I think that we've come a long way.
I think that worship leaders, and specifically young worship leaders, have got a lot going for them.
We have better, quicker access to music resources (downloads, charts, tutorials, etc.,) and in many cases, those same resources are extremely affordable or even free.
We have a much better relationship with the worship industry. (Don't, okay? I know you want to get loud about the 'worship industry' phrase, but don't.) Now, more than ever, record labels seem to be making a concentrated effort to empower those who are gifted in the arts to skillfully serve the church universal.
We've got more opportunities to participate in worship. While everybody likes to talk a ton about the seeker-sensitive vs. emergent, or traditional vs. contemporary, or contemplative vs. celebratory, etc., it also means that there are a lot more "gigs" out there than before.
But I think we're struggling, too. I think in all of this quest for excellence, most of us worship leaders are still leading with some faulty philosophies of worship.
Lately, I've been thinking a lot about "the why." I'm not talking about the reason for worship or the reason I work in a church.
Actually, I'm talking about our tendencies as worship leaders (typically ego-centric, insecure little kids hiding behind guitars, keyboards and microphone stands) to blindly and randomly throw junk into our setlists without asking "why?"
I'll get practical here. My friend Justin Romack is one of the best drummers I know. I love to play with him. He's also my good friend...one of my best friends, in fact. Justin is also a very talented programmer, and the more he gigs, the more he's asked to provide loops, samples and synths for worship.
Personally, I love loops. I love hearing them, and as a musician, I love using them onstage.
But I've noticed that when I use loops in worship, they usually have very little or no effect. In fact, the crowds I play typically don't even act like they're aware that a loop is even going. They don't clap along like they do on all those Passion and United and Integrity albums and they certainly don't mention anything to me after we play like, "Man, that loop was so cool" or "what was that drum thing y'all did?"
You see, I've got to start asking the "why." I've got to start deciding if I'm using loops (or any other musical element) because I dig them as a musician or because that element is going to enhance worship for my crowd.
I'm not saying that loops are bad or that they don't work. I am saying that I'm so quick to throw them in a set without even thinking whether or not my people are going to like it or be blessed by it or if it might aid the overall push of the song.
I'm using loops as one example of course, but I think this "why" issue is something I'm going to have to really spend some time on. It's quite a tightrope we walk as musicians - balancing the desire to be excellent and to stretch ourselves musically against the needs of our specific people. Guys and gals who don't serve in the local church don't have to deal with this. But you and I do.
I'm not slamming worship leaders who travel, because I believe that those folks are serving the church in unique and visible way. But we've got to stop emulating and start pastoring. We've to be willing to play a tune way more boring that we'd like if that's what the song needs. We've got to be comfortable with doing a cover differently than the CD version. We've got to ask ourselves...I've got to ask myself...."Why am I doing this thing at this place?"
For those of you who've worked with loops, do they work? Are they impacting your people? I'd love to hear some success stories about the programming factor in a live worship setting. What other trends are now popping up in worship music that might need a little "why" work?
Monday, November 05, 2007
THE WHY...
Posted by Todd Wright at 10:37 PM
Labels: church, culture, joel gilliam liked the lemonheads, loops, music, worship, worship leading
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16 comments:
I hate to say this. I don't know what a loop is. I am guessing it is a portion of the song repeated for emphasis. However, with that said, I think the question you are asking about how and why you do what you do in worship is the question everyone who sits in a pew and in a Sunday School class, and preaches a sermon, and teaches a lesson and plans a pot luck (I'm sure there is more) needs to ask the same thing.
In this case, Mimi, I'm using the word "loop" to describe a pre-programmed drum track that's not actually being played by the drummer.
You hear this a lot in music, although it's losing it's allure in every other genre except CCM and worship music.
If you ever hear a drum part that sounds filtered or distorted or messed with in some way and its pretty simple and repetitive, you're probably hearing a loop.
Can pastors play loops? I mean if they sound filtered or distorted or messed with in some way and its pretty simple and repetitive?
Oh, pastors play loops, believe me.
(Thanks for not answering the question, by the way, Mr.-I-played-percussion-in-the-largest-worship-band-in-Oklahoma! Share some TCABC wisdom wif us...)
Ok, Ok...
I really don't think they matter. I mean think of the best and most accurately divised live loop. If it's executed that well will anyone even notice it? Besides those people who have their own bands and want to use loops? The times I notice loops in live performance is usually when everyone in the band is looking back at the drummer and he is twisted around frantically beating his laptop... Only to make it completely obvious that they are in fact "using a loop."
That said, to watch a band like Crowder live is truly amazing. There's no hiding the loops, samples, and synths... however it diesn't matter because its like it is expected and yet totally cool.
So there we are back to square one.
Oh and we never played loops in Oklahoma. 100% live baby!
When I first wrote my comment, Rob, I actually wrote "OKLAHOMO."
So not cool, Todd. So not cool.
If the song needs extra percussion to help place the lyrics, and there's not a percussionist, loop away, baby!
If it's a particular sound or dynamic needed to say, start the song off on a lower level or something, well, half the time at least a good drummer can do that himself.
If it's an attempt to sound trendy, may it go down to the Pit and rot.
Most of my practice day involves working towards being able to do all that stuff myself.
Thanks for the props, Todd.
(As I typed this, Johnny commented....and I agree with him on every point.)
I want to start by saying, I don't know how I feel about this. I have gone back and forth because I enjoy learning how to create better loops. I enjoy playing drums with a loop...I think it has the potential to make something sound very cool.
Lately, the guys who are leading at my church have been interested in more loops. I create loops that are hard-panned (left channel is loop and gets sent to the house...right channel is click and gets sent to in-ears). The loops I build, typically, go along with what I am playing. IDEALLY, I would like our percussionist to emulate what the loops are doing, but we aren't there yet. Last week, we ran a loop for Tomlin's "Unchanging". It was mostly high-end clicks and shakers with a very simple mid-range beat. I played alongside the loop for a good majority of the song. I don't think our people noticed, but...
The word I keep tossing around in my head is "transparency". Are loops transparent in the mix? If ran correctly, in most cases, yes. If you have a technical situation, than usually no. (If you are prepared enough, you should know how to recover from that. Technology is not flawless, so you shouldn't ever depend on a loop to make or break a song.)
But, is an electric guitar lead transparent? Same response, when executed correctly - yes. When the guitarist' tone is off, pedals act up, etc...they are not transparent. Then, do we cut leads out? What about BGV's?
I am not saying yes or no to either of these examples because, again, I don't know where I stand. I may be off-base, but this has ben what I have been thinking tis morning.
Another thing, along with what Johnny said...loops aren't always practical. So, drummers need to be practicing to make these sounds and dynamic shifts "acoustically", if you will. Nothing catches my ear more than a drummer and/or percussionist playing parts that emulate loops (without getting too over the top).
I wish BG Vocalists would ask the question "why" more often...
I like Romack's comments on transparency -- most people don't know what a loop is, but they sure know when one messes up.
Agreeing with what Robert and Romack have said....I don't feel like the people have to notice it for it to work or be effective in a song. A loop is supposed to fit smoothly into the song, make it flow, etc. So it shouldn't necessarily be something that's going to stick out so much that people are going to realize what's going on. Especially to non-musicians in the congregation (which is a large majority in most cases), they aren't going to notice the not-so-obvious details.
And even if you do use it because you dig it, and like the sound personally...if it's not subtracting from the song or making it a less meaningful song or makes the people not get something from the worship experience or whatever else....I don't see a problem with doing something that happens to be your personal taste and preference, ya know.
And I think Joel Osteen plays loops...
How is an element of a worship song supposed to work or be effective if no one notices it?
Another great thing about loops is that they can hold down the fort and allow the drumset player to stray from the same old worn out rhythms. Think of Peter Gabriel's Secret World tour.
Oh, great, Johnny's referencing Peter Gabriel.
Listen, Johnny, cool kids don't listen to Peter Gabriel.
Cool is the last thing I want to be!
If someone notices a single element of the song, instead of just absorbing the song as a whole, it could cause a person to loose their focus on worshipping. The real importance of a worship song is supposed to be the lyrics, right? You wouldn't want someone to all of sudden notice this thing in the middle of the song that makes them not pay attention to the lyrics as much, would you?
So, that's why I meant by something that isn't going to jump out and terribly noticable. You still love me Todd?
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