Using Loops in Worship Pt. 2

Back here again and sorry it's been so long!  

Last time, I spoke briefly about using loops and Ableton Live in worship.  Obviously, loops are not very everyone, but I tried to list some pros and cons for those who are considering utilizing them in church.  

Today, I want to share how I typically set up my Ableton sessions and also discuss additional reasons why I like using it for worship.  

My Ableton Live Set-Up

Below is a picture of how I typically run a set for Sunday. As you can see, for live purposes I stick the "session" view and have all each song named on the left in an empty midi track.  

For "Hosanna" I have both keys and drum loops programmed to the exact roadmap of the song.  I also have a count-in track that's in channel 6  that will allow the band to start together and start with the loop. Each scene that I trigger is horizontal, so when I trigger the beginning of "Hosanna" the shaker starts (we use this for in-ear click) and when I trigger the next scene "Loop_Keys" and "Loop_Drum" also start. (I have the same for "Lord I Need You")

Depending on the song and the amount of flexibility I want, I can also have loops for different sections of a song (verse, chorus, bridge) rather than one file that follows a specific roadmap. Obviously while leading it can be tricky to trigger the next loop, but for an open ended roadmap (say we want to sing an additional chorus or go back to the bridge again) this can be very helpful. 

An even more open ended way of using loops is what I have for "From the Inside Out" this Sunday.  Instead of specific tracks programmed for a particular arrangement, I just have ambient pads that run throughout the song that provide a harmonic foundation and also help us transition smoothly out of "Lord I Need You".   I typically keep a collection of generic pads and percussion loops that can be utilized and modified for any song.  Ableton allows for easy tempo sync and also is able to transpose tracks to a certain degree.  

Once I have everything in it's right place as far as tracks, tempos and cues go, I can program my midi controller for live triggering.  

Typically, I use the KMI Soft Step controller (as pictured above) for trigging loops hands-free.  I'll have it set up so that button 1 starts the click for the song we're about to play and button 2 starts the count-in and loop for the entire song (or first section of the song depending on the loop).  At HFBC, we usually play an opening set, a middle set and a response song, so I'll generally switch banks for each set (using the right arrow on the right side of the controller).   Having a bank for each set we play allows me to quickly transition between songs and loops.  

Other Pros of Using Ableton

If I'm playing keys and running loops, Ableton can serve as a host for VSTs (Virtual Studio Technology).  It's nice to be able to have everything controllable in a single window (I enjoy Omnisphere, Reason, and Kontact) and also to be able to sync rhythmic patches to tempo. 

Speaking of tempo, I've also used Ableton for midi clock sync with guitar pedals (especially delays), as this saves time from having to tap in tempos every song.  I do this by running a midi cable from the midi out of my audio interface (connected to my laptop and used as the audio driver for Ableton) to the midi input of the pedal. 

Lastly, Ableton 8 has the ability to trigger videos and lyric slides in Pro Presenter (using midi over wifi) and also DMX lighting control.  Both of these are becoming easier to do and can be beneficial for multi-media sync.  

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Obviously, this is a very simplified, brief overview of how Ableton can be used in a worship band setting.  
As always, it's helpful to think through each song/transition and be prepared to use the loops in a way that would be most conducive to leading others into worship.  
Like any new instrument or technology, it took some practice and preparation to use it with fluency in a live setting.  

I hope that this has been helpful for you all and please refer to http://loopcommunity.com/training for more in depth information and resources.  

Using Loops in Worship Pt. 1

A couple years ago my friend Casey Corum, director of Vineyard Music USA, introduced me to using Ableton Live software and how he utilized loops (pre-recorded tracks) while leading worship. Since then, I've had the opportunity to integrate loops into live worship sets at Houston's First Baptist and I love using them every time I lead or play.   This is just a brief overview of why I use loops, some of the down sides of using them, my personal setup, and also some great online resources.  

Why I Use Loops

Additional Instruments 
The most obvious use of loops is to cover parts of instruments not present in your band.  This is especially helpful if you have a smaller band and want a "fuller" or more "polished" sound.  Often recordings feature instruments that most bands don't have access to (folk instruments, strings, percussion, synths, or electronic drums) that using loops can cover.  

Studio Parts
Sometimes, important parts of songs were created in a studio setting and can be difficult to perform live. Loops are especially helpful when it comes to sequenced drum or keyboard parts.  With the growing popularity of electronic influence in popular music, Ableton can be great to help establish musical style in a song.  

Consistency of Sound 
Once loops are programmed or downloaded, they'll always provide a consistent sound or texture in the song.  Pre-recorded tracks don't make mistakes (as long as there is no user error) and they'll have the same performance every time. 


Freedom for Band Members
Loops can cover foundational parts that are simple or monotonous which can free band members up to be more creative.  Often times, I'll use simple synth or percussion loops that allow the keyboardist and the drummer to cover the more important and/or complex parts in a song.  

Cues and Transitions 
If you use In-Ear Monitors, loops can also allow you to utilize in-ear vocal cues that can facilitate count-offs, song roadmaps, and quick transitions.  I downloaded all my vocal cues from www.loopcommunity.com and they're nice for "silent" count-ins and cues. 

Drawbacks of Using Loops

In-Ear Monitors / Click Track
In order to effectively play with loops it's helpful to play each song with a click track (unless all your loops contain some sort of constant rhythmic part).  Playing with a click can be challenging for some and takes practice.  In-Ear monitors are necessary as well if everyone is playing with a click track.  As I wrote some last week, IEMs can take getting used to as well and obviously take additional resources for a church to purchase and install.     

Reliance on a Computer 
Obviously, computers or software can have issues and if you're leading, troubleshooting on the fly is impossible. Obviously, a software crash is very inconvenient when you're relying on loops for specific parts and click track.  

 Additionally, the very concept of a computer playing a pre-recorded track can be the biggest drawback for some.  The tracks cannot adapt to the feel or natural growth of a song and they cannot improve upon what has already been programmed.  For some, playing alongside a computer is fundamentally opposite of what good musicians have worked so hard to accomplish.  

Designated Musician to Run Loops 
Lastly, in order to run loops live, a musician with an understanding of each song and transition must trigger them in real time.  This usually requires a musician already part of a band to split their focus between playing an instrument and loops.   In order to effectively multitask, it takes some practice and preparation.  Often, drummers are designated to run loops as they are also in charge of the tempo for each song.  However, it's probably easiest for keyboardists to trigger loops as they have free use of both hands.  

My Sunday Setup

For running loops live, I use a Macbook Air as it's easy of transport and loads programs very quickly. I always use Ableton Live, the primary and most powerful software program for running loops.  For audio fidelity, I always send the loops out via audio interface - this also allows me to send separate loop and click tracks (pictured is a Focusrite Scarlett 8i6).  Finally, I prefer to use a KMI Softstep midi controller, which allows me to trigger loops with my feet.  If I'm playing keyboard I'll often use the KMI QuNeo for triggering.  

As pictured, I've integrated my guitar setup alongside my loop setup.  For guitar processing, I use the Avid Eleven Rack which features both amp modeling and guitar effects.  I also use a midi controller for preset and effects switching with the Eleven Rack and an expression pedal for volume and continuous control of effects parameters. (Pictured is a Rocktron MIDI Mate and Roland EV-5). 


Online Resources 

When I first started running loops, online resources and information was fairly limited and unorganized and most of what I learned was through friends or trial and error.  Now, the popularity of using loops in worship has grown and along with it, the amount of helpful resources and websites.  

One of the best sites for learning how to setup rigs and sessions in Ableton is LOOP COMMUNITY.   They've made so many great videos and have free resources, I can't recommend them enough.  

Another great resource is MultiTracks, where you can download the original master tracks of a lot of popular worship songs in several different keys and even customize your mix.  
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This is obviously just a brief overview of my thoughts on using loops in worship.  I enjoy electronica music in general and I enjoy programming and experimenting with new sounds.  For some, learning a new software, creating a new rig, and trying to make it work on Sunday may seem like extra work (it is!). 
 However, if you're interested and want to learn more, feel free to message me or comment as I'm always willing to give advice! Next week, I'll talk more about how I setup a session in Ableton Live for running loops during a service. 

REPOST: Learn the Nashville Number System

A few months ago (long before I started this blog), I wrote an entry about the Nashville Number System for my friend and fellow worship leader Stephen Smith.  Learning the NNS is a great tool for any worship leader/bandleader and I decided to revisit it here on my blog today.  Stephen dishes out some great thoughts and advice so check his blog out!  (www.stephenandstar.com)

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You should learn the language of music.  For hundreds of 
years, smarter people than me have been writing about music and creating terminology in effort to talk about a purely aural experience.  This field is called “Music Theory”. I’m not here to ask you to go back and get a degree in Music Theory (I’m a huge nerd so that’s basically what I did).  

However, I AM asking you to learn a simple concept called “The Nashville Number System”.   The system’s roots are found in classical music theory, and as the name implies, it was first utilized in Nashville in order to facilitate efficiency and creativity in recording studios.    If you learn it, you too can facilitate efficiency and creativity in your rehearsals and times of worship.  


Every song you play is in a key and each key is made up of only 7 different notes.  

For simplicity sake, let’s use the key of C Major.   Here are the notes in said key:

C D E F G A B

If you’re playing in the key of C, you’ll most likely play a C chord,  an F chord, an A minor chord, and also a G chord.  The Nashville System gives a number to each chord used in any key.  For example, the C major chord will be called “1” and the F chord will be called “4” and the A minor chord will be called “-6", as seen below, etc.

C   Dm Em   F    G   Am Bdim
1    -2    -3     4   5    -6    7dim

This is the fundamental concept of labeling chords using the Nashville System.  As you can see, we use a minus sign “-“ to denote a minor chord (flat third) and “dim” for a diminish chord (flat third and flat fifth).  If you want to know more about what a “flat third” or “flat fifth” really means just Google, “Chord Theory”.  

For practical application, it’s best to start by learning all the 1, 4, 5, and -6 chords, in several keys as these are most commonly used chords worship music.   Here’s a list: 

1 4 5 -6 Chords 

Key of C :  C   F  G  Am
Key of D:   D   G  A  Bm
Key of E:   E   A  B  C#m
Key of G:   G  C  D Em
Key of A :  A  D  E F#m
Key of B:   B  E  F#  G#m

For chord inversions or “slash” chords such as C/E, we simply write it as 1/3, (You can say “one over three”).   

For some more practical application let’s take a really common chord progression is C  |  G  |  Am | F (“With or Without You” aka “Blessed Be Your Name”) and with the Nashville System we could write it as: 

C    G   Am   F  
1    5     -6     4 

One of the primary benefits of the Nashville system is the ability to transpose songs to a different key very quickly.   We can easily plug in the numbers and transpose “With Or Without You”/”Blessed Be Your Name” to the key of A Major.  The progression would then be:  

Key of C:     C   G   Am    F
Numbers:    1    5     -6    4 
Key of A:     A   E   F#m  D

This comes in handy if you’re a guitarist and use a capo or if you’re just wanting to find an easier key to sing a song in.  

Another benefit of the Nashville system is being able to quickly communicate chord changes to your team.  Numbers are easier to understand in a loud rehearsal and you can also throw up some hand signals to let your band know which chord you want to go to next (especially helpful at the end of songs). 

Things to practice: begin thinking of chords as numbers while you play, memorize the list of chords above from common keys, transpose as many songs as you can into several different keys, learn which notes are flats or sharps in any given key (called Key Signatures or Circle of Fifths), learn how chords are built, if you play guitar, practice a song with a capo in different places or without one, and finally, teach someone else the system once you get the hang of it.

In-Ear Monitors: How to Get a Good Mix

Took a week off - back in the practical saddle again! 

I want to give a few tips about In-Ear Monitoring (IEM) mixing this week.  

 A lot of churches have switched from floor wedge speakers to In-Ear systems in order to cut down on stage noise (giving the sound engineer more control and flexibility for front of house mix).  Additionally, with the popularity of the Aviom system, musicians are able to create their own custom monitor mix.  

In-Ears can take some getting used to and getting a good mix can be challenging at times.  Obviously, the number one goal is to be able to hear yourself, but in order to achieve the "live" feeling that you may be used to and work together as an ensemble, it's nice to be able to hear others as well.  

To try and help church musicians I've created a short, step-by-step process that I've found works best.  

1.  Plug into the monitor system.  (Don't start turning things up before you listen to your mix!)

2. Make sure the master volume is around noon or one o'clock and all EQ at noon.  

3. Bring up your instrument or voice to around 50-75% or until you can hear it comfortably

4. Turn everything else all the way down

5.  Play through a song and bring up other instruments only if needed and just enough for you to hear them

6. Save your mix! 

The truth is, it may not be necessary to add some of the other instruments either because you may not need them in your mix, or you may be able to hear them live due to proximity and/or stage volume.  

Panning 

For additionally clarity, it's helpful to pan instruments left and right especially if there are multiple players on a similar instrument.  Generally, it's good to have your own instrument "center" or not panned along with the bass and drums as they're the rhythmic foundation.  However, it can be beneficial to differentiate between two acoustic guitars or two keyboardists by panning them left and right.  What's also helpful is experimenting with varying degrees of panning in order to achieve even more differentiation.   

Bonus Tips

Get good, isolating In-Ear monitors.  Isolation will cut down on the amount of stage or ambient noise you hear and allow you to have more control over your mix.  Custom molds are best as they are designed for your unique ear shape.  

Use BOTH ears all the time.  It can be tempting to go "one ear in and one ear out", especially if you sing.  However, using only one monitor can lead to permanent hearing damage as it encourages higher sound levels.   To achieve the sense that you are hearing your voice "live", some systems allow you to add reverb to your voice or you may want to add an ambient mic(s) in the house.  

Turning down is more effective than turning up.   If you're having trouble hearing yourself, turn something else down!  Turning a channel up can often begin chain reaction in which everything keeps getting turned up.   Once you begin to turn others up, it may inhibit you from hearing yourself and can lead to an extremely loud, unhealthy In-Ear mix.  
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Finally, it's important to realize that your instrument or your voice won't always sound exactly the way you want it to through IEMs.  Realize that your comfort and personal preference are secondary to the overall mix and be confident in your sound and your playing.  Lastly, speak with the sound engineer only if you think something is really wrong with your system.  

I hope this was helpful for you today!  Feel free to add comments, ask questions, or share from your own experience.  Thanks for reading.  

Life, Music, and Worship

This post will be filed under the "non-practical" category, but I hope that you find it interesting and informative.  I appreciate all of you reading this blog and I couldn't have imagined all the cool conversations, encounters, and even changes that have happened because of what I've discussed.  

Today, I want to share with you a little bit of where I'm coming from when writing all this practical advice.  The foundational motivations for all of the things written here is important to understand, especially when it comes to musicianship and striving to be a better musician.  

I've spoken with some who have expressed fear about focusing on musical excellence - that by embracing or striving to improve musically, one might become too "performance driven".  I'd like to examine what it really means for me to worship and to use music as a tool to worship.  Again, this is probably more philosophy and theology rather than practical advice, but some of you are nerds so you might enjoy it.  

Worship through Life (Music as Work)

I had the privilege of studying music composition at Houston Baptist University (I have very little school spirit, but I'm grateful nonetheless).  Through the collegiate experience, I became very aware that writing, performing, and even listening to music is a complex skill.   I came into contact with many talented Christian musicians and teachers who had spent their entire lives devoted to refining the craft and talent they'd been given. 

 Through that experience and those encounters, I realized that excellence in music is both hard work and also worship to God.  I began to view everything I did as worship to Him - whether that meant practicing guitar, doing theory homework, or researching for a history paper.  My perspective and my motivation were forever changed.  Worship became my life. 

The Apostle Paul writes about this in the book of Romans, chapter 12: 

So here’s what I want you to do, God helping you: Take your everyday, ordinary life—your sleeping, eating, going-to-work, and walking-around life—and place it before God as an offering. Embracing what God does for you is the best thing you can do for him.  

David Crowder calls it, "...a perpetually sacred acknowledgement of the Giver of every good thing (Praise Habit)." 

It still is hard for me to comprehend that I get to play music all the time.  Although it will never be just a "task" that I have to accomplish, being a musician is often hard work. In my work I seek to honor Him, to invest the talents He has given me and bring only my best in my everyday life of worship.  

Worship through Song (Music as worship)

The amazing thing is, we get to use music as worship to God in a unique way.  Through the lyrics of songs we declare truth, remember His word, remember His faithfulness, express our gratitude and our surrender, cry out for help, lift up praises to Him - the list could go on for a very long time.  Music is an amazing vehicle through which we can express what we know and how we feel.  

Martin Luther writes in his foreward to George Rhau's Symphoniae incundae - a collection of chorale motets, published in 1538:  

Next to the Word of God, the noble art of music is the greatest treasure in the world.  It controls our thoughts, minds, hearts, and spirits...This precious gift has been given to man alone that he might thereby remind himself that God has created man for the express purpose of praising and extolling God.  However, when man's natural ability is whetted and polished to the extent that it becomes an art, then do we note with great surprise the great and perfect wisdom of God in music, which is, after all, His product and His gift...

In leading worship, my only goal is to direct attention to the Lord and His word.  As a musician, I don't want anything that I do to distract from the truth being sung.  This mindset of "directing focus" is the reason for every decision I make - the songs I choose, the keys each of the songs are in, the way I play an instrument, the tones I use, the way I sing,  the way I speak, the way I dress, etc etc.  If there is anything that doesn't direct focus to Christ, I don't need to do it during a service.  Although I may work hard to play or sing well, I do it in order to more effectively direct focus on Him.  

I've also found that directing attention is best done when I'm well prepared and proficient on my instrument.  The better I am at playing/singing, the less I need to focus on musical execution and the more I can focus on leading worship, connecting with others, and being open to the direction of the Holy Spirit.  

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Let me close by saying that I believe the Lord uses each of us in our weaknesses and it is only by His grace that we can accomplish anything.  We are all at different places musically and have been blessed with different skills and opportunities.   Thankfully, He accepts our praise as long as we bring our best and do so with humble hearts. 

To summarize, I started this blog so that we may strive for excellence in humility.  May we become more refined and effective tools for His glory.  

Again, these are just my thoughts and what I've learned from my experiences.  Feel free to comment, give input or leave feedback!  

Know Your Role: Musical Development Pt. 3

Today, I'm continuing the discussion on some specific musical roles in a worship team.  Last time, I talked about the roles of both drums and bass with help of some friends of mine.  Now, we'll discuss bass, electric, and acoustic guitar and I have some special guests on the blog once again! 

Bass

source: Wikipedia

Bass, in my opinion, is the second most important instrument in a band!  I asked my friend Aric Nitzberg to share some of his thoughts on the role of a bassist.  Aric is an experienced player, (one of the original members of the CCM band Caedmon's Call), proficient in various styles, and plays both electric and double bass.  

Rhythm
Alongside drums, bass is the rhythmic anchor for the band. Aric writes: 

It is important to play with good rhythm and feel. Bass part integrate closely with drum parts, so I always pay attention to what a drummer is playing, and make sure my parts work with the drum parts.  

It's good for bassists to keep an open line of communication with the drummer during rehearsal.  If you play bass, don't be afraid to ask questions and to work out rhythmic details before a service.  If you're a band leader, be familiar with the primary rhythmic patterns of each song so you can give guidance if necessary.  

Harmony 
The most important role for a bass is providing a harmonic foundation for the band.  Aric states:

As harmony builds from the bottom up, the bass notes I play are important to the overall sound of the band.  The bass also helps to define the harmonic structure of the song, so it is essential that I understand what the song form is and where and when the changes occur.   As worship leaders are sometimes inspired to change the song structure in the moment, I also need to be ready to change with them.  

If you play bass, it's good to learn about the basic function of harmony and harmonic progression.   The listener's ear will automatically fill in harmonic content from a single note and thus the implications of each bass note are critical to establish and maintain the key.

Dynamics
Finally, bass can have a tremendous impact on the dynamic growth of a song.  Nitzberg writes:

I need to be sensitive to the various sections of a song, when it is loud, when it is soft , when it builds. Dynamics play an important role in setting the mood of a song or section of a song, whether it is loud and celebratory, or quiet and reflective, or any number of other moods.

Because of the resonant nature of low frequencies, bass can easily be felt and heard in a large ensemble.  Bassists can contribute to dynamic growth through resting, building or softening their playing level, and by using a higher or lower register on the fretboard.   

Electric Guitar

source: Wikipedia

In a band setting, electric guitar's biggest role is to contribute texturally.  Texture is created by  playing in the appropriate style and using appropriate tones.  

Texture via Playing Style
For musicians who are used to playing a particular genre of music in church, knowing how to fit in stylistically is typically not a challenge.  However, if one is new to playing in church or is unfamiliar with the nuances of a particular style of music, fitting in can be challenging.   My friend Chris Wilson plays electric guitar with me every week and does a great job every Sunday morning.  In regards to style, Chris writes: 

You may have no need or desire to spend time learning how to play different styles or techniques, but when those styles/techniques are a part of a future set, you're gonna be wishing you did! You can either invest steadily now, or pay big time later. Also, don't be afraid to broaden your horizons to other styles outside of Christian music. 

This a great challenge for those who are just learning or already proficient in playing guitar.  Knowing the style is the primary goal of a guitarist regardless of skill, experience, or creative level.  

Texture via Tone
The sonic abilities of electric guitar allow it to produce a tremendous variety of sounds. An electric guitarist can contribute to both dynamic and textural growth by changing and manipulating tone in real time.  Chris writes: 

One of the most important traits of a good guitarist is that they know what tones their gear is capable of producing. Not only that, but they know how to quickly recall those tones on the fly. It doesn't matter if you have the most expensive/flashiest gear in the world, if you can't make smooth, musical transitions between tones, you're always going to sound disjointed as a player.

 Plan all your tonal transitions ahead of time and understand the textural nature of each song.   Use tones that are appropriate for the style of music you're playing.  Finally, be aware of what type of sounds other players are using so you don't clash with them.  

Lead
Electric guitarists are also often required to play specific lead parts in a song.  Chris writes:

Remember that there are other people on stage playing with you, and they're counting on hearing those signature parts. Improvising is fine (and it's key to being a good lead electric), but know when it's appropriate, and when it's not. 

Lead guitar parts for worship music may seem simple and almost unmemorable for a skilled guitarist.  However, most lead parts are intended to only add to the overall feel of the song, rather than draw attention to the guitarist - this does not mean they're not important and don't serve an important role.  Remember that it's each instrument's job to accentuate and support the words being sung.  

Overall, the electric guitar is simply "icing" on the cake  - the finishing touch on top of a musical foundation.  As a guitarist, it's easy for me to believe I'm "the cake" and in charge of providing the majority of the accompaniment or lead parts.  However, electric guitar is often just a small component in the overall musical texture. 


Acoustic Guitar

source: Wikipedia

Rhythm
Acoustic guitar is an extremely rhythmic instrument and when playing in a full band setting, the acoustic guitar's percussive qualities are often what contribute the most to the overall sound.  It's good for acoustic guitarists to: practice keeping good tempo, listen to what the drums and bass are playing, be intentional about what kind of strumming patterns are used and make sure they match the meter and style of the song.  

Texture
Acoustic guitarists can also have an impact on textural development.  Find songs, or moments in songs, to rest or switch between picking, strumming and finger picking.  Texture can also be changed depending on the register of the chords played.  Learn different chord voicings and use a capo (especially if there's another acoustic guitarist playing as well) to create textural change.  

Harmony
The most obvious function of acoustic guitar is to provide harmony. Because of the simplistic timbre of the instrument, complex chords ring out clearly.  However, it's good to find specific chord voicings that will fit well into the mix depending on the song and the other instruments present.  Finally, be sure to always tune, check open strings between songs  and always re-tune after adding a capo.  (Most capos tend to overly tighten certain strings, pushing them slightly sharp.)

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Lastly, here are a few things that knowing your role in a band is NOT: 

- Knowing your role in a band does not mean that you can't be creative.  Being able to adapt and react in real time is always necessary for good musicians.  

- Knowing your role also does not mean you cannot be assertive in playing.  I've spoken a lot about blending and staying within your bounds musically.  However, within structure there is great freedom and every instrument plays a vital role.  It's important that each musician to take ownership of their part and see themselves as leaders within the band.  

- Knowing your role does not mean you should focus on your part only.  It's healthy to be aware of the responsibilities of other instruments as you may take cues or react to their playing.   It's especially good to be aware of each song from the perspective of a worship leader.  

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I hope you've found some useful advice here today.  Feel free to comment or discuss! Thanks for reading.  

Know Your Role: Musical Development Pt.2

Last week I wrote about some elements that are important in creating musical development.   Development is the means in which we cultivate interest and emote responsiveness from those listening.  

Today, I'd like to discuss the importance of knowing and understanding one's musical role in a worship team.   Each musician's role may vary depending on the instrument they play, the arrangement of the song, and the other instruments present.  Musical development can only occur when everyone in a team plays their role. 

For musicians to know and play their role well in a worship team, it takes both preparedness and humility.  
- Preparedness begins with the bandleader effectively communicating what’s expected for Sunday and then each musician taking ownership of their part in practice and preparation.  
- Humility is seeking to do what’s best for for the team and leading others in worship rather than playing to the fullest extent of one's skill or creative level. 

For the bandleader, it's important to be aware of which role each instrument is providing.  Today, I won't discuss all the instruments in a typical worship team, but instead focus on two of the most important.  I've also asked a couple of my musical peers to contribute their thoughts as well.

Drums 

Source: Wikipedia

Maintaining tempo is obviously the primary goal of the drummer/percussionist.  However, my friend and fantastic drummer Johnny Simmons has some great insight about why it's so important for drummers to keep time: 

       I like to say I'm in charge of where the words go. I have to define the time in such a way that 2000 singers can naturally feel where each syllable of the lyrics falls. Of course I do the same for the band with note placement, but my main concern is the singing.

This is a great reminder that as a band, rhythmic accuracy is necessary not only for instrumental unity, but also for ease of singing.
     

Secondly, drummers must establish and maintain the "groove" or rhythmic pattern in each song.  The groove will determine musical style and unify the rest of the rhythm section. 

Finally, drums are key in dynamic growth.  Johnny writes: 

I can provide a vehicle for the worshiper to invest emotion in his singing through dynamics, rhythmic complexity ("complex" does not NECESSARILY mean "busy") and the judicious use of fills.

Drums are the most obvious when it comes to growth in volume, but as Johnny states, it's important to be judicious and to shy away from being "busy" so as not to distract from what's being sung.    

Keys

Source: Wikipedia

For most styles of worship music, keys are critical for both accompaniment and lead parts.

My friend Ben Sieben is a highly skilled keyboardist who studied piano on a graduate and post-graduate level.  I get to play with him every Sunday and he does a great job in filling his role as a keyboardist/pianist within a band setting.   Ben writes: 

As a keyboardist in the supportive role, I see value in blending, often to the point where my instrument is hardly noticeable, but is still contributing to the sound of the band. Also in that supportive role, it's my responsibility to be aware of what's happening around me.

In order to blend, I would advise keyboardists to stick to simple accompaniment patterns and to be discriminating when selecting which sounds to use.   Often times, worship songs in pop/rock genres feature organ or synth parts that may feel simplistic to skilled musician, yet they are critical in creating an appropriate texture for a song.  As keyboardist, do not to underestimate the role of these simplistic parts as they often act as a "glue" that brings the instrumental texture together. 

Many proficient keyboardists have studied classical piano and have the ability to cover bass, harmony, and melodic parts simultaneously.  However, when functioning as part of a large ensemble, it's important to stay away from playing parts already covered by other instruments.  Sticking to one part may feel very restrictive if one is used to being a self-sufficient accompanist (it's easy to add a lower bass line or double the melody).   However, when anyone steps out of their musical role, they are inhibiting someone else from fully embracing theirs and are not contributing to musical development. 

In addition to accompanying, keyboardists are often required to play a "lead" or signature part of a song.  It's very common for songs to feature a recognizable melody or arpeggiated piano pattern.  In regards to playing lead, Ben writes: 

When a song calls for the keyboard (usually piano, in this case) to take a more primary role, "what I actually play" becomes much more important. If it's an introduction to a song, worship leaders need me to be specific with my melodies, and sometimes even chord voicings, in order for them to feel comfortable.

Ben makes a great point - even while taking on a lead roll, it's still an instrumentalist's job to support what's being sung.  

My final word advice to keyboardists would be, lead from a place of simplicity and tastefulness.  Be intentional in your playing and the sounds you choose.  Lastly, be willing and able to switch from being "the glue" that holds the texture together to the instrumental leader.  

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Once again, for any team member to fill their role both preparedness and humility is required.  Each of these comes from decisions that we all make on a daily basis and each requires a certain level of self-discipline.  No matter which role you play, take ownership of your part and hold yourself accountable for it.  Humble yourself and know that He is the one who gifted you with talent and it's by His grace that we freely enter into worship.    

Next time I'll discuss the other instruments in a typical band and singers setup, so be looking for that! 

Once again, thanks for reading and I hope this is beneficial to you.  Feel free to comment or send me a message thesamjones (at) gmail (dot) com.