Why It Matters

Posted on April 16, 2012 by mandybriscoe

Originally posted at my personal blog, mandymoo488.blogspot.com.

One of the quickest ways to raise my ire (immediately) is to say, “_________ doesn’t matter as long as people are worshipping.” I’ve heard multiple words put in place of that blank. And all of them infuriate me.

I realize what you’re about to read borders on a slippery slope argument, but bear with me. I think it’s a logical question to ask. To those (worship leaders particularly) who would say this phrase, I ask: What does matter? And, then why are you leading worship?

If [it] doesn’t matter as long as people are worshipping, why do we have a live band? Worshipping to a recorded CD would ensure that EVERYBODY knows EXACTLY how the song goes EVERY time. If [it] doesn’t matter as long as people are worshipping, why do we have music? Silence and/or reading scripture are just as important acts of worship. If [it] doesn’t matter as long as people are worshipping, why do you learn your instrument, take voice lessons, or sing pre-written songs? If [it] doesn’t matter, why do you do anything you do as a worship leader?

People worshipping is the goal of every worship leader. So does it matter how you get there? I would argue yes. I would argue that if it doesn’t, the role of worship leader is actually pointless.

If you’ve been leading worship for any period of time, you’ve most likely experienced that moment of split-second decision: do I end the song here or repeat the chorus? Do I build back up again into the bridge? Should I throw out my fifth song and take more time on the third one? Do I entirely swap my last song for a song the band may not know? I make these kinds of split-second decisions almost every set. Why do we have to make these choices as worship leaders? Because our role is to use music to help facilitate a group of people worshipping God–to help minimize distractions and pave a road for people to follow into the presence of God.

I believe every decision and non-decision we make as worship leaders either furthers this goal or hinders it. We use music because God has built (most of) us with a peculiar sensibility to music that other mediums can’t quite reach. We sing pre-written songs with lyrics available (most often) so that everyone can join in (facilitating a group). We learn our instruments and have rehearsals so that we play well and play together (to minimize distractions). Everything you do as a worship leader should serve this purpose, or perhaps you should rethink it.

I have a handful of soapboxes as a worship leader. These are things I’ve preached for all my seven years of mentoring younger worship leaders. And they all serve this purpose. In no particular order:

  • Learn your music and lyrics and be “off-book” as much as possible. (I am peculiarly gifted in this in that I pick up songs very quickly and memorize very easily. I recognize that not everyone has the ability memorize quickly or easy–especially playing and singing at the same time. Also in my experience, it’s easier for guitarists to memorize chords than it is for pianists. If you are not so-gifted to memorize easily, I’m not saying give up worship leading. I’m saying do as much as you can. If you can’t memorize, don’t. But if you can, don’t rely on sheets simply because you can.) This not only minimizes potential distractions (paper shuffling between songs or the dreaded forgetting of lyrics!), but also makes you a better worship leader. A leader by definition goes before and has followers. A song leader simply lets the people s/he’s leading know where the song’s going. A worship leader is letting people know where the worship is going. And in order to lead you must also be there. Getting rid of dependence on chord sheets (as well as better-learning your instrument) gives you the freedom to worship as you lead. Because if you’re not worshipping, you’re not really leading worship. In addition, this allows you to be more spontaneous. If you feel like God is calling you to play a specific song that’s not on your set list–or even just feel like it’s appropriate for the sermon topic or where you think God wants to take the people–you can play it without having to send someone to the computer, file cabinet, folder or, worse, your car!
  • As well as possible, make your set seamless. This is obviously much contested. I know many worship leaders that don’t, I know a handful that do, and I know a few that did at one point and don’t anymore. (I know a worship leader in each of these categories I would consider to be an effective leader. It’s not a make-it-or-break-it type deal. But it helps minimize distractions.) To me, this doesn’t always look like playing a whole set in the same key (though that’s the easiest and simplest way to do it and is what my sets usually look like). Playing in relative keys is a possibility (such as D and G or E and A). If you’re playing with a band, have the synth player/pianist/lead guitarist/backup acoustic play something while you move your capo around. But never have silence because you had to move your capo. Intentional silence is a tool that, well-placed, can bring an extraordinary moment to a set. But silence simply because you have to move your capo is distracting and sometimes awkward. I feel similarly about prayer. Prayer is a gift and a tool and has its place in a worship set as well, but should be intentional, not as a mask for an awkward song transition. This removes distraction and creates a path of worship, rather than stairs or several boulders to be climbed over.
  • Learn songs as close as possible to the way the original artist did it. (Or, in some cases, whatever recording your congregation is most familiar with.) If every worship leader at a church plays a song the same way, no one will ever be confused. You’re leading a group of people. If the worship leader before you doubled the verse every time, double the verse or you’ll lose your people. Not that losing your congregation means you’re a bad worship leader. But if you can avoid it, do. Have you ever experienced that awkward moment where you’re not the worship leader and you thought s/he was going somewhere s/he wasn’t and were left singing out the wrong part while nobody else was singing? I know I have. Try to avoid doing this to your congregation. Remember, you’re leading. So lead. If you’re doing something out of the ordinary (such as repeating a line that’s not usually repeated), let them know.
  • Play only songs that are in line with your church’s (and hopefully your) theology and, as much as possible, songs that you can worship to. Think very carefully about the words you’re asking your congregation to sing. Just because it has a catchy melody or makes people cry doesn’t necessarily mean it has solid theology. Again, you’re leading people, so make sure you’re leading them correctly. You have authority as a worship leader. People will sing what you have them sing. Let them sing truth. Playing songs that you can worship to, similar to being off-book, makes you a better worship leader. You can’t lead people somewhere you’re not and playing songs you can’t worship to makes this very difficult. Brian Doerksen, I believe, calls it “owning” songs. Make sure you can “own” the songs you play. Occasionally you’ll have to play songs you don’t necessarily “own”–if another worship leader has introduced a song, sometimes you should be a team player and play it for the sake of the people or if your pastor has specifically requested a song you don’t necessarily “own”. But in the songs you choose, choose songs that you can lead well.
  • Trust your band (if you have one). Give them a general idea of where the song’s going. If you have a specific idea in your head, communicate it. But trust them to do what they do best. Micromanaging your band will only exhaust and frustrate you. I’m not saying don’t train them. If you have a new drummer, you may have to tell him/her exactly where you want the kick (1 and 3 or 4 on the floor?); if you have a vocalist that’s never sung background, tell him/her where in the song to come in or if you think the other harmony would sound better in his/her voice or give the song more dynamic. But eventually, if you’ve trained them well and they’re a good fit for your team, you should be able to let them do what they do best–they trust you to lead, don’t they?

Some if this may sound very harsh or even impossible. These are things that are important to me and, yes, I’ve broken just about every “rule” I have at some point. But these are simply examples of my intentionality in leading worship. Yes, I do believe the songs we choose matter because we’re teaching theology, authoritatively inviting people to sing with us, and leading people into the presence of God. I do believe that whether or not the leader can sing on pitch matters because some people in the congregation will be distracted if s/he can’t. I do believe that playing and singing a familiar song in a familiar way matters because we’re asking people to join in with us.

All that to say, learn your craft, be intentional, and, though not necessarily indicated by the disproportionate amount of harping on mechanics, most importantly, ask God what He’s doing with your people. As much as you care, He cares more. And He knows where every person is at that will be hearing your worship set. And He can tell you. And He often will if you give Him the chance. All the rules and guidelines in the worship handbook can’t hold a candle to following the voice of God–even if He does ask you to play a song you haven’t played in four years in the middle of a worship set.

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Tunesmith

Posted on August 31, 2011 by mandybriscoe

Tunesmith is a comprehensive, analytical look at the process and art of songwriting by successful songwriter Jimmy Webb. The book outlines the whole process from idea all the way through marketing in almost every conceivable market (film and musicals included). Beginning with a conceptual discussion of why songwriters write and the intangible art of music, Webb says, “The paramount joy of the craft is that however simply it is begun it can take the writer on a lifelong voyage across many wondrous and diverse musical seas.”1

This voyage begins with an idea; a message; a purpose for the song. “A great song idea usually utilizes an interesting hook line or title and incorporates it into a fully realized scenario that reveals in careful, logical stages the true goal or intent of the writer.”2 Webb offers three methods for turning an idea into potential lyric material. “The first way is simply to isolate the “idea” or the feelings you wish to convey in a sincere letter to yourself or to someone else.”3 This is the method he demonstrates and utilizes in his example song, written throughout the book. The second is to “write down at length every word, phrase, comment, cliché, historical reference, literary reference, poetic reference, feeling, instinct, remembrance of actual fact, image, dream, fantasy or observation that can be made or connected with the “idea” you wish to express.” 4 The third is a common brainstorming concept known as “stream of consciousness” wherein the writer simply writes (or types) whatever comes to mind.

Once the writer has turned to actually penning the lyrics, Webb offers pages and pages of instruction and advice–almost to the point of overwhelming a young writer. He puts much emphasis on rhyming–especially true rhymes–much more emphasis than most writers, a quick, critical listen to popular music of today would seem to indicate. Chapter 5 (pages 136-155) offers an in-depth look at the initial writing and editing of lyrics. From rhyming to matching verse rhythm to finding the best possible word to communicate the intended message, Webb covers and demonstrates it all.

An introductory discussion of melody and chord structure follows. “Great melody has an illusive consistency that is unteachable. If the heat is the bow and the soul is the violin and the brain is the musician, then melody is the fragile result of all three in love with the same idea.”5 Especially interesting is the discussion of chord substitution.6 This is especially relevant for church writers who are encouraged to make their songs “accessible” by including only simple chords. Simple chords in interesting progressions can make a song far more interesting–perhaps even just as interesting as more complicated chords. These substitutions allow for a church songwriter to make a more interesting underlying chord structure while still maintaining a degree of accessibility allowing for others to pick up and play his or her songs.

Much of the music theory of advanced chord structures described in the book are mostly irrelevant to the average guitar playing songwriter. For example, a Bsus4 on a keyboard simply involves moving the Eb up to the E. However, a Bsus4 on a guitar involves not only the bar chord B, but also stretching the little finger 3 frets over (something not necessarily impossible, but definitely far more challenging than on a keyboard). Using alternative chords doesn’t translate well from a keyboard to a guitar. But the guitar brings some beautiful opportunities for alternative chords of its own and Webb’s encouragement stands: don’t settle for basic triads and common chord progressions. Try new things. Experiment.

Webb offers a list of concise tips on melody writing including a willingness to be impulsive, keeping it singable, and matching words to music in tone, meaning, and and mood (prosody).7 He also offers general guidelines and encouragements such as the necessity “that these accented syllables have a corresponding rhythmic stress or accent in the “beat” to which they will be synchronized.”8 As an example of the opposite, Brian Doerksen offered in his video series Worship Songwriting, a line in Kathryn Scott’s “Hungry” has a mis-accented syllable. In the phrase, “Offering all of me,”9 a speaker would put the emphasis on the the first syllable of the word “offering,” while the melody line of the phrase puts the emphasis on the second syllable. Obviously, the slight lapse in rhythmic judgement has not made a difference in this song’s popularity and accessibility illustrating the idea that almost every rule in songwriting can be–and has successfully been–broken. “Like the architect we may come to the conclusion that we will have to bend the code to create a free-standing arched dome fifteen hundred feet in diameter. Can we make it stand? Can we make it beautiful?”10

Something unique to writing congregational worship songs is limiting distraction. Using a church in Barcelona as a metaphor, Webb makes the especially appropriate comment, “If its form was so distorted as to make worship impossible, then innovation would have nulled purpose.”11 Possibly one of the most important ideas in all of worship songwriting is that the song itself is a tool–not an end goal, but a tool. If the song itself, even the most beautiful, artistic song, gets in the way and distracts, it has ceased to fulfill its purpose. “The most fabulous metaphor or double entendre ever conceived or the niftiest color-word or rhyme imaginable is expendable if it is not on target–if the meaning of the lyric could be clearer with it.”12

Music holds a special place in most church liturgies and service. It has a peculiar ability to transcend minds and allow hearts to meet with God. “A song is a magical marriage between a lyric (some words) and a melody (some notes). It is not a poem. It is not music. It is in this gray area of synthesis between language, rhythm and sound that some of the most acute of all sensors of human emotion lie.”13

1. Jimmy Webb, Tunesmith, (New York: Hyperion, 1998), 2.
2. Ibid, 40.
3. Ibid, 51.
4. Ibid.
5. Ibid, 181.
6. Ibid, beginning on page 195.
7. Ibid, 271.
8. Ibid, 258.
9. Kathryn Scott, Hungry, Vineyard Songs UK/Eire, 1999.
10. Jimmy Webb, Tunesmith, (New York: Hyperion, 1998), 79.
11. Ibid, 134.
12. Ibid, 52.
13. Ibid, 70.

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The Songwriter’s Choice

Posted on June 18, 2011 by mandybriscoe

For: Essentials in Worship Song Writing

Depending on your perspective, the choice every songwriter (or even worship leader, by way of the songs s/he chooses to lead) must make is either a win/win or a lose/lose.

Cynically speaking, a songwriter (or worship leader) is either going to be offering absolutely nothing fresh, or encounter opposition from those that either fear change or are simply less visionary.

On a far more optimistic front, as songwriters (and worship leaders), we have the opportunity to offer our congregations (and, in some cases, even other congregations or other countries) our unique perspective–whatever message the Holy Spirit has given us to uniquely communicate with the gifts, personality, and experience entirely distinctive to us. ” . . . [I]f he goes about it in the right spirit, the visionary has the opportunity to bring the church along with him into an understanding of what God has shown him. Of course, this take patience. he’ll need to slow down at times and wait for the church to catch up.”1

This section of the book goes on to describe a situation in which the visionary leaps too far ahead, loses his congregation, and must backtrack, possibly apologize, and, with much patience, lead the congregation in smaller steps. It reminds of something I heard Dan Wilt say once: that being a visionary is often frustrating because we’re caught between seeing where God wants to take a group of people and where they actually are.

When I first heard that, I remember feeling a little relieved–that the frustration I was feeling was normal–but at the same time, a little intimidated that by leading a group of people faithfully into what I felt God had called them, I would continue to encounter fear, opposition, and differing opinions.

In a similar vein, Donald Miller in his book A Million Miles in a Thousand Years talks about how, sometimes, meeting conflict can confirm we’re heading in the right direction. “[Steven Pressfield] even says resistance, a kind of feeling that comes against you when you point toward a distant horizon, is a sure sign that you are supposed to do the thing in the first place. the harder the resistance, the more important the task must be, Pressfield believes.”2 In the book, Miller uses what he learned about screenwriting as a sort of parallel to our lives (I think only by implication, but I haven’t finished the book yet, so don’t know if he ever says it out right).

A good story is about “a character who wants something and overcomes conflict to get it.”3 If I want my story as a songwriter and a worship leader to be a good one, I need to be able to define not only what I want, but also stand firm, with patience, faithfulness, and trust, through the conflict. That’s the kind of songwriter I want to be. I want to live a good worship story.

1. Paul Baloche and Jimmy & Carol Owens, God Songs: How to Write and Select Songs for Worship (Lindale, TX: Leadworship.com, 2004), 238.
2. Donald Miller, A Million Miles in a thousand Years (Nashville: Thomas Nelson, 2009), 115.
3. Ibid., 48.

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Something Unique

Posted on June 5, 2011 by mandybriscoe

For: Essentials in Worship Song Writing

Coming towards the end of my journey in the Online Certificate in Worship Studies, it still doesn’t cease to amaze me how things I’m learning in my Essentials classes (seemingly coincidentally) coincide with things I’m learning in my life–often even outside of worship leading.

In this season, I’ve often been told by trusted friends and mentors to “stand up for myself” or “be myself”. But in order to do either of these things, I have to believe that the me I’m standing up for or being is worth being.

Part of this lesson has been learning that I have something unique to offer. I’ve always known I’m the sum of other people’s influences, but I’ve had a hard time believing that the person God created me to be had something unique to bring.

“Each one of us has a job to do. As songwriters, we have songs to write. Let us not be distracted by the allure of worldly success, but rather in humility, pursue the road of faithfulness to what God has called us to be and to do.”1

In song writing, in worship leading, in life, I have a unique role to play. I have something to bring to songwriting that no one else can bring. Just like I have something to bring to worship leading that no one else can bring. Just like I have something to bring to every relationship and conversation I engage in that no one else can bring. God’s created me intentionally to fill a unique role.

1. The Measure of a Songwriter, Michael Hansen.

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Devotional Classics

Posted on May 10, 2011 by mandybriscoe

For: Essentials in Spiritual Formation

Devotional Classics is far beyond simply a devotional tool. It is a legacy of Christian insight and wisdom gained through experience. Though some of the authors lived and wrote hundreds of years ago, the gift of God’s revelations to them as individuals remains relevant to us today.

The first section, entitled “Preparing for the Spiritual Life,” lays the foundation for the rest of the book. Almost as if it was intentionally divided into two ideas, it begins with a desire: an intention of the will, and ends with a different desire: a yearning of the heart. In drawing the two together, Jonathan Edwards says, “What we said before must be remembered: the exercising of the will is nothing other than the affections of the soul.”1 Where our affections lie, very practically, there will we invest our time. It is His love that draws us to these times that promise developing intimacy and growth. “His love is not content to leave us in our weakness . . . .”2 As our heart draws us to times of spiritual discipline, our desire is increased to be more and more like Jesus. “There is only one way to love God: to take not a single step without him, and to follow with a brave heart wherever he leads.”3

The prayer-filled life is a life of intentionality. “Effort is necessary, enlightened, will-directed, and sustained.”4 Disciplined prayer is necessary to spiritual development. “A” spiritual life without discipline is impossible. Discipline is the other side of discipleship. The practice of a spiritual discipline makes us more sensitive to the small, gentle voice of God.”5 But once the heart and mind are set on prayer, how should we go about it? “Prayer should take up and turn towards the spiritual order all the powers of our mental, emotional, and volitional life. Prayers should be the highest exercise of these powers; for here they are directed to the only adequate object of thought, of love, and of desire.”6

The virtuous life directly contradicts the idea that God is a judgmental control-freak by asserting that holiness—and, following obedience—are motivated by love. This holiness—this consecration to God—“means that we will think, speak, meditate, and do all things with a view to God’s glory.”7 Blaise Pascal wonders if all God truly wants is for us to love Him and know Him.8 Again, this tradition is about devoting time to becoming more and more like Christ. “It is our strict duty . . . to devote all of the action of our lives to God . . . .”9

The Spirit-empowered life is almost the outward evidences of the virtuous life. “When God gives light to the soul, into longer desires to live with that part of it that continues to block the light. The soul desires to offer itself entirely to God so that it can no longer live except in the manner willed by his tender love.”10 Catherine continues on to say that He increases our vision and faith bit by bit in accordance with our ability to wisely proceed with His vision and not allow our small revelations to become just that—ours as opposed to His.11

The compassionate life (or social justice tradition) moves discipline from something private to something very public and turns transformation into visible action. William Temple starts off the section immediately calling followers of Christ to a higher social standard: “First, the Church must announce Christian principles and point out where the existing social order is in conflict with them. Second, it must then pass on to Christian citizens, acting in their civic capacities, the task of reshaping the existing order in closer conformity to the principles.”12 Other authors in the section offer a much quieter—though just as necessary—call. “Be content to go without praise,” says Jeremy Taylor, “never being troubled when someone has slighted or undervalued you.”13 Elizabeth O’Connor reminds us where our foundation must be in the midst of all the action, saying, “a Spirit comes and takes us where we are not yet prepared to go.”14

The word-centered life offers a central core of standards to which we should measure ourselves. “Sit down every day and go over these seven things and ask yourself if you are adding them to your basic faith—virtue, knowledge, self-control, steadfastness, godliness, brotherly affection, and love.”15 The word-centered life, in a tangibly verbal way, lays out for us the road we are to walk. “This question now claims our attention, for it is as important for us to know what we are attempting to do as it is for us to be prepared in spirit to do it.”16

The final tradition, the sacramental life, has a very lofty sound to it. When we think of sacraments, we often think of weekly, monthly, or lifetime celebrations: baptism, marriage, communion. But the authors within this tradition have a very different perspective—one that is no less lofty, but still surprising. The sacramental life is one that embraces our humanity and the day-to-day things of our existence, but makes every moment a holy moment by inviting God to dwell in the experiences. “Both laundry and worship are repetitive activities with a potential for tedium, and I hate to admit it, but laundry often seems like the more useful of the tasks. But both are the work God has given us to do.”17 Brother Lawrence encourages us to, by incorporating habitual changes, allow “the presence of God [to become] something that comes naturally to us.”18 Dag Hammarskjöld reminds us that we can invite God into every decision. “Your life is without a foundation if, in any matter, you choose on your own behalf.”19

Every tradition has three similarities: commitment, transformation, and desire. They are not called “spiritual disciplines” because they come easily or require no effort. It is a cycle where desire leads to commitment; in commitment, we find life and transformation; while being transformed, we find heightened desire and the cycle begins again.

1. Jonathan Edwards, Religious Affections, edited by John E. Smith, Volume 2 of The Works of Jonathan Edwards, Perry Miller, General Editor (Yale University Press, Inc., 1959) as quoted in Richard J. Foster and James Bryan Smith, Devotional Classics (New York: HarperOne, 2005), 20.
2. John of the Cross, The Dark Night of the Soul, edited by E. Allison Peers (Image Books, 1959) as quoted in Richard J. Foster and James Bryan Smith, Devotional Classics (New York: HarperOne, 2005), 37.
3. Fraçois de Salignac de La Mothe Fénelon, Christian Perfection: Reflections on the Christian Life (HarperCollins, 1947) as quoted in Richard J. Foster and James Bryan Smith, Devotional Classics (New York: HarperOne, 2005), 51.
4. Thomas Merton, Contemplative Prayer (Cistercian Publications, Inc., 1969) as quoted in Richard J. Foster and James Bryan Smith, Devotional Classics (New York: HarperOne, 2005), 66.
5. Henri J.M. Nouwen, Making All Things New: An Invitation to the Spiritual Life (San Francisco: HarperCollins, 1981) as quoted in Richard J. Foster and James Bryan Smith, Devotional Classics (New York: HarperOne, 2005), 80.
6. Evelyn Underhill, The Essentials of Mysticism (Oxford: Oneworld Publications, 1999) as quoted in Richard J. Foster and James Bryan Smith, Devotional Classics (New York: HarperOne, 2005), 95.
7. John Calvin, Golden Booklet of the True Christian Life (Grand Rapids: Baker, 1952) as quoted in Richard J. Foster and James Bryan Smith, Devotional Classics (New York: HarperOne, 2005), 136.
8. Blaise Pascal, Pensées, translated by A.J. Krailsheimer (New York: Penguin, 1966) as quoted in Richard J. Foster and James Bryan Smith, Devotional Classics (New York: HarperOne, 2005), 146.
9. William Law, A Serious Call to a Devout and Holy Life (New York: Paulist, 1978) as quoted in Richard J. Foster and James Bryan Smith, Devotional Classics (New York: HarperOne, 2005), 158.
10. Catherine of Genoa, Life and Teachings as quoted in Richard J. Foster and James Bryan Smith, Devotional Classics (New York: HarperOne, 2005), 181.
11. Ibid., 183.
12. William Temple, Christianity and Social Order (New York: Seabury, 1977) as quoted in Richard J. Foster and James Bryan Smith, Devotional Classics (New York: HarperOne, 2005), 223.
13. Jeremy Taylor, The Rule and Exercises of Holy Living (Boston: Estes and Lauriat, 1875) as quoted in Richard J. Foster and James Bryan Smith, Devotional Classics (New York: HarperOne, 2005), 245.
14. Elizabeth O’Connor, Letters to Scattered Pilgrims (New York: Harper & Row, 1979) as quoted in Richard J. Foster and James Bryan Smith, Devotional Classics (New York: HarperOne, 2005), 254.
15. E. Stanley Jones, Conversion (New York: Abingdon, 1959) as quoted in Richard J. Foster and James Bryan Smith, Devotional Classics (New York: HarperOne, 2005), 285.
16. Watchman Nee, What Shall This Man Do? as quoted in Richard J. Foster and James Bryan Smith, Devotional Classics (New York: HarperOne, 2005), 324.
17. Kathleen Norris, The Quotidian Mysteries: Laundry, Liturgy and “Women’s Work” (New York: Paulist, 1998) as quoted in Richard J. Foster and James Bryan Smith, Devotional Classics (New York: HarperOne, 2005), 366.
18. Brother Lawrence, The Practice of the Presence of God, translated by John J. Delaney (New York: Doubleday, 1977) as quoted in Richard J. Foster and James Bryan Smith, Devotional Classics (New York: HarperOne, 2005), 370.
19. Dag Hammarskjöld, Markings (New York: Ballentine, 1983) as quoted in Richard J. Foster and James Bryan Smith, Devotional Classics (New York: HarperOne, 2005), 358.

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Essentials in Worship Values

Posted on April 16, 2011 by mandybriscoe

For: Essentials in Worship Values

Though it is extremely difficult to pare down and adequately express the values of something so important as worship to anything of manageable size, Dan Wilt has beautifully and descriptively laid the foundation of worship with six central values: intimacy, integrity, accessibility, cultural connection, kingdom expectation, and personal discipleship.

“Intimacy is a posture, a positioning, of one heart toward another. Intimacy happens when one heart chooses to make itself vulnerable to another, choosing self-offering above self-protection; self-disclosure above self-protection.”1 Worship would be lacking without any of these values. But without intimacy, it lacks purpose. Worship is motivated by, intended for, and heading towards intimacy. Worship must begin and end in intimacy or it ceases to administer the restoration, healing, and connectedness2 it promises.

While intimacy speaks more of the goal, integrity speaks more of the starting point. Integrity means consistency. Integrity is the opposite of a life that looks different on Sundays than during the rest of the week. For worship leaders, this means living lives that match the words we’re singing. “We want to encourage our communities, by the way we lead and do activities as leaders, to find a life with God that is substantial, and is not simply replaced by an outer veneer of church activity.”3 Some of integrity means investing in the value of personal discipleship. Some of integrity means living a personal life grounded in intimacy with Jesus so, as He reveals himself and us to us, we can engage in songs and words and expressions that match the processes through which He is brining us and our congregation.

Without considering the value of accessibility, we are in danger of forgetting our congregation all together. Without this value, the leadership aspect of worship leading loses its functionality and purpose. It is within this value that a pastoral heart becomes invaluable. “Our goal is open doors and to build bridges that somehow access the loyalties that exist in the hidden hearts of those gathered to worship.”4 In order to do this, we must be aware of where the congregation is at. We can work hard to build bridges, but without knowing where they are, we may be building the wrong bridges or opening doors between empty rooms.

Cultural connection, in practice, looks very much like a marriage between accessibility and integrity. Cultural connection, again, looks to destroy the imaginary wall between sacred and secular by maintaining a consistency that appeals to the culture. “We want to make our church language as accessible as our street language.”5 As we normally engage in culture, be it dress styles, music styles, or language, our worship should reflect this.

Kingdom expectation is the worship value that turns a song leader into a worship leader.6 Kingdom expectation “is the gathering of our energies to hope in such a way that our desires and actions become involved.”7 As worship leaders, we need to recognize that God is moving and expect His moving in His people in our times of worship. “We are invited, by God, to enter into an experience of intimacy that goes beyond the songs we choose, the music we rehearse, the dance we planned, the liturgy we constructed.”8

Personal discipleship is what allows us as leaders to lead others into the place of intimacy with Jesus. It is in this private, secret place of personal intimacy that our hearts are primed to invite others into a similar intimacy. “The state of our own hearts, cultivated over time, has everything to do with what happens visibly when our community gathers.”9 As we seek Him and invest time, “we are on a path to being formed into His image.”10 To whatever degree we are intentional about pursuing personal intimacy with God—whether from our emptiness or fullness—our personal, devotional life will be magnified when we’re leading. “Our character has a sound and a voice all its own, and is the primary accompaniment to every song we sing.”11

All of these values play together, overlapping and intertwining, to create a beautiful offering of praise. Without any of them, worship is lacking. In their fullness, they provide a sweet fragrance to worship.

1. Dan Wilt, Essentials in Worship Values, 11.
2. Ibid., 12.
3. Ibid., 13.
4. Ibid., 17.
5. Ibid., 22.
6. Ibid., 28.
7. Ibid., 26
8. Ibid., 26-27.
9. Ibid., 40.
10. Ibid., 31.
11. Ibid., 39.

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Establishing Habits

Posted on April 15, 2011 by mandybriscoe

For: Essentials in Worship Values

As worship leaders–and Christians–we know we should have a devotional life. We should have some sort of established commitment and pattern to reading the Bible and prayer.

Dan Wilt suggests that we “connect every-day, routine actions with prayer.”1 As a common example, many of us pray before meals. In my own life, I found success in praying the Lord’s prayer in the shower every morning. It was a thirty-day challenge from my pastor to pray the Lord’s prayer every day (using it as a model for prayer, rather than simply reciting it). I chose to do it in the shower. Over 200 days later, I still pray using the Lord’s prayer model every morning in the shower.

How much more often would we pray if we took these 30-day challenges and began to incorporate prayer with these routines. “We need to learn to be inspired in our every-day activities.”2 What if we prayed every time we started the ignition in our car? Or stood up from sitting somewhere. Or even every time we opened a door? What if every time we started a conversation with someone, the first step we took was prayer?

Not only would our devotional lives look different, but our relationships and conversations would begin to look different as well. “Spiritual formation is an intentional path of the soul’s development that seeks to keep one’s interior life of devotion larger, and more primary, than one’s exterior life of activity.”3 Bridging the gap between the interior and exterior life by attaching prayer to pre-existing patterns is not only a relatively simple way of being intentional, it moves towards shattering the unbiblical division of sacred and secular.

1. Dan Wilt, The Elemental Leader.
2. Ibid.
3. Dan Wilt, Essentials in Worship Values, 31.

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Expectation: Being a Worship Leader

Posted on April 9, 2011 by mandybriscoe

For: Essentials in Worship Values

I’ve heard it said a lot that God speaks all the time, we just don’t stop to listen. I’ve also often heard the story of people asking John Wimber how to grow in the gift of healing and him telling them to pray for some large amount of people (I think it was 100?) and then come back if they still had questions.

The running theme is that God is faithful to move where we give Him space to move. I think this translates to a willingness to step out, to “live out the words and works of Jesus.”1 Isn’t the converse, then, if we’re not stepping out, we don’t expect Him to move? I want my faith to be such that I expect Him in everything I do. But this obviously means giving Him the space and, really, the permission to do as He will.

“Do I personally expect that God will, in the midst of this time, meet with His people: that He will interact with us; that He will respond to us; that we will, in this moment, be drawn to Him by His Holy Spirit, active and moving in our midst?”2 Because if I do, my life should look a whole lot different.

Though this is extremely important in worship leading, I think it runs a whole lot deeper than that. This is where being a worship leader means so much more than a thirty-minute music session. This is where being a worship leader means living an exemplary life. This is a major piece of integrity: lining up our lives with the words of the songs we’re singing3. This is a piece of intimacy: tasting a little part of heaven now.4 This is accessibility: being a bridge builder and an agent of change.5

In short, this value of Kingdom Expectation is necessary to worship leading—to living a life that backs what we’re singing and demonstrates it to those we’re leading.

1. Dan Wilt, Essentials in Worship Values, 26.
2. Dan Wilt, The Worship Value of Kingdom Expectation.
3. Dan Wilt, The Worship Value of Integrity.
4. Kathryn Scott, Intimacy in Worship.
5. Charlie Hines, The Value of Diversity.

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Simplicity and Mission

Posted on April 9, 2011 by mandybriscoe

For: Essentials in Spiritual Formation

I have a lot of voices in my life right now. Most of them are well-meaning (other than, of course, the internal voices that stem from lies of the enemy), but they end up confusing me and becoming noise quite frequently. “Words without power–without the gumption of God behind them–destroy the simplicity.”1

One voice says I need to travel and get outside perspective while other voices tell me to bask in this season of being surrounded by so many people willing to pour into me. Some voices say I need to take a break–step back–while other voices offer me more opportunities. Some voices say I need to settle into a 9-to-5 job and make some money, while others say I have time and don’t need to do that yet. And those are all the well-meaning voices. I haven’t even begun to mention my own insecurities and the lies that seep into my heart and mind.

Suffice it to say, if I listen to all of these voices, I quickly deteriorate into confusion and emotional and mental paralysis. In these times, it’s absolutely imperative that I return to “living out of the vibrant center of an intimate walk with God.”2 I get away–hopefully somewhere outdoors around water or trees or both, but if need be to my bedroom or a jacuzzi or a shower–and intentionally ask God to let His voice be the only one I hear.

Jeremy Riddle’s “Full Attention” becomes my anthem: “May Your voice be louder; may Your voice be clearer, than all the others in my life”3 and I return to the place where I believe that “[I] have a strength beyond [myself] to draw on to accomplish [my] unique heroic mission in [my] lifetime.”4

1. Dan Wilt, George Fox and the Power of God.
2. Dan Wilt, Essentials in Spiritual Formation, 27.
3.  Jeremy Riddle, “Full Attention,” Full Attention, 2007, Varietal Records.
4. Dan Wilt, Essentials in Spiritual Formation, 27.

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Unique Inspiration

Posted on April 2, 2011 by mandybriscoe

For: Essentials in Spiritual Formation

“But this eternal and overflowing love does not come when I am relaxing, nor do I feel this spiritual ardor when I am tried out after, say, travelling [sic]; nor is it [there] when I am absorbed with worldly interests or engrossed in neverending arguments. At times like these I catch myself growing cold: cold until once again I put away all things external, and make a real effort to stand in my Savior’s presence: only then do I abide in this inner warmth.”1

God made us to live in His strength, function from a central foundation of time spent with Him. If we don’t know Him, we can’t know ourselves. If we don’t know ourselves, we will be insecure and unable to pour out to others. Our life of worship depends entirely on our central foundation of intimacy. “Fully alive to God, then to ourselves and others–this is a life of worship.”2

It excites me to think that He has individually and intentionally placed in each of us unique things that call us to life–that draw us to Him. Somehow, the distinctive sound of a softball landing securely in a glove or the smell of the leather and red dirt on my hands after playing is beautiful to me. Just as the sounds that come out of the grand piano in our church sanctuary are beautiful to me.

Here in southern California, we don’t have too many secluded, beautiful places. When I go to the park and find a grove of trees, my heart leaps and I feel alive.

I’m encouraged by this idea that God created us to be inspired “through things that we uniquely find to be beautiful.”3

1. Gregory of Nyssa, as quoted in Richard J. Foster and James Bryan Smith, Devotional Classics (New York: HarperOne, 2005), 130.
2. Dan Wilt, Essentials in Spiritual Formation, 20.
3. Ibid., 21.

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