we read about the "skillful" Levites who were set apart for the ministry of music i tabernacle. Chenaniah was instructor in charge of music "because he was skillful." (1 Chron. 15:22) 1 Corinthians 14: 6 compares instruction with no truth or focus to musical instruments played out of tune. We certainly expect the ministers preaching the Word to walk to the platform prepared and Spirit-led. We should expect no less from the musicians and singers who are expected to lead us in praise and worship. Simply put, if you want to be involved in music ministry, you must be musical.

This sounds great in theory, but how do you deal with it in your local church? To be honest, I have only ever told one person that they were not cut out for music ministry, and it was someone who I believe was truly tone deaf. Otherwise, if you can carry a tune, stay on pitch for most of the song, and engage in demonstrative worship I will stick you on the platform even if I turn your microphone down. Isn't that hypocritical? Maybe, but I expect you to show up and know the words, stay on your part, and sing like you are standing right before the throne of God. I have found that there are plenty who disagree with my philosophy on music ministry, but we don't have anyone singing off key on our platform either. I still have musicians and singers who show up ill prepared for service, but I'd like to think the shame-facedness is for the Lord and not the tyrant behind the keyboard.

Pick me, pick me!

Does anybody remember being a kid and playing basketball or football with your friends and relatives? Do you remember the one kid, or several kids, that nobody wanted on their team - the one that was always saying, “Pick me, pick me!”? Well, it seems to me that scenario never goes away; it only manifests itself in new areas.

There is no doubt that many kids’ feelings have been hurt over always being the last one chosen for the team. And on top of that, their team is not very excited about them being on the team. It causes one to wonder why these people perform so poorly when they play. It’s almost as if they fail because that’s what everyone expects of them. You would think that someone would try his/her best to prove that he/she should have been the first person chosen. Some people do this, and despite all their efforts, despite the fact that they did their absolute best, they were still no good at the game. There’s nothing wrong with that, it just may be that they were not meant to excel in or sometimes even be a part of that game. That doesn’t mean they’re not good at anything.

Now, instead of they football field or the basketball court, I see this scenario in the music departments of churches. There are sometimes people that have a greater desire than anyone else in the music department to be used. In some cases, these people are not the most talented or musically inclined people in the church. They will always be at practice on time and always volunteer to sing or play anything you start teaching. Sometimes we give them a chance and sometimes they change our minds about their ability. Sometimes, our original opinion is only reinforced.

How does a music minister/director handle something like this? Do you let someone that you know is tone deaf sing in the choir? Sure, that may be alright if you have a large choir and the tone deafness can be covered up. But what if your choir consists of 10 to 12 people? No matter what size a church is, there is pressure to use people or lose them. This presents an issue, because you may have a pastor telling a music director to use this person. And the music director is thinking if I use this person, it make us all look bad. I don’t know, maybe I’m the only music director that has had these kinds of issues. It is very time consuming to learn and teach parts to singers and even more when you’re trying educate your music department on how music works. To some it may be discouraging to have to use someone that appears to have no talent or skill whatsoever. It may even cause you to feel like all the work you’ve done is for naught.

And now we are at the part where I’m supposed to offer some sort of remedy to this ultimately uncomfortable situation. Well I hate to say, but I have no remedy. I wrote this because I would like to know what others’ opinions are in this matter. So, please let me know what you think, or what you’ve done in this kind of situation.
God Bless!

Living in a Golden Age

I’m carpet bagging here—a writing guy commenting on music to music people—but give me a couple paragraphs before you start snickering at my ignorance.

The Golden Age

We seem to be enjoying a Golden Age of Songwriting. From Chris Tomlin and Israel Houghton to MercyMe’s Bart Millard and Casting Crown’s Mark Hall to the Hillsong movement to your personal favorite (Derek Webb? Kirk Franklin? Matt Redman?), it seems like quality lyrics are clogging Christian radio today. It’s a great time—is it the greatest time ever?—to be listening to quality, searching, even challenging lyrics in most major genres. Most reflect a true communion with God. It’s a great time in Christian songwriting. We should recognize it as such.

The Tin Age

We seem to be enjoying a Tin Age of Christian music. From Chris Tomlin and Israel Houghton to MercyMe’s Bart Millard and Casting Crown’s Mark Hall to the Hillsong movement, it seems like mediocre music is clogging Christian radio today. It’s an awful time—certainly not the worst ever, but . . .—to be challenged and surprised by anything produced by our major artists.

In music it’s a “sound,” in writing it’s a “style.” Maybe I’m too much of a book guy, but I don’t hear that in Christian music today.

Case in point: Israel’s latest (and first studio) CD features pop, gospel, rock, and reggae in it. In fact, it’s got everything but a signature style.

Cases in point: MercyMe and Casting Crowns play almost nothing memorable. You recognize them by their lead vocalist, not their uninspired music.

Stellar artists/performers—and I’d put Israel & Chris Tomlin in or near that range—must couple their spectacular lyrics while exhibiting a stellar style that is uniquely them to be considered one of the Hall of Famers. It’s not about popularity, it’s about electrifying history.

Need a couple examples? Think: The Beatles. Think the Edge’s soaring guitar in U2. Every song is different. Every song is theirs alone.

Legitimate Reasons?

Are there different standards for Christian music? Does a “sound” matter in the eyes of history? Do the genres of church music (P&W, Gospel, Southern Gospel) nullify true signatures that the general listener would instantly recognize? Or do Christian listeners only expect genre satisfaction, punishing the truly talented who exemplify both?

I don’t have any answers, just many questions.

Still, it’s ironic that there’s such a yawning dichotomy between the lyrics and music of most Christian music right now.

I’m done. Feel free to argue with me. Put the book guy in his place.

Hagah

What would you like to hear more of in church? What would you like to hear less of?

In the latest edition of the Forward (the UPCI magazine with a more ministerial audience) there's an article by Robert Trapani that chastises contemporary Christian music for over-eroticizing our relationship with God. I must concur wholeheartedly with the sentiment expressed by the author. We have too many songs that do not strike the right tone of worship.

Why can't we have more songs that are straight out of the Psalms verbatim? I don't care if it's KJV, NIV, or even a scholarly translation or paraphrase.

More scripture, please. It doesn’t have to be in Hebrew.

I have been reading a translation of the Psalms by Robert Alter. Really great stuff. "In his law doth he meditate day and night" goes the verse in Psalm 1. Alter translates it "murmur." I don't know Hebrew. I wish I did. I have been trying to pick some bits and pieces here and there, but it hasn't been with any regularity nor have I a method. But I greatly enjoy finding a new way of looking at the scripture within the mode of contextual application. I especially have enjoyed Alter's new outlook.

The NKJV and NIV do well to versify the Psalms into more or less the poetry that it is, but Alter gives it a sense of rhythm. A more true sense of the poetic thrust. I have long been craving such a translation of the Psalms. I am still looking for a better translation. It seems I’m always looking for a better translation.

Music as Preacher

I once heard in a systematic theology class that music was instrumental in spreading the doctrine of Arianism around the early church world. The idea that music can spread a message more quickly is not a novel concept by any means, but a lack of dialogue regarding the issue has created some extremist views both to the right and left regarding music and the power it wields within church culture.

I often find myself rolling my eyes and defending the idea that specific genres of music are not demonic in origin, and that nit picking would very likely lead us to the conclusion that some of our "old fashioned" songs were born from music that was socially rebellious once upon a time.

Of late, I have been more concerned with the acceptance of the status quo among musicians and artists within the church. I feel that we are spending more time making congregations comfortable and at ease with regards to the music rather than singing the messages that are being preached from the pulpit. Mavis Staples once stated that her father changed their family's repertoire that they took on the road after hearing Dr. Martin Luther King. She credits her father with saying, "If he can preach it, we can sing it."

There are times and seasons for everything, and I am well aware that we have a responsibility to minister with song to communicate peace and healing to hurting people. We also have a responsibility to take the convicting message, whatever the subject, and remind the congregation that the Word doesn't change or go away.

Does anyone else feel like there is a need for a more "activist" approach to our music on occasion in order to reflect the values and principles that are being preached to us?

My Style is better than Yours

I know that this is a Christian blog, but I feel like this will help us understand some things. As some of you may have heard, the MTV Video Music Awards took place this past Sunday. People are given awards and they are allowed to make acceptance speeches afterward. I didn’t know about the Awards until later when I went home and logged onto Facebook. It was then that I saw a young woman’s status that talked about how she dislikes Kanye West. I became curious. So like anyone else that wants the latest information from the entertainment world, I checked it out on YouTube. I found a plethora of things like, the actual video, people’s videos about the video, remixes of the video, and even comments from POTUS about what happened.

Apparently Kanye was a little disturbed that Taylor Swift received the best female video. Kanye proceeded to interrupt Taylor’s speech and tell everyone that Beyonce’s video was one of the best videos of all time. This was before Beyonce received the award for video of the year. Beyonce was in shock. The crowd was in shock. I was in shock and yes, you were/are in shock. That is just SO distasteful. Who does something like that?

You might ask what this has to do with “Notes.” I must tell you that Kanye’s behavior reminded me of some of our own behavior when it comes to different styles of music. Too often we have heard someone or even ourselves criticize someone’s singing or playing and justify it by accusing it of not being godly. No, we don’t get up in the middle of someone singing certain contemporary songs and exclaim that another style is so much closer to Heaven. But there are the occasions when these exclamations come across the pulpit and people can sometimes feel like sinners because a certain sound is more pleasing to their ear. When does the madness stop?

But there are more Kanyes than this kind. There is a type of Kanye that would criticize another for not liking these contemporary songs. There are those that would tell people they have to sing a certain style to attract people to their church. In the words of an old pastor of mine – Hogwash! Jesus said if we lift Him up, He’d draw all men to Himself. It doesn’t matter what style of music you sing at your church. All you need to be concerned with is whether you are lifting up Jesus Christ. If you lift Him highest with country praise, break out your steel guitar baby! If you lift Him highest with contemporary Christian, plug in the acoustic! If you lift Him highest with black gospel, PLEASE fire up that Hammond B-3/C-3!

What everybody needs to understand is that it’s not Kanye that’s choosing the winners. It’s not anybody on this earth that’s receiving our praise but Jesus Christ, let Him decide what’s acceptable. God Bless!

A musician's resume......yikes, I think I fall WAY short!

Last week in the Music Appreciation class I teach here at Gateway, I decided to throw those poor theology majors a bone - they have to suffer through my enthusiasm for all things classical, all the while wondering, "Why do I have to take this class? I'm a Pastoral Studies major?" My collegue, Joyce Scott, has, over the years, worked up quite a nice presentation on what the Bible says about music and how we use it, perform it, etc... Actually, it's not just those poor theology majors who need this study, but the music majors, ESPECIALLY!!!!!

Starting with the Biblical preparation requirements for music ministry, she focused on the necessary training for properly ministering musically. Makes sense, right? I mean, I wouldn't want my pastor to never study the Word and just get up there and wing it. Rest assured, I'd be doing some church shopping pretty quickly!!

The part of this section of the study which has stuck with me (even though I've heard it several times.....I'm a slow learner!) was the section on the necessary Godly Character. Joyce used the passage in I Samuel 16:17-18 which chronicles Saul requesting a musician who would play in order to drive away the evil spirits that were tormenting him. His only job requirement? "Provide me now a man that can play well, and bring him to me." (v. 17)

Saul's unnamed servant then gives the most brilliant, comprehensive list of the perfect musician: "Then answered one of the servants and said, Behold, I have seen a son of Jesse [David] the Bethlehemite, that is cunning in playing, and a mighty valiant man, and a man of war, and prudent in matters, and a comely person, and the Lord is with him."

Here's the breakdown:

1. Cunning in playing (posses skill, talent)

2. Valiant (brave)

3. A Man of War (not afraid to go after the enemy)

4. Prudent (responsible)

5. Comely (neat and presentable appearance)

6. The LORD is with him. (filled with the Spirit!)

No, talent is not the most imporant component. Nor is talent and the Spirit. It appears that we must be willing to bravely wage war, musically and on our knees. We must also be presentable in our appearance - no slovenly appearance! And we must be responsible (yes, even those who are procrastinators, unorganized, always running late.....)

A well-rounded person, wouldn't you say?

I'm reading - plowing through Bro. Norris' Theology Reader and also reading The Problem of Pain, by C.S. Lewis.

Listning to......okay, I'll admit it......Christmas music!

A few words from the prophets

I was reading Daniel, and subsequently Amos, recently, and thought I would share a couple verses with y’all. If you’ll turn with me to chapter six, either book.

Daniel 6:18 states “neither were instruments of musick brought before him.” Darius, against his better judgment, had agreed to cast Daniel into the den of lions, but spent an uneasy night in prayer (presumably), fasting, and with no musicians to lighten his heavy burden.

How much do we rely on music in our praying or otherwise daily living? As a musician myself, I have spent literally countless hours driving in the car while listening to music of some sort. Music to pass the time. Music to study. Music to edify. Music that ministers to the heart. But when I enter my prayer closet, I have to shut the music off. I can’t have it. As much as some good gospel can enhance prayer time it just isn’t for me. As a musician I am too focused on the music. Darius didn’t want the distraction either that night. Even though he had expressed a word of faith that Daniel’s God would deliver him (v. 16), he was still concerned about the fate of his trusted servant as he consigned him to what would seem to be a certain death.

Amos 6 starts out “Woe to them that are at ease in Zion, and trust in the mountain of Samaria” and in verse four Amos writes that these Israelites were lying on beds of ivory and stretching themselves upon their couches. This was a population accustomed to luxury. Sound familiar? I suppose I must take a step back and remind you I just spent four months living in Nigeria, so that even now, while unemployed and scrounging for scraps of food, we are living the “luxe” life of unlimited clean water (hot or cold whenever we want), “always on” power, and having complete control over the temperature in our house. If it’s 90 degrees outside it’s 75 inside. If it’s 55 outside, still 75 inside. We are living in paradise.

But one of the luxuries Amos calls out is music. He chastises the people for chanting “to the sound of the viol” and for their desire to become highly skilled in improvisation (assuming my interpretation of the numerous translations I have consulted of Amos 6:5 is correct – Tanak, NIV, LXX). I take a little umbrage with this. I pride myself on a well-practiced tune. Having spent my entire undergraduate degree pursuing perfection on the piano, I have a bit of a different take when it comes to seeking perfection than most, maybe, but I’m not like that now.

Through no one’s fault but my own, last night I was called on at the last minute to be the ‘primary’ keyboardist for the service. I was querying the worship leader whether she had the music for the songs she was leading. She said “you’re kidding, right?” I wasn’t kidding, actually, but I less than half expected she would have it. It wasn’t that I didn’t know the songs. It was more or less a simple desire to rely on the crutch of having the chords in front of me. Not having the chords nor sufficient time to practice, I simply said, “You won’t mind if I hit a few wrong notes here or there, do you? Of course you don’t know anything about that!” She is a fellow keyboardist and so I used that insider disclaimer to disavow myself should I plunk a wrong chord here or there. And whaddya know. I did hit a wrong chord. I played a V chord once when I should have played a IV chord. Oops. But I no longer sweat the small stuff.

Would I like to play everything note perfect and with a high degree of excellence and complexity? Absolutely. I thoroughly enjoy a well-practiced song performed flawlessly. Do I expect that I will be able to output that kind of performance without putting in some practice time? Absolutely not. I was gearing up to some climactic conclusion. But I don’t have it. Sometimes, what you see (or hear) is what you get.

The photo? Satellite image of the ruins of Babylon, c. 2009.

What I’m reading? “Essays” by Michel de Montaigne. Also portions of a “History of the Ancient Near East” by Marc van de Mieroop.

What I’m listening to? Uh… I don’t think I turned on any music once today. I sang an Igbo song for a presentation of our trip that I gave to an Independent Living facility this morning. Here’s a clip of the original: “Imela Oh,” translates as “Thank You.”

Is It About Him or Me?

I was in a car with a pastor friend of mine and his wife. She began to express how much she liked a particular song. While she was talking I began humming the words to the song in my head and exclaimed, “This song has A LOT of words!” The pastor nodded his head and said, GOOD! Most songs now don’t have many words.” He went on to say that the few words they do have, focus more on us and not God. I responded with “huh?” The pastor reminded me of some words to several songs and how everything is about us.

Well, I can see that. But, it seems those songs are more about what He does for us than simply us. There’s nothing wrong with singing songs about all the great things God’s done for us. It’s all gravy as long as it’s balanced by simply singing songs that are just about Him and His greatness.

Maybe some of these songs are misunderstood. After all, I’m the type of person that makes statements and some information is omitted because it’s implied. We sing about what we are and our heritage as Apostolics, but the fact that He got us there is omitted. Well… That’s because it’s implied. That’s all fine and dandy, but what about the person that comes to the church from off the street and totally misses this implication? That may be a good time to actually sing a song about Him and how He turned your life around.

Reminds me of when the disciples were complaining to Jesus about how he didn’t hold any punches when addressing them, but when he spoke to the multitudes, he spoke in parables. Sometimes you just have to cater to the people there. I know that sometimes we really like a song, but the music ministry’s main goal (in most places) isn’t to minister to the music ministry. The goal is to lead people to a new experience in Christ and prepare them for the preaching of the Word. That’s probably not getting done if the songs going forth make no sense to the people listening to them. Next time you’re in your church, observe who’s around and what songs are being sung. You can even observe the comments made by others through the service. See if you can tell if the people are being ministered to or if they’re just plain confused. Try not to laugh out loud.

I apologize for the late post.

Covering all the bases

I recently completed Biblical Interpretation at UGST, which was an experience in so many ways! Dr. David Norris, who is quite possibly the most brilliant person I know - or at least in the top 5 - taught the course. One morning, as a devotional, we sang Psalm 136 - that famous responsorial psalm which ends each verse with the phrase - "for his mercy endureth forever" - you know, the phrase you start to skip over after a while. Or at least I did. That is, until Dr. Norris stood at the whiteboard and wrote the Hebrew letters for this phrase on the board and proceeded to explain to us its real meaning. When he came to the Hebrew words for "mercy endureth forever" I was so amazed - this phrase means that his love is infinite, unending, from beginning of time until end, matchless. When we fail to love, he continues. When all other mercy fails, his continues. Isn't that amazing?

The neat part was when a dear sister in our class who sings R&B was unexpectedly called to the front to sing the first half of each verse - ad lib, on-the-fly, with no advance notice! Let me just say, "you nailed it, Sis. Angela!" While she sang the first half, the class "responded," as the psalmist intended, with a chant-like refrain of "for his mercy endureth forever." By the time we got to verse 23 which states, "He who remembered us in our lowely estate.....," let me tell you - I wondered if we would be able to have class that day!

There is something about singing the pslams - a silly-sounding thing to say, considering that's how they were SUPPOSED to be expressed. I wonder what would happen if we would choose to intone them in our choirs, or small groups? Trust me, you don't need instrumentation for something like that! The Word is so powerful and there is something about the way that particular psalms flows. Starting with a Kerygma type of worship which proclaims God's great attributes, then flowing to a Koinonia worship where the congregation is reminding each other of God's great deeds (crossing the Red Sea, being delivered from Pharoah's army), to a Leitourgia worship which speaks the words directly to God - this psalm covers it all. We argue about "verical" worship or "horizontal" worship so much. Could it be that we could simply take a page from the greatest book of songs and just put it all in there? Sing to God, to each other and about God so that everyone would know of his enduring, infinite mercy.

Since I always forget, I'm listening to........very little......my car's CD player is on the blink. But I am spinning Israel's "Power of One" quite a bit a home, especially "I Receive" - that song blows me away. I'm reading...... anything about capital punishment - writing a paper.

Your Hands

Instruments?

Who needs instruments?

We don’t need no stinkin’ instruments.

You've got two hands, don't you?

In my last post I mentioned how I have had difficulty adjusting to singing while clapping a syncopated rhythm. What I neglected to mention is that there is no keyboard or guitar in most of the church services I have been to while I've been here. In fact, there hasn't even been much in the way of drums! Well, except for in Achi. And Awka. And Lagos. Okay, so I don’t have a solid grasp of what’s “normal” regarding music in the churches here! Not too different from back home in the states.

Anyway. There is a point I’d like to make here, and it concerns rhythm and it concerns hands as instruments. When we clap in the U.S. about the only debate that rages is whether to clap on the downbeat or the ‘offbeat’ (beats one and three vs. beats two and four if you’re keeping time). As I mentioned previously, here it’s more or less one strong clap per measure with a second syncopated clap. There is sometimes an additional syncopated clap per measure. But that only tells a part of the story.

You see, when there are no drums or other instruments, the only rhythmic variation is in how the clapping is done. Here, after two or three times through a chorus, sometimes additional clapping will occur as a crescendo / diminuendo bridging the end of the chorus and the beginning of the chorus again. A sort of rhythmic interlude, if you will. I find it most difficult to describe because the intensity of it exists on a scale that would be difficult to imagine if you did not experience it.

The worship leader is also able to cue the clapping by a simple exhortation, “Your Hands!” This can mean anything from 1) starting a clapping rhythm where one did not previously exist, 2) a growing intensity of varying clapping rhythms as a bridge or interlude between choruses, or 3) I have even seen a “clapping song” where there were no words, only a swirling rhythmic vortex where rhythmic clapping in concert constituted the entire musical output of the selection. It was amazing. And I will miss it. When I am back in my congregation in the U.S. and I try saying “Your Hands” it will not be the same.

They’ll thank you . . .someday

Music lessons. We’ve all had them, be they for piano, guitar, trumpet, etc. And I’m probably not the only one who hated logging in that daily practice time.

My poor mom. I was a real musical prodigy, as I sat on the bench, banged my hands on the keys, and cried my crocodile tears. “You’ll thank me someday,” she said. And, of course, I was doubtful.

My piano teacher didn’t have it much better, as I creeped and crawled through the lesson book, one excruciating week at a time. Two steps forward, three steps back. I think the summers I took off were as much for her sake, as my own.

So imagine the pressure when my beloved teacher from childhood days visited our church on a recent Sunday. You must understand . . . she was good. The kind of music director a pastor dreamed about, that could follow his leading without pause, no matter what antiquated song he pulled from the back of his brain on a whim. And there she sat as I led worship. I’m glad to report nothing too horrific happened. We had a good song service, and I didn’t knock the keyboard off its stand or forget the words to every song I ever knew.

I wonder what her thoughts were as I stood up there playing. Perhaps she marveled a bit to see her hard work finally pay off. Thanks to her efforts, my mother’s dogged persistence, and a handful of other patient instructors, I am now a music director in my own right. And it only took fifteen years.

Maybe some of you have your own little prodigies at home. Whether they be your own children, or someone else’s. I’m sure there are times you want a summer vacation as they bang through John Thompson or whatever course you’ve chosen.

Maybe my musical testimony can give you a hint of encouragement. They can make it. It might take a looooong time. But they can make it. And so can you!

P. S. Thanks, Mom!

Wedding Dresses and Congregational Singing

There is a congregation in our beautiful city that recently sang "Wedding Dress" by Derek Webb as a part of their worship set. It caused a bit of a stir much like the song did when it was first released about six years ago. Some Christian retailers refused to sell the album that contained the song, but there were few discussions as to whether or not it would be appropriate for congregational use. The lyrics are as follows (for those who are not familiar with the song):

If you could love me as a wife
And for my wedding gift, your life
Should that be all I’d ever need?
Or is there more I’m looking for

And should I read between the lines
And look for blessings in disguise
To make me handsome, rich, and wise
Is that really what you want?

[Chorus]
‘Cause I am a whore I do confess
But I put you on just like a wedding dress
And I run down the aisle, I run down the aisle
I’m a prodigal with no way home
But I put you on just like a ring of gold
And I run down the aisle
I run down the aisle to you

So could you love this bastard child?
Though I don’t trust you to provide
With one hand in a pot of gold
And with the other in your side
‘Cause I am so easily satisfied
By the call of lovers so less wild
That I would take a little cash
Over your very flesh and blood

Because money cannot buy
A husband’s jealous eye
When you have knowingly deceived his wife

©2002 Niphon, Inc. (Admin by Music Services). All right reserved. Used by permission. ASCAP

It is a moving song, a call to holiness, and a song that preaches rather than exhorts. It is as viable and important to the church today as it was six years ago. The major issue is, of course, the language. Should a congregation sing, "I'm a whore..." in one accord, children and adults? How would you explain that one to a 2 year old? In the context of the song, the word simply refers to unfaithfulness. The repentant tone reminds one of "Heart of Worship" and "Hear Us From Heaven." Is this a song you should use for the larger congregational gathering? Should it be limited to smaller, and more intimate times of worship? Should the song be appreciated on one's personal iPod and not shared at all? Is it really the language that makes us uncomfortable, or the truth it speaks about the majority of the church world?

Music Dependence?

Hello, blog world! My name is TJ Walton and I’m from Alabama (please don’t be a hater). I’ve read several blogs, but have not done much blogging of my own. I consider the opportunity to write for this blog an honor and I’m thankful for the chance to be heard.

I was talking to a good friend the other day and the topic of our dependence, as Apostolic Pentecostals, on music was brought up. For some reason, maybe because I’m a musician, I got defensive about it. But after thinking about it, I realized that maybe we have become too dependent on music to lead us where we need to be or where we want to be.

We talked about how sometimes, it’s like pulling teeth to get people to raise their hands, clap, shout to God, or even come to an altar without the music. Surely, we’ve all been in a service where there was not music at some point other than the preaching and it felt like there was something missing. This might have made it a little uncomfortable for people to lift their hands and worship freely. Then there are services where it is clear that the music needs to stop and God desires time with just us lifting our voices. You may ask, “Why are you talking about our dependence on music if we still have services like that?” The thing is, those services seem to have become a rare occurrence.

My friend pointed out that it appears Saul would call upon David to play instead of seeking the counsel of Samuel early on, which to him signified choosing music instead of God or God’s Word to help him through whatever problem he was facing. I agreed. It made sense; maybe there is something to this needing the music before seeking God. Please don’t misunderstand. Music is, without question, a way that God truly desires to be worshipped. No one is questioning the significance of all the Psalms or the hymns and spiritual songs cited in our Bibles. There are simply people who are concerned that we may not be able to worship God without music and there are some who are afraid we’ll, eventually, just be worshipping music or the singer/musician instead God.

A lot of people will say that you have to watch musicians because that was Lucifer’s job when he was in Heaven. Some will say that it’s the spirit of music that causes folks to be distracted from God. I firmly disagree! God created Lucifer and God gave him the gift of music. What he did with that music was his choice! So, it’s not the spirit of the music that is our concern, but the spirit of the person playing or singing the music. If you’re a singer or musician, please cover yourself in prayer before you get up to lead your congregation in song. Ask God to not let you be glorified, but to let Him be glorified through you and we will see more of those services where the music stops and it just seems to be God and me, or God and you all alone in the room.

God Bless!

Songs Without Words

A few years ago one of my piano students gave me a paper weight with this message engraved on it: “Music washes away from the soul the dust of everyday life.” Depending on my mood and my circumstance, I can always find a song that speaks to me and seems to sum everything up.

I recently read an article in Christianity Today, June 2009 issue, by Carolyn Arends that talked about music’s ability to “put into words” those things which we cannot say with words alone. Whether music with lyrics or without lyrics, music has this amazing ability to transcend the message we are trying to communicate. Felix Mendelssohn, the great Romantic era composer who composed two sets of pieces for piano which entitled “Songs Without Words” said the following:

“A piece of music that I love expresses thoughts to me that are not too imprecise to be framed in words, but too precise. So I find that attempts to express such thoughts in words may have some point to them, but they are also unsatisfying.”

Whether it is thoughts of joy and celebration or remorse and sadness, music can, in Arends words, “say more than we are even saying.” She gives tells the story of Olivier Messiaen, the great 20th Century French composer, who was sent to a concentration camp by the Nazis in 1940. Rather than just waste away, Messiaen convinced a guard to get him some paper and pencils and he composed one of his most famous pieces, the Quartet for the End of Time, which was performed for 4,000 people in the camp, prisoners and guards included. Somehow, music communicated something that could not be spoken otherwise. As Arends concluded, “art must be, somehow, essential for life….an unquenchable expression of who we are.

I find that I agree with Arends when she concludes that our gift of creativity comes from the fact that we are made in His image. Arends states:
“When we meet this God, our creativity becomes one of the ways we delight in him. When we are lost in some endeavor – consumed by singing a song, dancing a jig, building a presentation, or telling a story – people say we are “in our glory.” In truth we are in God’s glory, participating in the beauty overflowing from the Creator himself.”

I’ve Got Rhythm

I've been promoted! I'm now an official "Notes" Friday blogger. No more of this part time business for me!

I thought I had a decent sense of rhythm before I came to Nigeria. I could clap on the beat, off the beat, and in any other sort of predictable pattern or rhythm I could imagine. But I never imagined what I have encountered here.

It's not the clapping that's the hard part, though. It's the clapping and singing. You see, the clapping here is nearly always some form of syncopation. You clap on a beat, then you clap a second time a quarter of a beat before the next beat. The easiest way for a music-reading person to visualize this is the dotted eighth followed by a sixteenth note.

A majority of the time, this syncopated clap pattern occurs only once during each measure (that is, for every four beats, assuming four-four time, there are two claps, one on the beat, and one immediately following just before the next beat).

So why can't I sing and clap at the same time? I have actually accumulated a fair amount of musical training over the years. Three years of music theory (if you count counterpoint) and oodles of piano and voice lessons, I would think I would be capable of ready adaptation. But no. Three months later, I am still challenged by trying to sing and clap properly during a single song.

I will beg off the accusation by claiming that I have been concentrating too much on trying to keep with the clapping, and not enough attention on the singing. I know, I know. I should simply stop clapping, and try to learn the words and melodies to some of the songs. But even when they're singing in English, I can't understand all the words. In fact, some of time, I can't even understand more than a word or two. But that's no excuse. More often than not I can pick out most of the words.

I guess it comes down to laziness, pure and simple. It's just easier to clap. I enjoy clapping. It sure beats the work of trying to learn new melodies (even to familiar tunes at times, but sung with widely melodic and rhythmic contours that vary to an extreme from how we sing the song back home). And since we're here only one more month... well, it'll be a miracle if I manage the dexterity to do it.

The New Endangered Species?

I was having a conversation with one of my piano students today that got me to thinking. My student is the pianist for a worship band composed of youth from our church - a good band, I might add. As we were lining up her repertoire of classical as well as church-music pieces she brought up the fact that sometimes she feels a bit irrelevant in the band - that what she contributes isn't really that important. Understand, she wasn't complaining about the band or its leadership, but rather the type of music that is out there for this particular genre. We talked about the fact that today's worship music is largely written for guitar-based bands, as evidenced by the keys many songs are written in which are not pianistic but rather cater to guitarists - what we call "sharp keys." We finally decided that we would go back a few years and pull out some music that was more piano-centered and that contained chord progressions from which she could gain a good foundation for her playing.

So, that said, I wonder if the piano will one day play little or no roll in our church services? My student and I laughed at how we hear a song and, no matter what insrumental arrangement it was originally written for, we instantly shoe-horn it into the piano/organ/bass/drums framework that we've used for years. And seriously, have you ever tried to play some of our new songs on the organ? Give me a break! I feel like I might fall asleep between chords sometimes!

Personally, I think it will take us some time to ever completely move away from our foursome. Actually, I wonder if we EVER will? Or will the piano be relegated to the corner where the previously lowly guitars used to be and the GUITARS will take the place on the platform in the spot where the piano/keyboard once stood? Okay, so I'm an old kermudgeon, but I hope that never happens. (I can already feel the dirty looks)

Rhythms of Life

Here we are at last at long last. Enugu, Nigeria. We are slowly settling in to a routine, a rhythm, if you will, but unlike the rhythm of our previous existence. Rhythm here is quite different than in the U.S. In more ways than one.

  

Prior to April 1, my life proceeded along a very clear meter, four-four time, key of B-flat. The pace was . . . well astounding. We were a part of the frenetic energy of the “two parents working” with our son in a myriad of different daycare “solutions.” Now the solution is us. And we are teaching not only our son, but a cadre of future ministers of the Gospel.

Here in Nigeria, things are very different. Many things. Most things. If you want to go to the bank, or even something as simple as getting a generator repaired, it can take up a good part of your day. Or a good part of a number of days.

Things can proceed as a very slow waltz here. Or a tango, maybe, depending on the situation. There are plenty of cars and three times the number of “machines” (motorbikes, in local parlance). And lots of of folks walking. Walking, walking, walking, everywhere people are walking. I didn't used to walk quite so much at home. At least if I did, it didn't feel like it, compared to walking under the blistering sun at around six or seven degrees north of the equator.

Is your life so hectic that you do not take time to sing a new song unto the Lord? Do you find that the song in your heart has become a mournful dirge? Are you running to and fro seeking that which you must do to get eleven more items crossed off of your never-ending to do list? Or are you at the opposite end of the spectrum, with no less long a list, but without the energy to drive another block or even look for a pen so you can cross off the one item you were able to finish two weeks ago?

Lord, help us to remember to always praise you in song, with our voices, in our hearts, and let our light shine no matter the circumstance.

To worship, or not to worship. That is the question.

Confession time.

I don’t know if musicians are allowed to worship.

There I said it. Sounds weird I know, but let me explain.

It had been one of those Sunday mornings when waking the congregation was about as easy as pulling teeth from a buffalo. I mentally shuffled the song order in my head, trying to come up with the right musical combination to shake everyone from their stupor. We started into another chorus and . . . my drummer quit. Just stopped playing. I glanced over and it looked like he was sitting there on his stool, worshipping by himself.

Well . . . good for him. But what about me and my piano? I needed a beat. It sounded empty without him. Musicians can’t take a break to worship. We’re supposed to keep playing, no matter how red-hot the service gets.

It bothered me when I thought about it later. The obvious spiritual answer was, “The drummer had the right idea. We don’t need instruments. God can move without any help from us.”
But admit it. How many of my fellow music leaders would be annoyed if they suddenly found themselves without a time keeper? Show of hands. One, two, three, four—that’s what I thought. We know how fickle a congregation can be. They might sit down at a moment’s notice if the song service hits a sour note. Music shouldn’t be that important, but I find in reality it often is.
It’s a question I struggle with. Are musicians allowed to stop playing and take a worship break? I don’t mean raising your hands at the end of a song and jumping up and down for ten seconds before launching into the next medley. I mean quitting cold in the middle of a chord progression. Without any signal from the pastor. Just saying, “I’m done. I want to join the worship. God will move without me.”

I have no answers. More often than not, the music leaders of my childhood would soldier on, no matter how long the service went. I don’t know if it’s the right way, but I imagine I’ll do the same. Just keep pounding away on my piano, and praying God accepts it as my offering.

An Apology, and an interest in the future of Apostolic musicians

THE APOLOGY

My apologies for this late post. I went out of town with the wife and forsook all responsibility until this evening. My vacation frame of mind is gone, and I come to all of you with guilt, shame, and a mostly empty head. The small part that isn't empty is what I would like to now share...

THE ADVERTISEMENT

I have often wondered how many Apostolic artists there are that record their own music, but do not have enough material to make an album or the means to distribute it. I am sure that there are more than a few Apostolic musicians who have material that does not fit the praise and worship genre, and we probably don't get to hear them unless it is a state or local youth event. 

With that in mind, I wanted to make a plug for the website watunes.com, I heard about this on NPR this weekend and checked it out this morning. It is a website that allows you to sell unlimited songs, albums, music videos, and audiobooks with no upfront costs. You earn 100% of your royalties and are able to sell through iTunes, Rhapsody, and eMusic. 

This is definitely a social networking site, and I am sure the number of poor musicianship is enormous. However, for the really good band that you know who at this point have only created a Myspace music page, this is a great tool for getting some exposure and profit. 

My apologies again for such lazy and irresponsible blogging habits. I do hope that someone can find this website useful and that some Apostolic musician/singer/songwriter finds it an valuable tool for their gifts and aspirations. 

CompassionArt follow-up

As a follow-up to my post on CompassionArt, the compilation CD, all of whose proceeds would go to fight world poverty, let me share some more great news on this front. CompassionArt, Family Christian Stores, and EMI CMG have announced the CompassionArt project as the first ever Family Christian Stores “Album of the Year.” Along with this announcement, Family Christian Stores has pledged to donate $1 per CD/DVD sold to CompassionArt through its James Fund foundation, with an additional $1 for the first 25,000 units sold! The funds are being directed towards a Creative Arts Center for Watoto, a charity championed by Delirious? frontman and CompassionArt founder Martin Smith. The project will encourage artistic education for orphaned children to abused mothers, aiming at restoring hope in the midst of suffering.

This is one more great reason to get out and purchase this CD/DVD combo.

"The Soloist"

I recently finished reading “The Soloist” by Steve Lopez and I must admit that I haven’t been that moved by a book in a long, long time. I’m sure you’ve seen the advertisements here and there for the movie by the same title. You can view the previews here as well as interviews with the author and the subject of the book, Nathaniel Anthony Ayers. Just listening to the haunting strains of Beethoven's 3rd makes a trip to the website well worth it.

I promise I won’t give anything away, but this book is about mental illness- certainly the tragedy of it, but also, in a strange way, the beauty of it. Not beauty in the sense that we typically think of beauty, but I think you’ll understand after you read the book. Nathaniel Anthony Ayers is a 52 year-old homeless African-American man living on the streets of Los Angeles, staying near a statue of his beloved Beethoven in Pershing Square. Why the Beethoven statue? Ayers is a Julliard trained double bass player who, because of mental illness, became homeless and has lived on the streets for some 30 years. He catches the attention of Steve Lopez, an LA Times columnist who notices Ayers setting near the Beethoven statue, playing a violin with just two strings – in Ayers words, “I’ve had a few setbacks.” Thus, the two-stringed violin.

The book is the beautiful, raw, honest story of their two-year journey. Lopez does all he can to help Mr. Ayers get off the street and lead as stable a life as possible despite suffering from schizophrenia. I won’t give any details, but trust me, you’ll be moved beyond words at the lengths Lopez goes to make a difference in this man’s life. Time, money, and at times his own sanity, are sacrificed on Lopez’s part, all with the hope that he can help Mr. Ayers find peace and stability. I have to admit that I’d have probably given up LONG before Lopez did. As I read the book I had to ask myself why my calling as a child of God – a Christian – did not compel me to give and sacrifice as much for someone in a similar condition. There was no mention of God in the book, but I heard the voice of the Lord speaking to me several times as I read, asking me what I had done, or better yet, what I planned to do beyond teaching in a Apostolic college, participating in the music team at church and doing the occasional care ministry activity in my church. So, I guess that’s a subject for a different blog, but I couldn’t help but mention it here since it spoke to me so strongly in that sense.

Conviction and hope…

What I found so fascinating about Mr. Ayers is that despite all the hurt and pain in his life, much of which was caused by a broken family and a lack of support by friends, mentors and instructors, he never, ever became bitter against his art, which you will see is the great love of his life. He never became embittered against those he went to school with at Julliard – cellist Yo-Yo Ma being one of them – because of their successes in life when contrasted against his own sickness and resulting failure. Instead, he applauded them, praised them and found more joy in their music than you could ever imagine. It’s so built into our nature to envy those who are successful – even people in the church who are our brothers and sisters. At the opening of Romans 12, Paul speaks about the different gifts given to each member of the body of Christ. When I mulled this all over I had to repent and pray for that simplicity of mind that would cause me to rejoice in the gifting of my friends and co-workers. After all, they are gifts – given to us by a God who chooses us as His vessels through which He will make known His greatness, His beauty, His majesty.

Thank you Mr. Ayers – in your simplicity, your weakness, you have reminded me of the Source of every beautiful gift.

Thula Mama

EVERETT: ENOUGH ALREADY! We are sick and tired of these posts which do not directly relate to the matter at hand, Apostolic music. If you post one more blog about that banjo playing guy. I think you’ve referenced him in something like three or four posts already. ENOUGH! WE ARE SICK OF IT!!

Well. Too bad. I can’t help myself. There are songs and there are songs. There are spiritual songs. There are worldly songs. There songs that make you glad and songs that make you sad. There are songs that lift up your spirit and there are songs that bring you down. There are songs that bring an atmosphere of worship in the sanctuary and there are songs that you can only imagine the devil himself worshiping to.

Banjo? Banjo??? What is this about a banjo player? The guy’s name is Bela. Bela Fleck. The first name is Hungarian, apparently. He shares the name with a very cool composer by the name of Bartok. I’m sorry I don’t know the diacritics offhand and am too lazy too look them up. Ok. So I’m not that lazy. Bartók Béla, in the correct Hungarian order. But I digress. I don’t recall how I came across Fleck’s music initially, but he’s got a super bassist, Victor Wooten, as part of the group, Béla Fleck and the Flecktones. You can listen to a sampling of their music, here. Fleck defies genre. I call it jazz. Others, country, fusion, bluegrass. He plays across different genres depending on the project. Most of my favorite stuff he does is jazz.

My life has been seriously touched by three Fleck tunes. Actually, I think only two of them were written by him, and the third… just experienced it last month for the first time and had to listen to it a few times. It brought me near tears the first three times I listened to or started to listen to it. “Is it right that children have to fend for themselves, no, no, no.” The song is a “protest” song that laments the plight of the downtrodden, children, women. The thing that gets me is that the tune is so joyful. How can a lament be set to such a happy tune? Is it the indomitable human spirit no matter the situation?

It certainly wouldn’t be the first time that a “non-spiritual” song has ministered to someone. And it sure won’t be the last. Although I can’t really honestly say that “Thula Mama” is not a spiritual song. The theme of Isaiah 61:1-3 runs through the song as an undercurrent. Jesus came to bind up the brokenhearted, give the oil of joy to those who mourn, the garment of praise for the spirit of heaviness. Certainly this song speaks to the very same type of individuals with the same purpose. Such a song cannot fill a void if God does not exist tangibly in the hearer’s life, but it can augment our innate compassion and teach us to strive to always show Jesus’ love to those in greatest need in our communities and worldwide.