Discussions of Daybreak

Jimmy Webb’s, Tunesmith, is a comprehensive look into the life and realities of a professional songwriting.  Cover to cover, Webb shares the ups and downs of his own career.  Webb’s love for the craft of songwriting pierces through his story.  His frank observations and his call-it-like-I-see-it candor give the book authenticity and put the reader at ease.

In the opening pages, Webb shares pertinent advice into creating a physical and abstract space to encourage writing.  He suggest the writer “draw an imaginary protective circle around ourselves and step inside.”[1] He adds that it is important to establish a place of continuity. “We need to be able to leave a work in progress for hours or days at a time and return to find it completely undisturbed.”[2] Webb asserts that the writer should “think of songwriting as work – to set up specific hours when this work is to be done and tough out the feelings of isolation, even use those feelings as raw material.”[3] Abstractly, he notes that “our office spaces are between our ears.”[4]

Webb sets the goal of the songwriter. “We must accomplish our aims and tell our entire story in a time frame of about three minutes (plus or minus).  Every word, every note must count.”[5] To give the reader insight into how to accomplish this daunting task, Webb weaves the creation of a new song into the book.  The song is titled Problem Child and is first introduced in the form of a letter.  This is perhaps the most valuable aspect of the book for the budding songwriter.

With the introduction of his song idea, Webb is able to walk through the journey a song takes in the writing process.  Starting out, he affirms the importance of a song vision.  “The amateur songwriter’s greatest single failing and one that is immediately obvious to the listener is that the writer does not know exactly where the song is going.”[6] He shares the benefits of finding a good rhyming dictionary and thesaurus.  Webb says it is imperative to create a strong hook.  “When deciding on a title or a hook line for a proposed song, try to include a key word that offers the greatest numbers of rhyming possibilities.”[7] He also explains how writing techniques such as repetitive rhyme, false rhyme, blank verse, metaphor and similes enhance the song lyrics.

The following four chapters delve into the mechanics of songwriting.  Webb diagrams a variety of songs to illustrate song form and function.    When explaining the rhythmic pattern of spoken syllables, he explains, “We expect lyrics to behave in a certain way when combined with music.”[8]

Chapter five encompasses writing sessions one and two for the song, Problem Child.  Webb begins by working on the lyrics saying, “There are a thousand ways to write a lyric…”[9] He uses the rhyming dictionary to find suitable rhymes for the key word child.  After several re-writes, Webb arrives at a “good” chorus that utilizes “interesting language.  “It has taken considerable effort to get this far and perhaps the reader is not used to making so much fuss over one lyric but most successful writers are at least this persnickety and perhaps even more so.”[10]

Chapter six begins with a brief explanation of basic music theory, including diagrams of the scales of the major keys, augmented and diminished intervals, minor scales, skips and variations.  This sets Webb up to teach the reader how to write the melody and chord structures.  “It is a smooth blend of adjacent and “skipping”tones that creates beautiful tunes.”[11]

Webb encourages the reader to be creative when writing chord structures.  “Practice until you can invent and invert any major chord at will.”[12] He adds, “Many different combinations of chord progressions can be devised to fit the very same melody.”[13] Webb continues the in-depth analysis of writing chord structures and progression in chapter seven.  He calls chord structures, “the foundation that lies under the form on any song…”[14]

In Chapter eight, Webb adds a tune to his song Problem Child.  He begins by creating a pattern of chords that “create a mood and tempo”.  This leads to an analysis of how each syllable of the lyrics is stressed and sung.  Webb defines this as the rhythmic profile that will help shape the melody.  He admits that he does not know “why a composer will or should choose one note over another” saying that it is entirely subjective and “seems to originate in the source of my emotions.”  He goes on to note that in a good melody “chosen pitches tend to accent the important words at their highest point.”[15] Webb also includes a list of ten things to keep in mind when writing melody.  The chapter concludes with Webb’s Problem Child written in its final form.

The final three chapters move away from songwriting techniques and into Webb’s personal experiences.  Chapter nine opens with Webb’s thoughts on co-writing.  “You have to be able to absorb the criticism and understand that in the end everything has to please everybody.”[16] Webb reaches outside of his own experiences and includes the perspectives of other songwriters on the act of collaborating.

In the tenth chapter, Webb discusses the difficulty of breaking into the music business.  This chapter dates the book a bit because it was written before the explosion of the internet.  However, it is interesting to read how Webb describes the “Players” in the theater business, jingle business, conventional publisher/songwriter relationship, Nashville’s Music Row, and Los Angeles.  Interspersed throughout his own story, Webb includes interviews with artists from their respective segment of the music business.

In the final chapter Webb discusses a broad scope of the hardships of a songwriter’s life.  He speaks of how the songwriter is paid for his work, including performance and mechanical royalties.  He also touches on copywriting, writer’s block, and the emotional toll songwriting takes on a person.

[2] Ibid., 23.

[3] Ibid., 23.

[4] Ibid., 29.

[5] Ibid., 37.

[6] Ibid., 52.

[7] Ibid., 54.

[8] Ibid., 94.

[9] Ibid., 137.

[10] Ibid., 153.

[11] Ibid., 171.

[12] Ibid., 189.

[13] Ibid., 217.

[14] Ibid., 255.

[15] Ibid., 260.

[16] Ibid., 291.

As the end of Essentials in Songwriting draws near, I find myself wishing for more time.  More time to revisit advice given by the media contributors.  More time to seek feedback on the song I have written.  More time to let all that I have taken in simmer.  One of the most valuable concepts I have learned in this class is that patience improves the end product.

Experienced worship songwriter, Brian Doerksen, and the authors of God Songs (Paul Baloche and Jimmy and Carol Owens) compare songwriting to planting a seed and allowing the plant to grow.  The song vision is the seed.  It is the initial inspiration.  It has to be nurtured, watered and allowed time to develop.  Many times in songwriting, just as in gardening, we want to rush the process.  We want to reap before harvest time.  But, the experts warn not to take the song out of the “greenhouse” before it is ready.

As the re-writing process continued this week, the media was minimal to allow time to focus on the final draft.  The week’s contributor, Doerksen, emphasized the importance of making every word count.  He says we deal with an economy of words.  It is necessary to write with clarity and always check the lyrics against the truth of God’s Word.  He continues by saying that we should not only be students of songwriting, but students of theology.  He eloquently points out that over time music changes, but Truth never goes out of style.

Even though time is almost up for this class,  the wisdom and advice shared by the contributors is timeless.  I plan to apply it to every song I write.

Just as I wiped my brow from submitting the first draft of my song, I began thinking of how I wanted to improve on what I wrote.  The tedious task of re-writing is under way.  Dan Wilt and other seasoned songwriters have been preparing us for this moment throughout the first two weeks of our study.  Admittedly, before I started the class, I never really knew there was such a thing as re-writing.  As I began soaking in the articles, videos and books I wondered what motivates the songwriter to re-write?

Several of the contributors to this week’s media emphasized the truth that once the song had been released to the public, it is done.  There is no do over.  Special care need to be taken to examine and analyze every word and note contained in the song.

Secular songwriter and author, Jimmy Webb (Tunesmith), admits that even after his songs have been recorded, he continues to think of ways that it could be better, but there is no going back.  It is comforting to know that professional songwriters struggle to find the perfect words and notes to express their emotions and thoughts.

Randy McCoy (Songwriting and the Pursuit of God article) compares songwriting with our Christian walk.  It is a process.  The more time and effort we expend in our song the better the results.  The same can be said for the quality time we spend in pursuit of God.

Michael Hanson (The Measure of a Songwriter article) stated that God has given us all a job to do.  God has trusted worship songwriters with job of formulating a way for His children to communicate with Him through music.  That seems overwhelming and daunting.  My first response is “I could never do that as well as REAL songwriters.”  Hanson addresses this insecurity by sharing that he has to fight the tendency to compare himself with writers who have written “hits”.  He goes on to remind us that God has given us influence over our faith family and it is our responsibility to help them connect with God.  Sometimes that involves writing songs to respond to whatever the church is going through.

God has given us a job…and that is all the motivation we need!

I want to reiterate what I said in my post last week.  Songwriting is HARD WORK!  This week I put all of the advice and wisdom from the media into action and wrote the first draft of my song.  Reading and watching videos about songwriting is quite different than actually putting pen to paper and fingers to keys.  It isn’t too much of a stretch to say that sweat and tears were involved (no blood, thankfully).  I believe it was Brian Doerksen that said sometimes one becomes so wrapped up in writing that he forgets to eat.  That sounded a bit extreme to me until I sat at my piano for over two hours straight.  I thought I had been working for about 20 minutes!  And while the process of writing was very intense, it was also unbelievably exciting.

Here are some of the main ideas presented through this week’s media:

Identify a song vision (and stick to it as if your life depends on it!).  For me, this meant weeding out lyrics that did not strongly support the main idea of the song.  I feel certain that more will be cut for the re-write.

Establish a song form.  As my song took shape, I felt it needed a bridge to relieve the tension from the preceding verses and chorus.  The bridge led me to write a second chorus that provided a resolution to the conflict set up earlier in the song.  When I began writing, I had no idea it would evolve like that.

Determine the melody and chord structure.  The goal is to write a melody and the chords that enhance the lyrics and help us remember the song.  I found the section addressing this in Paul Baloche and Jimmy & Carol Owens’ book, God Songs, very helpful.  As I have mentioned before, I am weak in music theory.  God Songs and Tunesmith by Jimmy Webb are proving to be valuable resources for quick and easy reference.

Be open. It is easy to become emotionally attached to a song and resist making changes to it.  Over and over, the professionals conveyed the importance of working to improve on what you write.  Sometimes this involves asking for input from peers and those with more experience.

I can sum up the media presented in the first week of Essentials in Worship Songwriting in one sentence.  Songwriting is HARD work.

Experienced worship songwriters such as Dan Wilt, Brian Doerksen, Brenton Brown and Matt Redman dispels the misconception that song ideas fall into their laps from heaven and immediately a new song is written.  They all testify to the notion that on occasion a song is written quickly, but often the song takes weeks, months and even years to come to fruition.  Redman says in the video, Crafting a Song, that writing songs is like a good cup of English tea.  Sometimes you need to let it brew a little while.  What a great analogy!  In this instant gratification culture, sometimes we miss out on God’s best because we are impatient.

In his book, God Songs, Paul Baloche likens creating a song to “having a little plant growing in your greenhouse.”  He continues to say that not all ideas are worth pursuing, but some blossom and become beautiful flowers. He also warns against taking the song out of the greenhouse too soon.  Andy Park echoes that thought in the article Worship Leading is a Privilege.  He describes a song that he wrote and sang a couple of times, but the chorus didn’t quite work.  It was over a year later before the song was finalized.

The contributors emphasize the importance of having a strong song vision.  Brown says it like this, “Good songs say one think only.”  He shares personal experience of the difficulty in writing a song that does not wander.  Doerksen speaks on the subject of a singular idea by saying the goal is to write a song about one thing, but to do it in a fresh and creative way.

Another important subject from the media is re-writing.  The re-writing process validates that songwriting is not only a gift, but a craft.  It is hard work and patience comes into play.  The contributors advise finding a co-writer to help develop ideas into songs.  Baloche gives a great example of this in writing the song, Above All, with Lenny Leblanc.

After taking it all in, I am encouraged.  I have so much to learn about songwriting.  What a blessing that these experienced worship leaders and songwriters are willing to share their growing pains, their mistakes and their successes.  It speaks to their hearts.  They want others to be successful to advance the kingdom of God.  Yes, I am encouraged…and I am grateful.

In the book, Devotional Classics, Richard Foster and James Bryan Smith present 52 devotions formulated from excerpts of works written by Christian influencers throughout history.  The devotionals are divided into seven topics.  Each devotional is constructed of an introduction to the author, the selection, a related Scripture passage, reflection questions, suggested exercises, a reflection on the work written by Foster and references for further study.  Though all of them are deserving of recognition, this essay will attempt to highlight some of the major thoughts and quotes from each section.

Preparing for the Spiritual Life

Foster opens the readings in the first section with an excerpt from C.S. Lewis’ Mere Christianity.  Lewis lays out the human dilemma of trying “to keep personal happiness as our great aim in life and yet at the same time be ‘good’”[1].  He and several others pen that surrender and absolute devotion to God are heartbeat of the Spiritual life.  Yet, even St. Augustine confesses the conflict of the wills in trying to follow Christ.

Bernard of Clairvaux’s writing demands the reader to examine one’s own motivation for love.  He submits that there are four degrees of love; “love of self for self’s sake”, the “love of God for self’s sake”, the “love of God for God’s sake, the “love of self for God’s sake”[2].

The Prayer-Filled Life (The Contemplative Tradition)

This section supplies the reader with instruction and benefits of leading a life of prayer.  Included among the devotionals is advice on entering meditation, preparing and practicing solitude and written prayers for guidance.  The prevailing idea from all contributors is that living a contemplative life requires great discipline.  Henri J.M. Nouwen suggests that carving out time for solitude results in the development of “an attentiveness to God’s voice in us…This desire for solitude is often the first sign of prayer, the first indication that the presence of God’s Spirit no longer remains unnoticed.” [3]

Martin Luther concludes the section writing that prayer is an exercise of faith.  “Faith makes the prayer acceptable because it believes that either the prayer will be answered or that something better will be given instead.”[4]

The Virtuous Life (The Holiness Tradition)

The authors highlighted in this section bring to attention the need to lay aside all forms of self in order to become holy.  John Calvin writes, “The service of the Lord does not only include implicit obedience, but also a willingness to put aside our sinful desires and to surrender completely to the leadership of the Holy Spirit.”[5]

While the writers agree that in the state of humanity one can not achieve true holiness, the love for God propels the pursuit of it.  Teresa of Avila affirms that our sins keep us from holiness, but she takes an interesting approach to how that which separates us from God can turn us back to Him. “Our sins can have the effect of leading us back to God and striving all the more.”[6]

The Spirit-Empowered Life (The Charismatic Tradition)

The contributors to this section give encouragement to the reader reminding one that the Spirit of God is ever-present and at work in the Christian’s life.  Thomas Kelly eloquently writes on how the power of the Spirit can be unleashed. “By quiet, persistent practice in turning all of our being, day and night, in prayer and inward worship and surrender toward him who calls in the deeps of the souls.”[7]

Within this section, George Fox calls the reader “to be ordered and guided by the mighty power of God” in all that is said and done.  He, Isaac Pennington, John Bunyon and others, insist that the Christian should carry out the will of God in their lives drawing strength from the leading of the Spirit. “…it is ours to wait upon the Spirit, to wait for the Spirit to move and breathe in us…”[8]

The Compassionate Life (The Social Justice Tradition)

The writings on the compassionate life present the truth that the life of Christianity is one of action.  They assert that it is the duty of Christians to serve others and aid those who do not have the means to help themselves.

Also included in this section is practical advice on how to deal with burn-out in Christian service (Hannah Whitall Smith), how to serve with a humble spirit (Jeremy Taylor), and how to deal with money (Elizabeth O’Connor).  These are struggles that all Christians face.

John Wesley warns of the dangers of exalting oneself and reminds the reader of the importance of unity among the brethren.  Dietrich Bonhoeffer expounds on the need for Christians to live in community. “We have one another only through Christ, but through Christ we do have one another, wholly, and for all eternity.”[9]

The Word-Centered Life (The Evangelical Tradition)

The devotionals in the Word-centered section encompass the importance of Scripture and the command for Christians to evangelize.  Several of the contributors also speak of the need for Christians to continually seek renewal and revival in their Spiritual journey.

One of the most intriguing passages is written by Madame Guyon.  She encourages Christians to come to the Lord through “praying the Scriptures” and “waiting on the Lord”.  In praying the Scriptures, “you are seeking the Lord in what you are reading”.  In waiting on the Lord, “make use of the Scripture to quiet your mind.”[10]

On evangelism, Watchman Nee articulates how to “bring people who have only the absolute minimum of knowledge or desire for God into a living touch with Him.”[11]

The Sacramental Life (The Incarnational Tradition)

The last section brings together life in the physical and spiritual worlds.  The contributors agree that creation is God’s way of making Himself known to that which He created.  “God knew the limitations of mankind, and thus He provided the works of creation also as means by which the Maker might be known.”[12]

The thought of glorify God in our everyday tasks are best described by Brother Lawrence in the final selection of the book, although this idea is shared by some of the other authors, as well.  Brother Lawrence describes training himself to live every moment in God’s presence.  “Presenting myself before God, I ask him to form his perfect image in my soul and make me entirely like himself.”[13]

[2] Ibid., 42-43.

[3] Ibid., 82-83.

[4] Ibid., 117.

[5] Ibid., 137.

[6] Ibid., 166.

[7] Ibid., 176.

[8] Ibid., 210.

[9] Ibid., 274.

[10] Ibid., 303-304.

[11] Ibid., 324.

[12] Ibid., 340.

[13] Ibid., 373.

The idea of community being represented by the element of water is truly beautiful. Dan Wilt shared in Essentials in Spiritual Formation (ebook) some characteristics of water that are displayed in successful community life. He said that with water you can’t tell where one bit ends and another begins. Also, as water runs together strength is derived from its mingling. The scripture in Ecclesiastes 4:12 comes to mind, “Though one may be overpowered, two can defend themselves. A cord of three strands is not quickly broken.” While the imagery (water/rope) is different, the thought is the same. We are stronger together than we are alone.

We need each other. Just as God dwells in community through the Trinity (Essentials in Worship Theology), He designed us to draw energy and strength from being together. Dan pointed out that we should be intra-dependent on one another. We are not to be totally independent, relying only on ourselves. John Wesley says it is prideful to live in such a way. We are not to be co-dependent, taking from another without giving in return. We want to interact in such a way that makes each of us better.

Love abounds in a life flourishing in community. It is the starting point. It is the ocean from which all rivers flow. Jesus Christ commanded us to “Love one another.” in John 15:17. Wesley challenges us to “Settle in your heart that from this moment on you will aim at nothing more than that love described in the thirteenth chapter of 1 Corinthians.”

When we love each other with self-less motives, then lasting relationships are built. These relationships lead to a community that prays for us when we need healing. We can look to members of our community for guidance when we seem to have lost our way. And, we receive encouragement to help us continue in what God has designed for our lives.

I love the words of Deitrich Bonhoeffer when he describes a community based on Jesus Christ. “The more genuine and the deeper our community becomes, the more will everything else between us recede, the more clearly and purely will Jesus Christ and his work become the one and only thing that is vital between us. We have one another only through Christ, but through Christ we do have one another, wholly, and for all eternity.”

If you were to ask the average person, “Do you want to live an empowered life?”, they would most likely say, “yes”. But, after studying this week’s media, I do not think that most people are willing to do what it takes to live an empowered life. Don’t get me wrong, the present and eternal benefits of walking in the power of Christ far outweigh the life of mediocrity that we usually choose. Being empowered has its costs. Dan Wilt says, “saying yes to the Spirit may mean saying no to ourselves.”

To walk in the power of Christ we have to devote our attention and energy to what He has called us to do. He has given us gifts and passions not only to bring glory to Himself, but to encourage and lead others. Dan tells us in his ebook that the word “passion” has a Latin origin. The root word, “passio” means “to suffer.” I had never heard that before and it BLEW ME AWAY. Dan goes on to ask “What is it that you suffer to do, long to do, even though it takes work and diligence?” I love that question. Maybe I love it because for the first time in my life, I can answer it. When God called me into worship leadership, he birthed a passion in me. I didn’t go looking for it. It was a gift.

I really like what John Bunyan shares about exercising the gifts that God gives. In his autobiography, Grace Abounding to the Chief of Sinners, he tells how people in the church began encouraging him to preach, but he didn’t want to do it. He felt unworthy of the call. He finally consented and knew that God was working through him. His passion burned so deep that “I could not rest unless I was exercising this gift of preaching, and I was pressed forward into it”. Anyone who has been called into the work of God can relate to his story. Personally, I was afraid to submit my life to worship leadership. I was scared that I would not be able to accomplish what He was asking me to do. Through His Word and the counsel of others, I realized that I could do whatever He willed for me through His empowerment. Once I said yes to His call, I was propelled forward.

Here is what Bunyan said about answering the call. “I began to see that the Holy Spirit never intended people who had gifts and abilities should bury them in the earth, but rather, he commanded and stirred up such people to the exercise of their gifts and sent out to work those who were able and ready. And so, although I was the most unworthy of all the saints, I set upon this work.”

Every morning I wake up wallowing in the First Degree of Love that Bernard of Clairvaux defines.  I love myself for the sake of me. Sadly, many days I get stuck in this me, myself and I state.  I never get passed serving yours truly.  Bernard says “human nature is weak and therefore compelled to love itself and serve itself first.”  I say Bernard was very wise.  His excerpts from On the Love of God accurately describe the human tendencies and their capacity to love God.

Bernard asserts that the Second Degree of Love is the love of God for self’s sake.  Whether or not I progress to this state depends greatly on the circumstances and encounters of the day.  Something may occur that causes me to recognize that I do not have the power to overcome difficulties.  I turn to God to help myself.  Bernard says, “This is how we who only love ourselves first begin to love God.”  Love of God is born in our distress.

As God is molding me into a worship leader, I am learning to love God for God’s sake.  Bernard describes this as the Third Degree of Love.  My love for Him is driven by His worthiness.  To be in this state is to lay aside all selfish ambition.  Although I do not spend a majority of my time in this state, I do feel that as I mature spiritually, I move more easily to it.  The way I lead others to love God is to love Him out of purity in my own heart.  Here is how Bernard relates it, “It is pure because it is not merely in our words that we begin to serve, but in our actions.  We love because we are loved.”

Bernard describes the Fourth Degree of Love as rare and fleeting.  It is the idea of loving ourselves for God’s sake.  I am certain I have never attained it.  But, I am inspired to strive for it.  It is exactly the kind of love that Jesus modeled during His time on earth.  His mind and will were the same as the mind and will of the Father who sent Him.  “The perfect love of God with our heart, soul, mind, and strength will not happen until we are no longer compelled to think about ourselves and attend to the body’s immediate needs.  Only then can the soul attend to God completely.”

Bernard’s writing on love is still relevant today.  Our cultural has misused, mistreated, and misrepresented love in so many ways.  It is not the love of God.  Bernard reminds us of where love originates and ends.  I found refreshment in what he had to say.

During our first week of the Essentials in Spiritual Formation study, Dan Wilt introduced the four elements of a spiritually passionate life.  This week we looked at the first element, earth, or the grounded life.  If I could choose a word to sum up the ideas discussed in the media, it would be CONSTANT.

The thought of something being CONSTANT is counter-cultural.  The world we live in thrives on change.  Marketing tells us that we should always be looking for something new.  We are stimulated by the latest-and-greatest and become bored with yesterday’s news.  I think all of that feeds into what Ignatius of Loyola said about the movements of the soul.  He described two states of the soul, consolation and desolation.

One of the reasons he gave for a soul being in desolation is because one “has been tepid, slothful, or negligent in our Spiritual Exercises, and so through our own fault spiritual consolation is withdrawn from us.”  In other words, when Christ is not at the center everything we do, we cannot truly be at peace.

Here is what Ignatius said about consolation, “the soul is aroused by an interior movement which causes it to be inflamed with love of its Creator and Lord and consequently can love no created thing in this world for its own sake, but only in the Creator of all things.”  My interpretation of what he said is this; peace is found in the CONSTANT love of Christ.

If I am grounded in Jesus Christ and His love, then all that is layered upon Him is sure (the picture of layer upon layer of sediment forming a rock over time comes to mind).  My relationships will be lovely and pure.  I will love my family the way God intended for them to be loved.  I will treat all of humanity with respect and compassion.  I can add layers of integrity, humility, patience, perseverance and courage through His strength.  The life I build will be founded on His character.

Hebrews 13:8 says, “Jesus Christ is the same yesterday and today and forever.”

He does not change.  He is our firm foundation.  He isn’t shaken.  He cannot be distracted.  He doesn’t sleep.  He is CONSTANT.  When I spend time meditating on how steady He is, a great sense of peace takes over.  My faith is in the One who is certain.  Consolation prevails.