MUSICIANS WORKSHOP WITH ROB SMITH SAT MARCH 1ST

Transcription

1 MUSICIANS WORKSHOP WITH ROB SMITH SAT MARCH 1ST

2 welcome to our mpc music workshop Thanks for coming Thanks for your interest in music ministry in our network of churches, and thanks for taking the time to be here this morning. Today is not so much about skills - although we ll be doing some practical stuff along the way - as it is about getting a clear understanding of why we re doing what we re doing. Please work hard at thinking through all the aspects of Rob s presentation - it will be great if we re all on the same page when it comes to the why of our music as well as the how. Our goal is that the morning is thought provoking and fun, as we sharpen, encourage and enthuse one another in the ministry of encouraging one another to sing God s praises in ways that best build up His Church. Rob Smith Rob Smith says he has been playing guitars and writing songs for ever. His songs feature regularly on albums from Emu Music, and are regular favourites at mpc and churches around the world. Rob is an ordained Anglican Minister, and shares his time between lecturing in theology and music ministry at Sydney Missionary Bible College, and working with Ministry Training and Development (a department of the Anglican Diocese of Sydney). In his spare time, Rob is also on-call as Paul McCartney in the popular Beatles tribute band The Beatnix.

3 Music that Glorifies God and Builds the Church Using Music as an Effective Vehicle for Worship and Ministry Introduction The plan for this morning 1. Points of confusion and tension a) Five points of confusion Confusion over the nature of worship Confusion over the purpose of church Confusion over the value of singing Confusion over the role of song leaders Confusion over the place of emotions b) Five points of tension Preserving the past versus connecting with the present Escape the world versus engage the world Musical style versus biblical substance Corporate versus individual Participation versus performance 2. Music and song in the life of the church a) Church Music: Worship or Ministry? b) The three dimensions of church God to us (by his Word) Us to God (in response) To one another (in mutual ministry) Rob Smith, 2014

4 Music that Glorifies God and Builds the Church 2 c) Where does singing fit in? Do not get drunk on wine, which leads to debauchery. Instead, be filled with the Spirit. Speak to one another with psalms, hymns and spiritual songs. Sing and make music in your heart to the Lord, always giving thanks to God the Father for everything, in the name of our Lord Jesus Christ. (Eph. 5:18-20) Let the word of Christ dwell in you richly, teaching and admonishing one another in all wisdom, singing psalms and hymns and spiritual songs, with thankfulness in your hearts to God. And whatever you do, in word or deed, do everything in the name of the Lord Jesus, giving thanks to God the Father through him. (Col. 3:16-17) d) Singing as praise, prayer and proclamation e) The corporate potential of music 2. When music and singing work best a) Music is the servant, not master, of the Word b) Words: true, intelligible and creatively expressed c) Music: appropriate, enjoyable, memorable and singable d) Creative employment in the different dimensions e) Competent and sensitive accompaniment f) Musicians: Humble and dedicated servants 3. The character of a church musician a) The foundational importance of a godly character Character is what you are in the dark. (D. L. Moody) God's call to be holy, as he is holy, is a general summons to live by his revealed precepts and prohibitions, as embodying the loves and hates which make up his character and which his ways with us will always express; Christ's call to follow his example is a specific summons to unlimited self-humbling, and giving of ourselves without restraint, in order to relieve others' needs and make them great, which is what true love is all about. (J.I. Packer) Rob Smith, 2014

5 Music that Glorifies God and Builds the Church 3 b) Integrity (Psalm 101; 2 Tim. 2:22-26) before God before others c) Humility (Isa. 66:2; Eph. 4:1-3) in service in submission d) Love (1 John 4:19-21; 1 Pet. 1:22-23) God and his word others e) Perseverance (2 Tim. 4:5-8; Heb. 12:1-3) in faith/faithfulness in ministry f) Maturity (Eph. 4:11-13; James 1:2-4) in coping with limitations in handling criticism g) Discernment about what really matters about when and how to raise issues h) Prayerfulness (Phil. 4:6-7; James 4:1-3) in private in ministry 4. Handling criticism maturely a) Why is criticism inevitable? Because we won t please all the people all the time Because we are always learning and often make mistakes Because people can be ungracious and unreasonable Rob Smith, 2014

6 Music that Glorifies God and Builds the Church 4 b) Why is criticism often helpful? Because it helps us learn what we need to learn Because it helps to know how to serve people better Because it is (usually) a sign that people care and are committed c) Four types of criticism Ungracious and unhelpful Ungracious but helpful Gracious and helpful Gracious but unhelpful d) Different ways of responding to criticism Defensiveness and denial Anger and counter-criticism Acquiescence and despair Gratitude and critical reflection Prayer and seeking counsel Humility and determination Conclusion Why all this matters - The importance of getting church music right - The importance of leading church music well Good hymns are an immense blessing to the Church of Christ. I believe the last day alone will show the world the real amount of good they have done. They suit all, both rich and poor. There is an elevating, stirring, soothing, spiritualizing, effect about a thoroughly good hymn, which nothing else can produce. It sticks in men's memories when texts are forgotten. It trains men for heaven, where praise is one of the principal occupations. Preaching and praying shall one day cease for ever; but praise shall never die. The makers of good ballads are said to sway national opinion. The writers of good hymns, in like manner, are those who leave the deepest marks on the face of the church. (J.C. Ryle, Toplady and his Ministry in Christian Leaders of the 18 th Century) Rob Smith, 2014

7 Leading Church Music: The Agony and the Ecstasy Guiding and Developing Your Music Ministry Team Introduction Church Music Ministry not for the faint hearted 1. Choosing songs wisely a) Who should choose the songs? There is no right person/group or perfect process People who understand the purposes of singing in church People who understand the congregation and musicians well People who know the resources that are available People who can pick a good congregational song b) What makes for a good congregational song? Words truthful, intelligible and creative Music singable, memorable and appropriate c) Different kinds of songs Many and varied themes and passages Directed to God (e.g., prayers, praises, confessions) Directed to others (e.g., proclamations, exhortations, encouragements) Forms of expression: I versus We Mood, style & tempo d) Using songs well Prayerfulness Thoughtfulness Variety Creativity Freedom Integration Rob Smith, 2014

8 Leading Church Music: The Agony and the Ecstasy 2 2. Leading songs skillfully a) The role of the song leader How important are song leaders? Ministering to the congregation Managing the congregation Leading by serving/serving by leading b) Who should be a song leader? The need for mature and discerning song leaders The need for humble and dedicated song leaders Do song leaders have to be good singers? The importance of skilful service c) Thoughts on how to lead songs Introducing songs Starting songs How dominant should song leaders be? What about singing harmonies? Leading from an instrument d) Teaching Songs Reinforcing the song The importance of new songs Working out your congregation s capacity Tailoring teaching according to the song s complexity 3. Other issues to consider a) Resources and copyright Does your church have a music budget? CCLI licenses and song select What are your church s music resources? Rob Smith, 2014

9 Leading Church Music: The Agony and the Ecstasy 3 b) The value of different types of music Participatory (or congregational) Performance (or special music) Instrumental (or background) c) Music before and after the service The value of setting a helpful atmosphere A question of volume, type and mood Options CDs, soloist, band, etc d) Recruiting new members Approaching and announcing Auditioning and selecting Training and monitoring 4. Rehearsing successfully a) The need to prepare What to do ahead of time b) When to rehearse? Pros and cons of different options c) Making good use of the time Prioritising the needs and goals d) The importance of fellowship Praying/relating/relaxing together 5. Doing church effectively a) Come ready to fire b) Come with a desire to glorify God The first commandment c) Come with a determination to serve others Prepare, practice and pray beforehand Rob Smith, 2014

10 Leading Church Music: The Agony and the Ecstasy 4 The second commandment Priority and commitment d) Come early, stay late and stay calm Conclusion In what areas are we doing well? In what areas do we need to improve? Directions for Singing (Taken from John s Wesley s preface to Sacred Melody, 1761) I. Learn these tunes before you learn any others; afterwards learn as many as you please. II. Sing them exactly as they are printed here, without altering or mending them at all; and if you have learned to sing them otherwise, unlearn it as soon as you can. III. Sing all. See that you join with the congregation as frequently as you can. Let not a slight degree of weakness or weariness hinder you. If it is a cross to you, take it up, and you will find it a blessing. IV. Sing lustily and with good courage. Beware of singing as if you were half dead, or half asleep; but lift up your voice with strength. Be no more afraid of your voice now, nor more ashamed of its being heard, than when you sung the songs of Satan. V. Sing modestly. Do not bawl, so as to be heard above or distinct from the rest of the congregation, that you may not destroy the harmony; but strive to unite your voices together, so as to make one clear melodious sound. VI. Sing in time. Whatever time is sung be sure to keep with it. Do not run before nor stay behind it; but attend close to the leading voices, and move therewith as exactly as you can; and take care not to sing too slow. This drawling way naturally steals on all who are lazy; and it is high time to drive it out from us, and sing all our tunes just as quick as we did at first. VII. Above all sing spiritually. Have an eye to God in every word you sing. Aim at pleasing him more than yourself, or any other creature. In order to do this attend strictly to the sense of what you sing, and see that your heart is not carried away with the sound, but offered to God continually; so shall your singing be such as the Lord will approve here, and reward you when he cometh in the clouds of heaven. Rob Smith, 2014

11 music workshop notes

12 twist MUSIC MINISTRY CONFERENCE May Brisbane, 10th 2014 Creek Road Presbyterian Church Workshops include: Band Masterclass, Song Leading, Music for Kids, Piano for Church, Music in Small Churches, Guitar, Drums & Bass, Song Writing, Pastors and Church Leaders twistconference.com