Living the Life of a Pianist

Some days are tough as a musician. It's not that we don't love our work and the joy of making music. It has nothing to do with the hours of practice or the time spent explaining the same concept to a student. There are just days that a "traditional" job with the stability it provides is enticing.....and I find myself dreaming of how life could be very different. The dream quickly turns into a nightmare as I think of clocking hours at a desk job, completing the same mundane task over and over.

Like many musicians, I am continuing to search for the ever elusive full-time position in the field. That means that I freelance in order to make a living. What does that look like for me? My mornings and evenings (on alternating days) are spent teaching music appreciation courses at a local community college. I love introducing students to music that they have never explored before; I flinch at some of the administrative duties and sometimes frustrating colleagues, but the joy certainly outweighs the negative aspects of the job.

I get to feed the collaborative artist inside by driving to Union University in Jackson, Tennessee a couple of times each week to work there as one of their staff pianists. The students are great; the faculty are welcoming and fun. The 85-mile drive can be taxing, but it's a price I'm willing to pay to work as a professional musician. The time at Union has cut down on the amount of private collaborations I have been able to take on....and I miss making music with other professionals and sharing it with the public. Hopefully, I'll find myself in a situation in the near future where I'm not doing quite as much travel and can seek out more chamber opportunities.

The gift of music in my life has been a blessing from God for which I am extremely thankful. As an act of thanksgiving, I also serve a local church. (It's also a source of income, but I try to focus on the worship rather than the work.  I don't always succeed, though.) I wear many hats at the church. In addition to directing the music ministry efforts, I coordinate the teaching of children, have my hands in teen ministry, and provide some administrative support. It's nice to have a non-musical aspect to my weekly schedule (I especially enjoy working with the kiddos), but it can be overwhelming at times. I find it especially hard to switch approaches as I work with volunteers in the church. Students and professional colleagues are a bit more understanding (and appreciative) of clear, honest communication; volunteers require a more gentle approach. After spending years working to overcome my natural tendency to sugar-coat my musical opinions, I'm sometimes my own worst enemy in effective communication with volunteers.

Lastly, I maintain a very small private studio. I am intentionally keeping it small at the moment for a few reasons. Firstly, I simply don't have much more time. My target audience members are late elementary and middle school/junior high students. My available hours don't match theirs. Secondly, I don't have a convenient space for teaching. This is the larger issue at the moment. I share a home with my parents in a small community. My piano is located in the center of the house in a guest bedroom. I don't like teaching students in a bedroom (for obvious reasons) and I don't want to impose upon the schedules of my parents by having students traipse through the house during their primary rest times. I enjoy teaching piano lessons and think I'm good at it; when I find myself in the new situation that I alluded to above, I fully intend to market my teaching in a new city and build a solid studio.

It may look a little nontraditional to you. It is nontraditional. What you may be missing is that it is fulfilling, filled with joy, constant adventure, and lots of fun. Like every other career, there are times where I'm frustrated and overwhelmed. That doesn't mean I'm looking for a career change though; it simply means I'm having a tough day. I'll continue looking for a full-time job in the music field, but until I find it, I'll be content to freelance and pull it together one performance and lesson at a time.

Teaching with a Hymnal

One of my late elementary students is also my niece.  She is showing lots of promise as a vocalist and intends to pursue music as a career. She is passionate about church music and enjoys playing it. So a few weeks ago, I decided to use her as my guinea pig and experiment with using the hymnal in my instruction to students actively involved in the church.

Let's begin by understanding a few things about Sara. Her innate musical abilities surpass her technical skills at the piano. Because the sounds of a traditional method book have not captured her interest, she has resisted practicing. That's when I decided I had nothing to lose with this experiment. Here's how things have progressed so far.

I found that the hymn Jesus Loves Me is in C Major in my congregation's hymnal (The Celebration Hymnal). We began with a simple sight-reading exercise of the soprano line and discussed how the pianist's eyes and ears work in union together to learn a familiar piece of music. Sara enjoyed playing a familiar piece, so I took things a step further and encouraged her to play the soprano and alto lines. This proved to be more challenging, but definitely possible. It was also an opportunity to further discuss thirds in preparation for our first introduction to chords and harmonic progression. Sara found the greatest challenge in overcoming the hand shifts required to play the piece. Since it was a familiar piece, however, she was willing to apply herself and work through the difficulty.

Today's lesson was a wonderful experience for both of us. Sara had put in the time to successfully get through the entire hymn. After her performance, she mentioned that she was still struggling to make things sound smooth -- a perfect segue way into my instruction on the importance of carefully chosen finger patterns. Rather than moving into her method book today (which I admit I use as a crutch since I'm still developing as a teacher), I thought this might be a good time to begin discussing chords. To my great surprise, Sara grasped the concept quickly and discovered the natural relationship between the dominant and tonic. This week, Sara is going to experiment with creating a chord chart for the hymn as well. I'm interested to see what she comes up with and which method she feels more comfortable working with.

I'm not certain how long we'll continue to use a hymnal in our study of music, but for the moment it is proving to be an invaluable tool. Are you using the hymnal or some similar tool in your studio? I'd love to hear the assignments you are using and the results that you're experiencing.

A New Challenge

I start rehearsals for the Christmas cantata this weekend.  While this will not be my first time on the podium, it does represent a new challenge for me as a conductor.  This will be my first attempt at conducting from the piano.

In my previous stints conducting the church choir, I have always used tracks.  It is not that I prefer pre-recorded music to live instruments;  I have simply never had a good experience directing another pianist.  Using a recorded soundtrack is not a possibility this year;  the cantata chosen is thirty years old and no track is available.

I have never had the good fortune to hire a first-rate pianist.  I think that would be an amazing experience that I hope to one day enjoy.  I know how I want passages phrased and executed by the pianist and expect them to conform to the vision of the conductor.  Those pianists I have conducted in the past refused to do so either in an effort to promote their own agenda or to camoflauge their lacking abilities.

In my current situation, most of the amateur pianists in the congregation are personal friends that I treasure.  Rather than placing unnecessary strain on a relationship, I am opting to avoid the situation.  Some question whether I will be able to effectively lead the choir.  I admit that there will be challenges, but I also must admit that it is one of the few aspects about this year's cantata about which I am excited.  I also think that executing my own vision for the accompaniment from the piano in each rehearsal may provide some additional security for the singers.  If nothing else, the experience will give me some thought-provoking material for future blogs!

Rhythm, Rhythm, Rhythm

On Sunday, my elementary bell team played "I Am a Friend of God" in the morning service.  Things were not perfect, but the students enjoyed themselves and we received several compliments from members of the congregation.  After the kids had this successful performance experience, I knew they were ready to work hard to continue to improve.  I decided to begin introducing them to notation.

As a starting point, we began by learning about quarter notes, half notes, and whole notes.  Students clapped, snapped, and tapped out rhythmic patterns written on the board.  We actually had a lot of success and fun.  I especially enjoyed watching adults learning alongside the kids!

To apply the rhythms to playing the bells, I had arranged a simple song using only these three note values.  To overcome the students' issues with note recognition, I attached a card to each bell with its corresponding note.  A problem arose that I didn't expect.

On the card, I notated the pitch with a quarter note.  Students were unable to make the connection that the location of the note on the staff indicated pitch while the shape of the note (i.e. quarter or half) only referred to its duration.

This Sunday, I begin rehearsals for our Christmas musical which will become another arm of the church's music education program.  Here's a synopsis of what I plan to do in the coming classes.  After re-enforcing rhythmic values on Sunday, we will clap several rhythmic drills.  To add to the fun and test students' understanding, different activities will correspond with each rhythmic value.  Students will snap on quarter notes, clap half notes, and pat their knees for whole notes.

On Wednesday, we will introduce melodic notation, beginning with the spaces of the treble clef.  The piece we are learning is in F major; the space notes comprise the majority of notes we will use.  I am brainstorming activities now to drill the skills in class.  The more fun I can make the learning, the more engaged the students will be.  The more engaged they are, the greater their retention and THAT is the ultimate goal.

Music in Children's Ministry

While sitting in the sanctuary of the church this afternoon, I realize that I've not written about training the children in our churches to participate in the musical arts.  We have so little time with the kids each week and we have so many urgent things to teach them that are of eternal significance.  Often, I feel guilty trying to fit in some musical education.

Recently, I came to understand that by training children to read simple rhythms and musical notation, I am actually equipping them to participate in the worship service for years to come.  Traditionally this has been done in the form of a children's choir.  Sadly, that tradition is quickly fading from congregations around the nation.  How are we to teach children the basic elements of music in relation to the church service?

One method that I am currently using is hand bells.  I'm not talking about a huge system that costs a ton of money....even though I do hope to get to that point eventually.  I am using bells produced by Kidsplay at a fairly economical cost.  (As I recall, each 8 note set cost less than $40. Extensions and chromatic add-on kits are available as well to get you out of the key of C major.)  Here's how I'm using the bells.

I have taken a fairly simple song with which the children are familiar and written it out in notation.  Students are given a picture of the note they are looking for and matching the picture on their bell with the notes on the music.  Although I have not yet introduced rhythmic notation, the kids are learning to read from top to bottom, left to right.

Because I need to get this song ready for performance very quickly, I am modifying my approach tonight.  The children have lyric sheets that have dots over the words where they are to play.  It will not teach them more about music, but I am giving them the fun of making music together and allowing them to experience their first performance as an ensemble.  I'll let you know how it goes!

What are you doing in your local congregation to teach your children about music?  I'm always looking for fresh ideas, so please share in the comment section below.

Music and Worship - Part III

I am still thrilling from the beautiful worship time that I participated in on Sunday morning in my local fellowship.  It is so thrilling to know that our praise has reached Heaven and that God has taken pleasure in our worship and honors us with His presence in such a special way.

In the final installment in this series on music and worship, I want to focus on the idea that music can often precede great victory.  Clearly music is often our response to victories won as songs of celebration and rejoicing fill our mouths.  What I have found in my own life is that as I worship in the midst of my struggles is when I prepare myself to receive the overcoming deliverance God desires to give.

This revelation first came to me many years ago as I studied the story of Jehoshaphat found in II Chronicles 20.  The Moabites and Ammonites were coming against the people of God.  Jehoshaphat and his army did not know what they were going to do.  After receiving direction from the Lord, the King appointed singers to march in advance of Israel's army.  They were to "sing to the Lord and to praise Him for the splendor of His holiness as they went out at the head of the army."  (II Chronicles 20:21)  As the worshippers began to sing, God began to fight on their behalf!  Notice the description the writer provides of the victory:  "When the men of Judah came to the place that overlooks the desert and looked toward the vast army, they saw only dead bodies lying on the ground; no one had escaped."  (II Chronicles 20:24)  That's what I call TOTAL victory!

I think the implications are clear.  When we worship and place God in His rightful position in our lives, we allow Him to move in our circumstances and act on our behalf!  Israel could have gone forward to face the battle on their own, but victory would have been doubtful.  Rather, they offered their praise and God came on the scene.  Isn't it comforting to realize that things and people are transformed in the presence of a Holy God? 

Need some things to change?  Invite God to come on the scene by praising Him for who He is!  After all, "He inhabits the praise" of His people (Psalm 22:3).

Music and Worship - Part II

Last week, I began writing a series of posts focusing on the role music plays in the spiritual life of the believer.  We began by looking at music's ability to calm the human spirit.  Let's continue this week by looking at what causes the calming influence:  music connects man with the Divine.

Throughout history, music has played an integral role in the worship practices of all cultures and religions.  In Daniel 3, we read that the Babylonians used musical instruments to signal the beginning of worship to Nebuchadnezzar's statue.  Ancient hieroglyphics suggest that music played a vital role in Egyptian religious rites honoring their many gods.  In Greece, a roofed concert hall, the Odeion, was built on the slope of the sacred acropolis site.

While these cultures all agreed upon the importance of music in connecting man to the Divine, we will now focus exclusively on music connecting the Christian to God.  The process I am describing is one that many believers study throughout their lives.  What a worthy pursuit -- studying how to worship God effectively through music.  I pray that I will be a lifelong student of His worship!  Instruments can be used in the worship of God in a very special way, but for the present discussion I want to focus on singing since it is a form of music making that is available to all people.

Take a look through the book of Psalms and you will repeatedly encounter the phrase "Sing to the Lord!"  While there are instructions to "play skillfully" (see Psalm 33:3), we are also told to "Make a joyful noise unto God" (Psalm 66:1).  That leaves us without excuse and essentially tells us that regardless of our skill level -- or the quality of our voice -- we are to SING!  Take a look with me at a few of the things singing does for our spirit.

Psalm 66:2 instructs us to "Sing the glory of His name; make His praise glorious!"  Let me be abundantly clear here;  singing is NOT the only act of worship in which we can participate.  However, I DO think it is held in high esteem by the Heavenly Father.  Think about it...angels sang their celebratory praise song at the announcement of Christ's birth and they continue to sing praises around Heaven's throne!  We as believers join our voices to the Heavenly chorus as we sing praises to the One who alone is worthy of our highest praise!

The New Testament provides some additional insight into the role of singing.  While Ephesians 5:19 shares the evangelistic power of music, I have been drawn to I Corinthians 14:15 recently.  In this verse, the Apostle Paul writes, ". . .I will sing with my spirit, but I will also sing with my mind."  In the context of the chapter, Paul is speaking about the orderly use of the gift of tongues in the church.   I think we can examine this single phrase out of context and discover a priceless gem of truth.  Singing is identified as both a spiritual act and a mental act.  It is possible to go through the physical motions of singing without engaging the spirit man;  the opposite, however, is not true.  Singing becomes an act of worship when our mind and spirit come in agreement and recognition of His absolute Lordship.  When we finally reach this point, we are fully submitted to His will, enabling Him to transform us as He wills.  It is then that we begin to experience the final role of music in the life of the believer -- that it often precedes major victories!

Understanding Classical Music – The Mass

In most survey courses of Western music, the earliest music studied is Gregorian Chant. These single-voiced compositions were the official music of the Roman Catholic Church during the Middle Ages and were grouped according to the season of the year that they would be sung. Chants were the basic elements of the musical portion of the mass – the church service.
When discussing the elements of the mass, the chants fall into one of two categories: the Mass Ordinary and the Mass Proper. The Mass Ordinary were those chants that consistently appeared daily as part of the mass, regardless of the church holiday that was being celebrated. Five chants made up the Mass Ordinary: Kyrie ("God have mercy"); Agnus Dei ("Lamb of God who takes away the sin of the world"); Sanctus ("Holy, Holy, Holy"); Gloria ("Glory to God in the highest"); and Credo ("Apostle's Creed"). Other chants that appeared in the mass varied daily and were determined by the Church calendar. These daily changing portions of the mass comprised the Mass Proper.
It was Guillaume de Machaut who first raised the standard of the Mass as a musical form. Machaut's Notre Dame Mass was the first polyphonic setting of the Mass Ordinary. In other words, Machaut composed music for all five sections of the Mass Ordinary to be sung by multiple voices of equal importance (polyphony). This first significant Mass setting, like most of the others composed during the Medieval and Renaissance periods, were written for a cappella voices.
What began with Machaut became a long standing tradition in Classical music. Many of the greatest composers of Western Music such as Palestrina, Bach, Mozart, Schubert, and Brahms would add their compositions to the opus of Mass settings. Over the centuries, the Mass became more complex, growing from its relatively simple a cappella beginnings to include the full power and grandeur of the symphony orchestra accompanying massive choirs.

Music and Worship – Part I

Music communicates. This fact is rarely questioned. Music speaks to the heart, emotion, and intellect of mankind in a way that words alone cannot parallel. I think the power of music is most greatly seen in the realm of the spiritual. I feel obliged to pause briefly and clearly state for all my readers that this post will be the first in a series that will explore music from the perspective of a music minister and a Christian. If you are looking for theory or analysis of Classical music, come back tomorrow when I return to that topic. I ask you to bear with me for the next few Tuesdays as I devote some attention to the power of music and its role in our spiritual lives.
Let me share with you briefly what gave birth to this line of thought. Earlier today, I shared a CD recording of some hymn arrangements that I made a few years ago (Great is Thy Faithfulness: Hymns for the Heart of Worship c. 2005). I played well on the album – if I do say so – but more importantly, I felt as though that recording captured a very special time of worship in my personal life. After hearing the recording, the friend commented that he was greatly moved. He stated that the music reminded him of something that he had lost [my interpretation of his words] – something he had experienced years earlier in a small group gathering of Christian believers. As I reflected on his comments, I began to think about my personal experiences with music as they related to my walk of faith. I came to immediately recognize three facts about music's role in spiritual matters. There may be more that I may explore later, but for the next three weeks, I want to examine one of them each Tuesday. Consider these statements:

• Music calms the spirit of man.
• Music connects man with the Divine.
• Music often precedes and/or accompanies great victories.

As I think of music's calming effects, my mind immediately races to the story of David playing his harp for a troubled King Saul. The Old Testament book of I Samuel tells that Saul was plagued by an evil spirit (I Samuel 16:14), but that the spirit would leave Saul when David would play skillfully upon his instrument.
Many find that music has a calming, soothing influence upon their minds. They identify music as a means that leads to relaxation. I think that there was more going on than just the plucking of harp strings calming the King's nerves. Rather, I hold that the young David not only played skillfully in the King's presence, but also with the anointing of God's Spirit. In my personal experience, not every skilled musician can speak to the deepest part of my soul with their music. I appreciate their talent and applaud their effort, but there is something lacking. However, when I hear a performance that is offered as a sacrifice of worship – regardless of the style of music being played – I often find myself summoned into the presence of the Most High God. That is where I begin to experience restoration, forgiveness, healing, and peace that I cannot find anywhere else. Do I think the music itself possesses the power? No, but I do believe it is an invaluable tool to take us to the Source of all power. That role of music will be examined next week.
Do I think my friend entered the presence of God while listening to my music today? I don't know for sure, but I suspect that he might have – even if he didn't totally recognize it as such. What I do know is that music can quiet our mind and spirit in such a way that we are finally able to clearly hear the voice of God speaking into our lives.
Tonight, my prayer for you is that in the midst of your personal chaos, music will transport you into the presence of a Holy God and that you will hear Him singing over you His perfect song of love.

Reflections on Recording

Last week, I spent an afternoon at the piano in the sanctuary of my church to record two CDs. I have been through the process a few years ago, but this time it involved a different setting and a different production team. Here are a few things that I have learned about myself, recording, and music.

First, I am a huge critic of myself. Regardless of whether we are talking about my writing, playing, relationships, or leadership skills, I can always see where things could be improved drastically. On one hand, this is a great asset because I am constantly pushing myself to new levels of excellence in everything I do. On the other hand, my perfectionism can be crippling -- never allowing me to accept that anything is good enough. I cannot count the tasks that I have left undone because I couldn't execute them in the manner in which I wanted.

The recording session reminded me of the importance of practice. For various reasons, the repertoire selection process for these CDs was delayed a bit longer than I would have liked. This resulted in learning some of the passages rather quickly and figuring out how to navigate them musically. While the performances might be acceptable in a public performance, it drives me CRAZY to hear the errors----er, shortcuts---repeatedly on the recording.

I'm not going to continue blogging an evaluation of my playing right now. I have to do some more critical listening to the CDs and don't want to become overcritical of myself at this juncture. Once the entire process is complete, I will probably write a bit more about it.

Selecting the Christmas Musical

It's July, so that means it's time to begin the search for this year's Christmas musical for the church job. It is insanely early to begin thinking about Frosty and the gang, but I have learned from experience that a selection needs to be made by the end of August in order to keep stress levels to a minimum. With the selections that I have seen in the catalogs this year, I am not expecting great things and anticipate that the selection process will be more difficult than in years past.

What makes a good Christmas musical? The answer to that question can be as varied as the noses on all the music directors in the world! Since this is MY blog, I'll give you my ideas of what I'm looking for. Some of these will hopefully be common to most of us; the other ideas will at least get you thinking. So, in no particular order, here are my considerations for finding the perfect Christmas musical for kids.

1. Theologically sound. I do believe this is the most important issue in selecting any type of music for your children's program. While most of the musicals we will review appear to be rather basic in their presentation of Biblical truths, a thoughtful examination of the script and lyrics will normally reveal some theological stances in the background. It is important to make sure that these positions are in agreement with the statement of beliefs of your local congregation. For instance, if a musical builds on the assumption of eternal security and your congregation does not take this stance on salvation, this is probably not the selection for you. I make it a practice to have a team of teachers review the finalists in the selection process to make sure everything is sound before I make a final choice.

2. Casting requirements. This seems like an obvious consideration, but I cannot tell you the number of times that I have heard from music directors that they started rehearsals for a program only to find out that they didn't have enough participants to bring it to stage. If you have worked with the kids for any length of time, you have a good idea of whether a kid will "definitely" participate or whether you should classify him as a "maybe" or a "no way." I generally don't pre-cast my shows (selecting people for roles before all the commitments are made), but I do come up with a possible -- and realistic -- cast list based upon who participated in my last show. This doesn't mean that you won't run into trouble with casting (a fact that was obvious with the last musical I did), but it can help to rule out some shows simply on the basis that you can't cast it. I don't want to waste my time looking at a musical for 30 kids when I can only be assured of a cast of 15.

3. Musically interesting. The music needs to be interesting to me as well as to the children. If I'm bored with the show -- even on the first hearing -- I'll have problems during the creative process and the final production will be flat and unexciting. Similarly, if the kids don't find the music energizing, you are going to have a difficult time getting them to stick with you for the long haul of preparing the production.

4. Unit Set. A musical that changes scenes is a logistical nightmare unless you have a committed crew of stage hands. Even if you have the bodies who are willing to do this job, but have no experience with it, I still recommend moving to the next show! You will have enough on your hands preparing the children during production week; you don't want the added stress of trying to train stage hands on the intricate choreography of making scene transitions work smoothly. Look for musicals that use a single setting for the entire story. The best scenarios are those that are in "generic" spaces -- a choir room, gym, classroom -- since your stage can easily be decorated to suggest these places without having to bring in a lot of props.

There is an exception to the preference for unit sets. If a scene change can be suggested by bringing in a couple of small set pieces and changes to the lighting, I would be willing to do it. When in doubt, let your motto for set design always be K.I.S.S. (Keep it simple, Stupid!) In the end, you'll be glad that you did!

5. Applicable to modern society. While there are some wonderful musicals from the past that I greatly enjoyed as a child, many of them simply will not translate to today's kids. The music sounds dated, the topics are archaic, and they don't address issues in a kid's life. While we are looking to produce good theater, as a church director our first priority is (or at least SHOULD be) ministry to kids. If the story and the message aren't going to speak to kids, then it's not a show on which we need to invest our ministry time; leave that production for the Community Youth Theater down the road.

6. FUN! Even though this is the last thing on my list, it's importance is very high on the list. If the show is not FUN, kids aren't going to get excited about it and you'll spend the majority of your time trying to pump up the kids rather than working on making the show the best it can be.

There are some ways that you can increase the fun level for any show. Movement is an obvious choice. Start small and simple, but be ready to let it all out. My kids LOVE to dance while singing.....and it keeps the show's energy HIGH the whole way through. Don't forget about bringing in props or costumes that will make the kids laugh as well. The most important key to a FUN show, however, is YOU! Your advance preparation is crucial so you are confident and relaxed in the rehearsal process, allowing you to smile and play with the kids when things are getting tough for them.

This list is not intended to be all-inclusive. The fact of the matter is that my requirements will change depending upon the congregation with which I'm working. As you prayerfully review the options, you'll find the show that is right for you.

*If you are looking for a Christmas show, make sure you don't miss this budget helper! Lifeway Stores have an offer of 5 preview paks for $25. You'll want to take a look at the choral catalog in the store and find the full page ad before making your selections. Sadly, the offer is limited to titles that are on the shelves and doesn't apply to all the paks. My experience yesterday was that the associates were unaware of the offer, so take the choral catalog with you to the register; once you show it to them, they are happy to help.

Let the holidays begin!

Kennith

Christmas in July

Silent Night.....Joy to the World......Carol of the Bells.....These are just a few of the pieces that are on my practice list at the moment. I find it so ironic that I'm playing Winter Wonderland in shorts with the air conditioning set at a cool 72. Why you may ask? Next week, I head into the recording studio to begin work on a Christmas CD.

Honestly, since I only play these arrangements for such a short period of time each year, I tend to forget that there are actually some tricky passages in the arrangements. It's surprisingly nice to have the luxury to actually work out some of the fingerings and rhythms that I just glossed over last Christmas.

As though that wasn't enough, it's also time to begin listening to Christmas musicals for the church and begin making selections about what we'll be doing this year. Rehearsals will start in October for the children, so I need to get a selection made this month in order to have two months of planning with my production team prior to rehearsals. I'm beginning to wonder how many different arrangements of Away in a Manger there can be for children's choir; sadly, I'm not running into very many of them that I actually like!

I'm ready to put up the tree and hang the garland as all this Christmas music is getting me in the mood for the holiday season. If only the summer weather would cooperate! Anyone want to join me for some egg nog and Christmas cookies?

Reflections on Music Camp 2010

I survived! Music Camp is over and I'm back to the regular routine of writing. As I begin my recovery from the past 14 days, my thoughts are revisiting the experience and I am reminded of a few things about children and their abilities. While these concepts are true about music in the church, I believe the application reaches into our private studios and music classrooms.

• Children are sponges! Kids absorb new material quickly and thoroughly. This fact becomes painfully obvious when it becomes necessary to reteach due to a misconception or poor planning. Once a child "learns" material, it is often extremely difficult to unlearn.
• Instruct in multiple learning styles for maximum retention! As a church musician, my primary goal for Music Camp was to instill Biblical truths into the hearts of children while teaching them some introductory musical concepts. The primary method of instruction was singing. By adding visual cues, the learning was further enhanced. Movement activated the kinesthetic learning style while including drama appealed to the creative side of the child. By gradually adding new dimensions of instruction, the child was repeatedly instructed in the basic truth.
• Repetition is key! Although adults often become frustrated with repeated presentations of material, children seem to thrive on it! While the repeated lesson may be identical, the child's interaction with the material is not. Each return to familiar material allows the child to explore the concept at a higher intellectual level. This, in turn, allows for further discovery and questioning.
• Children can achieve! Let this be a constant reminder to you. Children can perform at high levels of excellence, so set the bar high, give them the necessary tools and support to succeed, and watch them soar!

Now, it's time to crawl back into my cave and recover a bit more; it's almost time to start planning for my next musical adventure with the children of my congregation.

Where Did All The Time Go?

Late last month, Chris Foley asked his readers at The Collaborative Pianist Blog which month was the busiest of the year for them. As I thought through my year, I answered that April was the most intense month for me. That time normally involves Easter activities and lots of recitals to play. Don't forget about preparations for studio recitals and wrapping things up for the end of the spring semester.

Now I am beginning to think that I was terribly mistaken. My life does not feel as though it belongs to me during the month of June. A few private lessons are continuing through the summer and I am teaching class daily at the college. A chamber recital is on the agenda for early July, so there are lots of notes to learn and rehearsals to attend. Somehow, my responsibilities at the church have snuck up on me. Next Monday, I will begin directing a two-week music camp for students ages 5-12 that will culminate in two performances of a children's musical. This annual event is always a lot of fun, but I am always very thankful when it comes to an end so I can finally get some rest. I have to remember that the weekend in the middle of it all (June 19-20) will be filled with Father's Day activities. I'm getting tired just thinking about it all!

Practice time is a prized commodity right now. What am I saying? Sitting still for a few minutes to catch my breath is priceless! For the next few weeks, I doubt you hear much from me here at Collaborations, but be assured I have not forgotten about you and will be back to a regular writing schedule in a couple of weeks.

Reworking Hymn Settings

The use of traditional hymns in conjunction with praise and worship songs is the mark of a blended worship service. The lyrics of the familiar hymns often add great depth and richness to the music's theology. Musically, the two styles often find themselves at opposite ends of the spectrum, never to meld together into an unified whole.

What is the pianist to do? One option is to completely rearrange the hymn setting, making a new composition that barely resembles the original in order to make it fit the more contemporary style of the service. Often this results in modified melodies and rhythms, creating confusion for the singers. Additionally, these significant changes eliminate the familiarity of the hymn and the sense of tradition for which the blended service is searching.

Many churches have found that only two options are possible. Some have separated their worship time in half, using only traditional hymn settings in one section followed by contemporary praise music in the other. Other congregations find the choice of music so divisive that the only way the issue can be resolved is by conducting two separate services, distinguished by the style of music used.

I find both of these options unacceptable. As a young person, I draw strength and increased faith from the heritage expressed in the great hymns of the church. The songs of today are giving new voice to these same concepts in a manner that speaks to our modern society. How sad that we sometimes feel as though we must choose one mode of worship over the other. The Psalmist recognized the importance of looking to the past when he stated "I was young and now I am old, yet I have never seen the righteous forsaken or their children begging bread" (Psalm 37:25). Earlier in the Psalms, David also instructs the people to "Sing to Him a new song; play skillfully, and shout for joy. For the Word of the Lord is right and true; He is faithful in all He does" (Psalm 33:3-4). By examining the worship of ancient Israel (especially in the Davidic era), the traditional Jewish music existed alongside the new songs of praise that flowed from the hearts of worshippers. Oh, that our times of worship would be unified expressions of adoration to God rather than statements of our musical preferences!

As a church pianist, it is our responsibility to work with the minister of music in order to explore ways that the hymn settings can be updated (when necessary) in order to allow them to fit seamlessly into the blended worship service. Here are two basic techniques to get you thinking - both having positive and negative aspects.

Option one is to alter the rhythmic structure of the hymn. This can be as simple as altering the speed of the song. Many times, I have found that singing a familiar hymn slower than normal forces our minds to focus on the lyrics and helps us discover truths expressed there that we have missed for years. Alternately, moving a slower hymn along a bit can have a similar effect; "Blessed Assurance" can be an anthem of security (sung at a stately tempo) or a personal statement of confidence (at the traditionally slower speed) - it all depends on the tempo.

Altering the rhythmic structure can be a bit more advanced as well. Consider the hymn "At the Cross." The traditional setting is in 4/4; with a little imagination, the hymn can easily be altered to 12/8, creating a lilting beat with only the slightest modification to the vocal line's rhythms.

Altering rhythms will sometimes meet with some opposition from the traditionalists of your congregation; they may say that the new rhythms throw off the hymn's structure. With a little time, the congregation will get used to the new rhythms and will even be able to move effortlessly between the traditional and the "new" version. I encourage you to explore your hymns; often you can change the rhythmic pattern of the accompaniment without altering the vocal lines at all. These can be especially exciting for the musicians and congregation alike. How neat would a jazz setting of "Victory in Jesus" be if included in next Sunday's worship set?

A second approach to reworking hymn settings involves re-harmonizing the hymn itself. Be warned....this will cause your praise team intense frustration unless you write new parts for them and allot ample time to learn the new progressions. While the harmonies work quite nicely, they often do not follow traditional voice leading techniques and do not go where your singers expect. If your congregation mainly sings in unison, however, this is a wonderful option to provide interest without creating too much stress for anyone involved. One of my favorite aspects of this technique is the freedom we have to emphasize certain words of the lyrics by grasping the listener's ear through the use of interesting chords within the progression. This gets easier with practice, but is definitely worth the time invested. Here's how I first began to explore re-harmonization in my personal church work.

For years, I had loved the "Doxology" because of its amazing lyrics as well as its use during my college days at Pepperdine. Nothing could match the beauty of a capella voices singing this hymn of the church....and such powerful lyrics! When I tried to transfer the hymn into my congregation, however, I found that the simple harmonies that were so effective a capella lost their beauty when instruments were added. Rather than tossing out the baby with the bath water, I went to the piano and began to play around with the harmonies. What I ended up with was a contemporary harmonic sound that remained true to the melodic line of the hymn. It has now become the standard setting of the hymn for my congregation and one that we use on a regular basis.

Here is a basic lead sheet for my harmonization of "Doxology." Feel free to use it (or modify it!) as you like.


Doxologoy


Can every hymn be re-harmonized or altered rhythmicly? Probably not. But I think with selective use of these (and other) techniques, our blended worship services can become more interesting and less divided along the lines of musical styles. Above all, remember that our efforts are not only to create something new or to show our skills on our instruments. As David reminds us in Psalm 29:2, our goal is to "Ascribe to the Lord the glory due His name; worship the Lord in the splendor of His holiness."

With a heart of praise!
Kennith

Offertory Success

One of the first tasks that will be given to any church pianist is that of providing a weekly offertory. While some may consider the presentation of a solo one of the easier aspects of the position, I feel that the quality of the weekly offertory is one of the major factors that distinguishes a good church musician from a superb one.

Because of the role music plays in the church service, the offertory must be selected with care. Think about where the solo will occur in the order of worship. Are you following a lively choral anthem that will lead right into the congregational worship? Will the offering follow a generally somber prayer for the needs of the congregants? If you find yourself in a church without a strong liturgical tradition as I do, the positioning of the offertory may be altered weekly. There are few scenarios worse than a grandiose arrangement that follows a quiet time of meditation. Without advance thought and planning, you can sometimes find yourself in an awkward situation.

Additionally, it is important to think about your congregation. An uber-contemporary church may not respond to a classical setting of your favorite hymn. In contrast, the latest praise and worship chorus is probably not the best option for a high liturgical service. Most of us probably find ourselves somewhere in the middle of these two extremes - in what is commonly referred to as a blended service. In these settings, the choices become more difficult and more exciting as well. How often have you tried to find a great arrangement that blends a contemporary chorus with a traditional hymn without giving the impression that one of the pieces is more important or, worse still, more holy? There are a few arrangers today who are doing just these type of settings, but they are few and far between, generally demanding extreme technical facility as well.

More often, I find myself looking for arrangements of hymns that are approached with harmonic and rhythmic freshness. My current congregation is a multi-generational group with eclectic tastes in music. I have quickly accepted the fact that I will never please everyone present with my selections. Because I have so many preferences in my congregation, I get to explore some unusual settings. Some of our favorites are jazz settings of hymns such as Leaning on the Everlasting Arms and a complex harmonic treatment of Great is Thy Faithfulness. I didn't begin using these unusual arrangements immediately though; just as with all other areas of ministry, as the congregation develops trust in you as a music minister (for that is what every church pianist should strive to be), they will also extend that trust to your musical selectivity.

Here are a few closing thoughts on making your weekly offertory a highlight of the weekly service for those that you serve.

• Select pieces weekly in an attitude of prayer. All too often we forget that our solo will be a part of the worship service. We can simply choose to provide pretty background music while the important activity of collecting the congregation's cash is performed. I think the better decision - and the one for which we strive - is to play music that is anointed by the Holy Spirit to aid those who are hearing as they worship in the act of giving.
• Always have a few selections that you can fall back on. We've all been in the situation where the week got too hectic and our preparation time suffered. Perhaps the scheduled soloist became ill at the last minute, making the planned offertory less than desirable. Having a few selections in your back pocket gives you some flexibility whenever the need arises to make a last minute substitution. Use them sparingly though or they will become part of the normal rotation and you'll find yourself in need of some new fall-backs.
• Don't sacrifice beauty for showmanship. Have you ever listened to a church pianist play a solo only to later ask "What WAS that song?" The arpeggios are beautiful and the tricky scale passages are impressive, but if they get in the way of the music's message, we're taking the focus off of the One we are to worship and shining the spotlight directly on ourselves. (Ouch...is anyone else feeling the sting of those toes that were just stepped on?)
• NEVER attempt to play beyond your technical abilities!!! As a musician, I am all for stretching myself and continuously developing my technique. The worship service is not a practice hall, though. Just as bad as shining the spotlight on how beautifully we play is presenting a glaring example of an ill-prepared solo as part of a worship service. I am not in competition with the pianist at the church across the street, so I don't have to attempt to play as beautifully as she does. I just have to bring my musical offering to the Heavenly Father each week as a loving sacrifice that brings Him honor and my worship. When we try out that new arrangement that is just a bit too difficult (or - Heaven forbid - completely beyond our skills) we risk interrupting the flow of the service and distracting the congregation from their worship.
• Always play for the Audience of One. This is the last point on my list because I believe it is the most important one. All that I am as a Christian, a musician, and a person is because of Jesus. It is a wonderful feeling to have an audience respond to beautiful playing with appreciative applause - and, let me add, there is nothing wrong with receiving these accolades! Scripture teaches us to give honor to whom it is due. More than anything though, I want the applause of Heaven that comes as I play for the audience of One - the One who gave His all that I might have life. He is the source of the music and our constant goal should be that our music bring attention only to His grace, mercy, and greatness.

Do I get tired of trying to find a new piece each week? Of course! Like everyone else, I have a core set of arrangements that I rotate through. But the blessing of sharing my gift with God's people outweighs the long rehearsals. Occasionally, God opens doors because of our obedience as well. A few years ago, the congregation provided an opportunity to professionally record some of my favorite arrangements. In July, I will have the chance to sit down in the studio again and record two new CDs - one for Christmas, the other songs of praise and thanks.

Happy playing!

Kennith

Collaborative Pianist in the Making

Just over a year ago, I was awarded the Doctorate of Musical Arts from the University of Memphis in piano performance with an emphasis in collaborative arts. Since that time, my professional life has become one adventure after another - many of which my formal training little prepared me. That is what sparked my plan to write this blog; hopefully I can share some insight into the career of collaborative pianist (as well as its joys and frustrations), raise some questions about music in general, and give my readers cause to smile at some of my personal experiences.

While my formal training prepared me for working in chamber ensembles with other musicians, that has proven to be only one aspect of my musical career. In addition to my performing engagements, I currently maintain a small piano studio in West Memphis, Arkansas and direct the music and children ministries of a congregation in Collierville, Tennessee. As though that is not enough, I am on the faculty of Mid-South Community College in West Memphis and also actively participate in the efforts of the Crittenden Youth Theater and Delta Arts.

With so many hats, I sometimes feel more like a juggler in a three-ring circus rather than an established pianist. The sheer number of responsibilities I face in any given day can quickly become overwhelming. At times, I wonder which ball is going to drop first and what the fallout will be. Do I regret the career choice I have made? Not at all! Despite the occasional stressful situation, the variety of responsibilities keeps life interesting and allows me to be involved in many avenues of my passion for music.

In this blog, I plan to devote one day each week to the varied avenues of my current career. Discussions will vary from church music and ministry to music education and private instruction. Of course, I'll be including thoughts about pieces I am learning or rediscovering as a result of upcoming performances. Will everyone agree with my analysis? Certainly not! If we all agree, we will have little opportunity for discussion. Hopefully, my posts will spark your personal thoughts and be a stimulus for lively discussions among musicians in all areas of the field. Such discussion is one of the most important things (outside of practice!) that challenges members of the musical community to find new levels of excellence in their personal pursuits.

I look forward to getting to know you and hearing your thoughts as we explore our mutual love of music together.