Sunday, October 19, 2008

Birth Announcement!

Greetings!

I haven't posted lately and here's why:




















Ian Andrew Johnston
is here! He was born in the early morning hours of Sunday, October 19, 2008. He weighed 8lb 8oz and was 21 inches long. He was born super fast...the doctor broke her water at 2:16am and he was born at 2:30am. This is our third child. We have a son named Asher (almost 4 years old) and a daughter named Claren (2 and a half).

Life is precious and sweet. God is good! Oh, by the way, I think I'm overdue to write a review of my new guitar (Taylor T5-S1). I also came across some more great free resources that I'll pass along. But for now, I'll spend a few days welcoming Ian into our home.

Be blessed!
Andy Johnston, the Facilitator

musicsharegroup@gmail.com
http://musicsharegroup.blogspot.com
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Tuesday, September 9, 2008

Thoughts on Songwriting, Songwriting Success by Billy Foote

Greetings!

Thoughts on Songwriting
I've had a desire to write songs since I started playing guitar.  In fact, songwriting is a foundational part of the inspiration that led me to learn guitar.  I saw two guys playing guitar and singing an original song at Palmetto Boys State in the summer of 1997, and something within me grabbed hold of that image and said, "I want to do that...I will be able to do that one day!"

Like most creative pursuits, my songwriting seems to come in fits and starts.  Sometimes I try and try and try and don't really come up with much.  There are other times that I am not even thinking about trying to write and I just begin to dwell on an idea about God or a musical thought.  Before I can even really grab a pen, a song is there.  Most of the time, it's a balance between the two approaches.  There is rarely an inspired musical idea that is "ready to go" without some effort to refine it.

I've been blessed lately to have written two songs that our worship leader has pulled into circulation at church.  I'm starting to develop sort of a "reputation" as a songwriter, and it's quite uncomfortable to me.  I mean, I really like being a part of fleshing out a new creative expression of God's glory, but occasional creativity often brings with it an implicit expectation that it should be more regular.  I aspire to that, but I don't feel all that much in "control" of the creative flow that results in my songwriting.  Maybe that's a copout, maybe it's truth. You decide!

At any rate, God is worthy of our songs.  He doesn't need them, but he enjoys them and chooses to work in people's hearts through them.  It's a sovereign act of His grace that he allows us to be a part of the process.  I was encouraged when I read an article by Billy Foote and I wanted to pass it along.

Songwriting Success

by Billy Foote

Songs for worship have never been more popular than they are today, but the secret to true success isn't on the radio or on disc. It's runs deeper than that.

When it comes to songwriting, I must begin by saying: God does not need any of our songs. He is not waiting for one of us to write the song that will signal the second coming, but He is worthy of our songs.  He is worthy of songs that remind us of who He is, what He has done and what He is going to do. He is worthy of songs that encourage the Church and tell of His greatness.

There are over 100 references in the Bible about singing to the Lord. I would encourage you to read Exodus 15:1-21. It is the song of Moses and Miriam.  Some scholars believe it to be the oldest song on record.  Of course, there are many references in scripture that exhort us to sing new songs. Psalm 33:3 says, "Sing to him a new song; play skillfully, and shout for joy."  Psalm 95:1-7 gives a wonderful invitation to worship the Lord. Psalm 98:1-9 is a song of God's victory. All of these songs praise God for who He is and what He has done. They paint a large picture of our God.

I am blessed to know that God has not lost his ability to inspire new songs in the hearts of his people.  He moved on Moses; He put songs in the hearts of writers such as Fanny Crosby and Charles Wesley; and He is still moving in people like you and me. Praise the Lord for his never-ending power!

As we look at songwriting, I believe there are three important questions we must ask ourselves:

1. What is our motivation?

Worship music has never been more popular than it is right now. It has given quite a financial boom to the Christian music industry. In light of that, it is certainly fair to ask what motivates us.

Remember the story of Annanias and Sapphira in Acts 5:1-10? Annanias sold a piece of property, brought the money to the apostles and said they were giving the whole amount to the church. In reality, they were keeping some of it for themselves. They could have kept it all, but they lied to God and His people. Have you ever wondered what motivated them to lie? Pride? Recognition?  Glory for themselves? We do not know exactly what their motives were, but we do know that God killed them for their actions that day.

Now, don't get me wrong. I am not saying that God will kill those who are writing songs with wrong, self-seeking motives. I am suggesting something even worse. If our motives are not pure, He might just remove his hand from the talents and gifts that he has given us. He might just leave us to our own devices with powerless songs that lack the authority that only He can give. He will not yield his glory to another (Isaiah 48:11). Our songs must be for his glory alone.

2. What makes a good song from a theological or Biblical perspective?

A lost person who comes to our worship services will more than likely hear two themes in our songs: God is love, and God is Holy. Of course those are true statements, but He is so much more.  I could go and find a secular, godless band and ask them to write a song on God's love, and I bet that they could come up with something. They could just think about their wives or girlfriends and use God's name instead. I do not take lightly the love of God. I even wrote a song called "You Are My King (Amazing Love." But God is so much more than love.

Do our songs accurately represent the attributes of God?  Do they give us a bigger picture of who He is?  There are so many subjects we can write about.  We all hear songs about the grace of God, but what about a song that declares that grace teaches us to say "No" to ungodliness (Titus 2:11-12).  What about songs on the Word of God, the power of God (Psalm 68:32-35), the sovereignty of God, songs that declare we are no longer enemies of God (Romans 5:6-10). Even more, songs that remind us of the great commission would honor the Lord.  Let me take a moment to point out to all of us that Jesus' last words on earth were, "Go into all the world and preach the good news to all creation" (Matthew 16:15).
        

3.
What kind of preparation should we put into songwriting?
Some writers write from an emotional perspective, but our feelings can change from day to day. Who God is never changes. When you sense a song welling up in you, do you simply write down everything that comes to mind or do you also make time for study on whatever subject the song contains?  As I write this article, I am in the middle of working on two songs. One is on the power of God, and the other deals with the fear of the Lord.  At this point, I am not writing lyrics. I am researching the scriptures anywhere the power or might of the Lord is mentioned. I'll do the same regarding the fear of the Lord. The truth is that I might not ever write a song on either subject.  If I don't, that will be fine. I will have a better understanding of the power of God and deeper insight into the fear of the Lord.  If I do write a song on these subjects, I will most definitely have the authority of the Word of God behind these songs.  Let us continue to use our God-given talents to paint pictures that give glory to a great God.

In closing, I want to encourage those of you who are reading this article to keep writing. It is easy to get caught up in what songs are on Christian radio and CDs and feel that those are the only ones that matter. Many of us have songs that may never be picked up by other bands or Christian labels.  Some of us will write songs that we alone will sing to God.  Still some will write songs that only their local church body will use.  But let the "success" of our songs be measured by this: Do they bring glory to God?  Do they accurately represent His attributes?  Do they encourage and teach the Body of Christ? That's all.


Be blessed!
Andy Johnston, the Facilitator

Email: musicsharegroup@gmail.com
Blog: musicsharegroup.blogspot.com

Thursday, September 4, 2008

Musicademy's September 2008 Newsletter


Greetings!

This info is just too good not to pass along. Musicademy is a worship music training organization with some great people and some phenomenal products. They publish a monthly newsletter that is chock full of tips, tricks, and material to help you become a better musician, especially in a worship setting. Below is their September 2008 newsletter. I hope you enjoy!

Be blessed!
Andy Johnston, facilitator

musicsharegroup@gmail.com
musicsharegroup.blogspot.com

Dear MusicShareGroup,

Welcome to the September Musicademy Newsletter.

In this edition:

Ask the Expert – What to do when there is no musical space

Stephen Miessner from the US emailed to ask “What do you do when you're the keys player and there isn’t room for you in a song?”

Andy answers: Firstly I’d ask why isn’t there room in the song. Is it written in a way that is very guitar led so doesn’t work well for keys? Or is it actually that everyone else is overplaying and therefore there is no room left for you. If the second, then maybe don’t play in that section (its great that you are developed enough as a musician to be hearing that there is no space – so get out rather than adding to the mush). If there are too many instruments and everyone is just playing too much then as a band you need to work on the arrangements so that everyone creates some space and compliments each others’ playing – look back through our newsletter archive for some input on that. Communication and honest feedback is key here so that the band make space for everyone to contribute.

Its lovely when there is space for the keys player to work in some riffs, fills, passing notes and the like, but if you have lots of other musicians and vocalists all trilling and frilling its going to be a lot better if you refrain from adding to the “extras” mix and instead look to add in a textural layer.

Secondly the lack of ‘space’ may not be to do with general busyness but actually a lack of integrated grooves. I’ve often played in situations where the drums, keys and bass are all playing slightly different pushes and accents and it all just sounds like a bit of a mess. So again the key is to simplify but to get everyone to understand that they need to play together as one unit and not as a bunch of individuals.

If there is a still lot going on rhythmically there are some practical simple choices you can do to make it work:

If it suits the song a great choice is to use a Hammond organ sound. It works well with electric guitar driven songs and is the sort of sound you can hold long, vamped notes with minimal chord movements to create an overall sense of force and adding behind the rhythm but not clashing with it. Almost think of the sound like a backing vocalist singing long flowing notes to add to the harmony and using your draw bars to add vibrato.

Another obvious solution is strings and pads which will just add a textural layer. If you are using strings, be careful not to play full chords. It will sound more authentic in octaves or single notes. Again play using long notes with minimal changes or if you want to play more rhythmically focus on the groove and play a repetitive motif but try to again use minimal movement and note changes.

You can do something similar to Hammond organ with pad sounds but do make sure you are using a “quality” pad sound. A cheap and nasty keyboard an often give cheap and nasty sounds. So think about the type of song and a sound that works well with it – is your pad sound suitable for its style? For instance, if the song is fast and drives along, a pad may sound too sweet and sugary and would be better used in something more delicate.

Lastly, pads can be a bit like guitar effects, they sound great in the right place, but if you use them all the time you are going to give your congregation ear fatigue.

All the best with working this all out. Our experience with the live worship band training seminars that we run is that generally everyone is playing far too much, far too loudly, all the time. Focused work on dynamics, arrangements and honest feedback is the place to start and if you don’t have the skills in your band to lead that then maybe look to get some help from a really experienced musician who can identify the specific problems.

Ask the Expert – How to maintain a flow of worship

Chief Allan Hewey from Maine emailed us asking for advice on keeping the worship momentum going. He was particularly looking for some practical tips to keep the congregations’ focus heavenward.

This is a really interesting question and in unpacking it we need to consider how different churches approach this – it can be a very “culturally created” approach. For instance, the Vineyard and Soul Survivor will have typically an intensive worship time where the musicians will flow fairly seamlessly from one song to the next with very little in terms of spoken word or discernable gaps. Contrast this with a Baptist church where we were recently teaching. The (non musician) worship leader would introduce a song with almost a mini sermon, or certainly a verbal reflection on the lyrics. The band would then play and the worship leader would then verbally reflect again on the words, perhaps within a prayer before introducing the next song.

Either approach, and the many options within that spectrum can be equally helpful or unhelpful. It depends on what works culturally, and what is helpful to your congregation in drawing them closer to God, much of which will depend on what they are used to. We all tend to fall back on the familiar so it might be helpful for worship leaders to deliberately try a different approach from time to time perhaps learning from other church styles. Remember that people take time to adjust to change so you may need to try it a few times for people to get used to.

The key thing is to be aware of what you are trying to achieve. For many, a ‘time of worship’ is really like a musical based mediation where the act of engaging with a song’s lyrics helps people focus their thoughts, desires and prayers towards God and disengage from the myriad of other things going on in their brains. So therefore would repeating a verse of a song become boring or actually help people get a hold of the lyric? Would a prayer between a song help articulate people’s worship or distract them from participating? Would a faster song help them release the joy they are feeling towards God or would it make them feel like they are being ‘wound up’ when they want to be still and listen? Would silence allow people time to prayer in their minds or would it be uncomfortable? Would playing very loud put people off or cause them to move, dance, sing etc in an abandoned way? Would reading out a liturgy together with as much gusto as the congregation could muster be releasing and help people get excited about their faith or would it be cheesy and awkward? Would segueing between songs bring excitement as worshippers discover the songs meaning in a fresh way or would it make the whole set feel like one long boring, mid tempo song? Would reading a poem help bring a sense of community offering or would peoples minds wander as they couldn’t join in themselves?

For any of these the answer could be either depending on your congregations demographic, what they are used to, how often change is introduced, whether a different artistic expression seems new or clichéd, even the time of the day and how awake they feel!

So therefore don’t be afraid to try new things, but also don’t assume that an expression that went well last time will work every time. So you do need to look, listen and try to intuit how the congregation is responding and act accordingly – the job of the artist! But don’t be afraid to have a go! Mix it up; see how your congregation responds. Try to help them come off autopilot and realise that TODAY we are worshipping. Just don’t fall into the rut of doing something because ‘that’s what we always do here to worship’

Let’s look at some practical tips:

You can use different song tempos and speeds to help people engage – choose songs that flow well from one to another in terms of tempo or mood – Any sudden changes can throw people – which may be exactly what you want to do.

Say you don’t have the most technically competent band, they all need to have a chord chart, and are all quite nervous of improvisation and moving seamlessly from some to song. What can you do to help?

Firstly, you will need to work out and practice the segues in advance, its less likely to go wrong if you are following a formula that’s been rehearsed. Yes, it may not feel very “spirit led” or improvised, but it will be a chance for your novice musicians to learn and develop. The crucial thing here is to rehearse again and again, the junctions between the songs. They are the tricky bits so rehearse them lots more than you run through the full song.

In terms of keys it will help if you choose songs in the same key, or a key that you can flow easily into.

Some advice on keys:

  • You can choose a song selection where the keys increase (get higher) to give the set a sense of lift and momentum.
  • Conversely you can drop a key (hymns often lend themselves to drop a tone for a verse and then come up again - this works well for a hymn like Crown Him with Many Crowns where you create a nice sense of tension and release).
  • Dropping or raising a tone and singing with more gusto will add nicely to your dynamics and flow
  • Moving in fifths, for instance moving form a song in E to a song in B, feels quite natural, however the skill if you are keeping playing (i.e. not stopping) is to modulate into the new key so that your congregation have a sense of the new root note. There are lots of ways of modulating into different keys but an easy way is to use what is called a 5-1 cadence – this means that whatever key you go into you play the fifth chord in the new key just before you start on the root chord. So, for instance, in the Key of E if the song finished with the chords A B & E, and you wanted to go into the key of B, you could play A, B E then play the fifth in the key of B which is F#maj and then the B – this will give an audible cue that the song has modulated into a new key.

Four words of caution:

  • The first chord in the song is often but not always the root note! Go to our article from April 2007 for advice on working what key a song is in.
  • If you are changing songs into new keys to better suit your flow, then do make sure that a) your musicians are all aware of the new key and b) that the top and bottom ranges of the song are still singable. And do check them out in advance, even if they are singable, not all songs work well in every key
  • If your intention is to move seamlessly from one song to another, its not going to work if you are needing to put a capo on or wait for your keyboard player to hit the transpose button – so make sure you can all play in the key its written inIf your musicians are using chord charts, make sure they have them laid out side by side on their music stands so you are not interrupting the flow scrapping through reams of paper.
One other suggestion on helping with flow is to introduce some “bridges”. There are sections of songs (such as the chorus from the Hillsong song The Stand) which dovetail well into all sorts of other songs. Again, just adjust the key of the bridge song to suit the original. You could bring in elements of old hymns – the chorus from Oh Come All Ye Faithful perhaps. These are well used examples but keep your ear out for sections that you could lift to bring new life to another song. And take notes from other worship leaders you may see at conferences – those song choices and sequences can feature in your future set lists too.

    Guitar Styles - Hendrix Double Stops

    This month we’re going to look at probably my favourite playing style, which is called double stops. Double stops means playing two notes at the same time and was employed to great effect by a certain Mr James Hendrix. Hendrix is known by non musicians for his wailing solos but this style used on gentler songs like Little Wing and Castles Made of Sand is perfect for playing in worship settings.

    The easiest way to understand double stops is by fretting a chord and playing any two adjacent strings. Then as the sound rings, use a spare finger to fret another note in the key on at least one of those strings. If you can add hammer-ons and pull-offs it will add to the overall texture too.

    The key to this style is to think of it as lead guitar but using chords as a base rather than scales. It works very well with the CAGED system I talk about in the Intermediate Guitar DVDs but even if you’re not familiar with that you can still get some good results from a couple of basic shapes.

    To demo this we are going to play some licks around an E chord. Barre your index finger across strings 1-5 at fret 9 leaving the low E open. Now place your ring finger on the G string (3) fret 11 and play the two middle strings. The combination of pulling that third finger on and off will give you the notes of E, F# and B.

    chord01

    The same can be done for any other note in the key of E using this same shape, so keep your index finger at fret 9 and play any of the other notes marked with a red dot. Try any two adjacent strings and see what results you get. It will work particularly well if those red dot notes match up to any of the notes in the chord you are playing over. You are doing what’s now known as little winging it.

    chord02

    Even though we are in E this shape is based around the G shape in the CAGED system so bringing the barre up to fret 12 will help you play around in G, fret 7 will be D, fret 5 is C Fret 2 is A and so on. So give it a try.

    For the minor chords start off by using an Em minor barre chord up on the 7th fret which is an Am shape. Start again by playing any 2 strings and take on and off fingers 2, 3 or 4. So really any finger apart from the barred index finger. Next use any free finger to play other notes in the key of Em as outlined in red. Once again find other minor chords by sliding the barre up and down so Dm is fret 5, Bm fret 2 etc.

    chord03

    So, if you are playing lead guitar this is a great textural alternative to using pentatonic scales which can sound pretty ‘widdly-widdly’ in the context of a lot of modern worship song styles. Use a clean slightly driven sound with long reverb for great results and even add delay or chorus effects to taste. If you use a pick play those two strings hard you’ll get some really percussive guitar tones.

    Apart from the Hendrix classics also check out a James Taylor song called Everybody Loves to Cha Cha Cha. The double stops licks played by Michael Landau are some of the sweetest you’ve ever heard!

Workbooks for Drums, Bass and Keyboard DVDs

We are currently working on some student workbooks to go with the Beginners Drums, Bass and Keyboard DVDs. These will be phased in over the next few months. We have found that the workbooks really help students get the most out of the DVDs (all the drum loops, backing tracks and worship leader interviews as well as the main teaching). They are also great for teachers using the DVDs to teach in groups as the workbooks split each DVD into 10 lessons.

The Beginner Guitar Workbooks are already available – click through to our webstore to buy.

The New Musicademy Website – Beta Testers Required

We are currently putting the finishing touches to a new look Musicademy website with better store integration and lots of wonderful “Web 2.0” features that will enable more interaction with and between the people who visit our site and use our DVDs and downloads.

Central to the site will be a Blog which will feature lots of free video clips, advice on worship and musicianship, guest articles and a good dollop of humour. Our hope is that the site becomes a significant and helpful resource for worship musicians. If you would like to contribute to the blog in any way – by writing an article, recommending a YouTube clip or even just commenting on the content or our DVDs then please email us.

We are currently looking for volunteers to be beta testers of the new site – you will be sent a link and asked for your feedback on the user experience. Please Email us for more information.

Worship train wreck confessional

You remember those train wreck moments when it all goes horribly wrong – your band starts in different keys, you sing the wrong lyrics or worse. Do you have any of these moments you would like to confess either on audio or video? If so please please send them our way. We’ll reward any we publish with some free stuff from our store. We’re also really happy to have You Tube code if you’ve found something great online.

Submit a Musicademy product review and get a free Song Learner lesson

If you would be willing to write a few lines by way of a Musicademy product review for our new website, we will send you a voucher for a free online Song Learner lesson. The review can be of a whole DVD course, an online lesson, our vocal care products or any of the CDs. We’d ideally love to have a little photo as well so don’t forget to attach one to your review.

The Old Schoolhouse Magazine offer

We know that our DVDs are often used by homeschoolers so we’ve teamed up with The Old Schoolhouse Magazine to bring you a special offer which will help your home and homeschool run smoothly. You want suggestions, encouragement, and practical how-to information. You need a storehouse of helpful articles for those days when you yearn for a fresh idea, a little boost, or facts to share with potential critics – all from a solid Christian perspective. That's where The Old Schoolhouse Magazine comes in.

The Old Schoolhouse Magazine has just launched their fabulous Fall Special for new U.S. subscribers and you'll want to respond early. It's a 50% savings off of cover price and they even have a homeschooling tote bag for the first 1000 to respond!

Right now, during their Fall Special you can subscribe for only $39! You’ll receive 2 years of The Old Schoolhouse Magazine (8 large quarterly issues), the current issue (so you get a quick jump start!), and 6 fabulous Bonus Gifts (for the first 3000). PLUS, the first 1,000 new subscribers will also receive their Homeschooling with Heart tote bag!

View the full details and subscribe online at

www.TheHomeschoolMagazine.com/US_Promotion.php.

New T-shirt Slogan/Design Competition - Win 2 DVD Box Sets!

We are launching a competition to win two Musicademy DVD box sets worth over $160. We are looking for a cool/funny slogan or if you’re feeling arty a funky design. It might feature the Musicademy name but doesn’t have to. So have a brainstorm and send in your slogan ideas – we’re happy to receive more than one entry per person.

We mainly sell t-shirts at worship festivals and conferences and the average buyer is male aged 18-40. Any entry which ends up made into a t-shirt will win two box sets of their choice. Email your entries before the end of August 2008.

You can view current entries on our blog. Do email us and let us know which you like best.

Win Five Free Song Learner Downloads

We really like to know what you think of our newsletter and the Musicademy products so please take a couple of minutes to answer these questions and e-mail them to us. One respondent will win five free song learner downloads and we’ll let you know what they think of them in the next issue.

  1. What did you think of this newsletter?
  2. Which articles did you particularly enjoy?
  3. Any questions for our “Ask the Expert” feature?
  4. Any suggestions for content that you would like to read in the future?
  5. Any suggestions for websites we could recommend people?
  6. Have you bought a Musicademy product or downloaded a lesson and what did you think of it?

Please e-mail your responses to enter the draw!

Having trouble reading this?
If for some reason you can't see the pictures, or the newsletter doesn't appear correctly, you can see a copy of it here.

Wednesday, August 20, 2008

The Spirit of Truth

Greetings!

This post is a little different from my usual writing.  It has nothing to do with music necessarily, but everything to do with authentic worship.  This is a teaching article by a gifted teacher named Derek Prince.  For any who are already familiar with Derek Prince's legacy, no introduction is needed.  For those who may not have heard of him, Derek was a bible teacher who was extremely intelligent and articulate, yet he never budged on the truth of God's word and His supernatural power.  Derek was a contemporary of C.S. Lewis and his practical Bible teaching has been foundational in the lives of many believers in the past 50 or 60 years.

I've been praying lately that God would fill me with an absolute disgust for anything that is not honest and true in worship.  Certainly, we must often times press through discomfort in our flesh to follow with what we know is right and true.  However, when I say "disgust" with what is not honest and true, I'm talking about when we disengage our hearts from seeking God and "latch on" to a person, an activity, or a thing that is other than Him.  You know on the inside when this is happened.  The counterfeit has no comparison with the Truth.  And yet, there is sometimes such a powerful draw away from Him. 

The article below shows how we can set our compass to pursue God in truth.  Zeal is important, but the Spirit of Truth must undergird all that we do, whether it is in worship or in daily life.  Enjoy the article below by Derek Prince!

Be blessed,
Andy Johnston, the Facilitator

musicsharegroup@gmail.com
musicsharegroup.blogspot.com

The Spirit of Truth

Dear Friend,

"And I will pray the Father, and He will give you another Helper, that He may abide
with you forever—the Spirit of truth, whom the world cannot receive, because it
neither sees Him nor knows Him; but you know Him, for He dwells with you and
will be in you."1

When Jesus promised His disciples that He would ask the Father to send them a divine Helper, He gave this Helper a special name: "the Spirit of truth." At the same time, however, He warned them that the world would not be able to receive this Helper.

For this, the Scripture supplies two reasons. First, from the time that men turned away from God in rebellion, they have been unwilling to accept the truth which exposes their unrighteous deeds. Therefore they "suppress the truth in unrighteousness."2

Second, rebellion against God has exposed humanity to the domination of the god of this age, "Satan, who deceives the whole world."3 Deception is the primary weapon that Satan relies on to keep humanity under his control. Once his ability to deceive is stripped away, Satan has nothing to offer anyone except a place with him in the lake of eternal fire!

Over many centuries, human philosophy has never been able to produce a satisfactory definition of "truth." On the other hand, the Bible gives a threefold answer. First, Jesus said, "I am the truth."4 Second, in praying to God the Father, He said, "Your word is truth."5 Third, John tells us, "The [Holy] Spirit is truth."6

In the spiritual realm, therefore, there are three coordinates of truth: Jesus, the Scripture and the Holy Spirit. When these three are in agreement, we know that we have arrived at truth—absolute truth. It is important, however, that we check all three coordinates before we arrive at a conclusion. There are three questions that we must ask concerning any spiritual issue:

Does it represent Jesus as He truly is?

Is it in harmony with Scripture?

Does the Holy Spirit bear His witness?

Historically, the Church would have been spared many errors and deceptions if it had always checked all three coordinates of truth. It is not enough that a teacher paints an appealing picture of Jesus as a perfect moral example. Or that a pastor batters his congregation with a barrage of Scripture verses. Or that an evangelist impresses his audience with a thrilling display of the supernatural. Before we can accept what is presented to us as truth, all three coordinates must be in place: Jesus, the Scripture, the Holy Spirit.

In the threefold presentation of truth, the distinctive function of the Holy Spirit is to bear witness. "It is the Spirit who bears witness."7

The Holy Spirit bears witness to Jesus as the eternal Son of God, who shed His blood on the cross as the all-sufficient sacrifice for our sins. In the words of Charles Wesley:

"The Spirit answers to the blood
And tells me I am born of God."

The Holy Spirit also bears witness to the truth and authority of Scripture, as Paul wrote to the Thessalonians, "For our gospel did not come to you in word only, but also in power, and in the Holy Spirit and in much assurance . . ."8

Ananias and Sapphira

There can be no compromise between the Holy Spirit, who is the Spirit of truth, and Satan, who "is a liar and the father of it."9 This was dramatically demonstrated in the early church, when Ananias and Sapphira lied about the money that they had offered to the church. They claimed that they had brought the full price of the property that they had sold, whereas in fact they had kept back part of it.

However, the Spirit of truth in Peter was not deceived. He charged Ananias with lying not merely to men, but also to the Holy Spirit Himself—the one who is the very Spirit of truth:

But Peter said, "Ananias, why has Satan filled your heart to lie to the Holy Spirit and keep back part of the price of the land for yourself? While it remained, was it not your own? And after it was sold, was it not in your own control? Why have you conceived this thing in your heart? You have not lied to men but to God." Then Ananias, hearing these words, fell down and breathed his last. So great fear came
upon all those who heard these things.10

Three hours later Sapphira came in and repeated the same lie. Like her husband, she paid for it with her life.

Rightly defined, the sin of which Ananias and Sapphira were guilty was hypocrisy—religious pretense. They were pretending to be more generous and more committed to the Lord than they really were. Jesus reserved His strongest words of condemnation for this sin in the religious leaders of His day. Seven times in Matthew 23 He said to them: "Woe to you . . . hypocrites!"

What Is Hypocrisy?

Our English words "hypocrite," "hypocrisy" are directly derived from the Greek word hupokrites, which means "actor." This is the essence of hypocrisy: putting on a religious act. Probably no sin is more common among religious people than hypocrisy. In fact, some forms of religion almost demand it.

When people enter a religious building, their whole demeanor changes. They are no longer natural, free and open. They appear to be gripped by some kind of invisible "cramp." They feel required to put on a religious mask. Different branches of religion may require masks of a different kind, but few of them allow people to be their real selves.

When the preacher condemns certain sins, such people respond with a dutiful "Amen!" But outside the church they commit those same sins without even a twinge of conscience. If they pray out loud, they use a special tone of voice and often a special vocabulary. They do not stop to consider how a human father would feel if his child were to address him with such artificial language or to put on an unnatural form of behavior just to impress him.

The God of the Bible has no time for hypocrites. This comes out very clearly in the story of Job. Job's three friends poured forth a torrent of religious platitudes. They said, in effect, "God always blesses the righteous, they never suffer unjustly." On the other hand, "God always judges the wicked, they never prosper." Yet the facts of history demonstrate that this is not true. It is just religious talk!

On the other hand, Job was completely frank. He said, in effect, "God is not treating me fairly. I have done nothing to deserve all this. But even if He kills me, I will still trust Him."

In Job 42:7 the Lord revealed His estimate of the conduct of Job and his friends. "The LORD said to Eliphaz the Temanite, 'My wrath is aroused against you and your two friends, for you have not spoken of Me what is right, as My servant Job has.'"11

We need to ask ourselves: How does this kind of religious behavior differ from the sin of Ananias and Sapphira, which cost them their lives?

The Moment of Truth

At a certain point in his career, King David was guilty of two terrible sins. First, he committed adultery with Bathsheba, the wife of his neighbor Uriah. Then to cover up his sin, he procured the murder of Uriah.

Apparently David got away with all this. He still went through his regular forms of worship. He still carried out his duties as king. He still lived in the royal palace. Outwardly nothing had changed— until God's messenger, the prophet Nathan, confronted David with his sin. At that moment David's eternal destiny hung in the balance. By the grace of God, David made the right response. He offered no excuses, made no attempt to cover up. He acknowledged, "I have sinned."12

Later on, in Psalm 51, David offered up a prayer of confession and then a cry for mercy. Verses 5 and 6 each begin with the word, "Behold," expressing a sudden revelation of a vital truth.

Verse 5 says, "Behold, I was brought forth in iniquity, and in sin my mother conceived me." David had come face to face with something that only the Spirit of truth can reveal: not just the sinful acts that he had committed, but the awful evil power of inherited sinfulness that indwells every descendant of Adam.

Verse 6 reveals the only basis on which God offers deliverance from the power of indwelling sin: "Behold, You desire truth in the inward parts." Even after his sin, David had continued to go through all the outward forms of behavior appropriate to his role as king. But now there was a vast gap between his outward behavior and the inward condition of his heart. He had become a hypocrite—an actor playing a part which no longer corresponded to what was in his heart. For this there was only one remedy: honest confession and wholehearted repentance.

From Palm Sunday to Good Friday

There is one truth that runs through the whole Bible: God will never compromise with sin. This is vividly illustrated by two days in the life of Jesus: Palm Sunday and Good Friday.

On Palm Sunday Jesus entered Jerusalem as a popular hero—"the prophet from Nazareth of Galilee."13 The whole city was open to Him. He could easily have set aside His bitter enemies, the religious leaders, and established Himself as King. That was what the people were longing for.

Yet He chose another way. Five days later He hung rejected and naked on a cruel cross. Why? Because God will never compromise with sin and the only way to deal with sin was the sacrifice of Jesus on the cross.

Many Christians today are speaking and praying about "revival." They often overlook the fact that there is one barrier to revival that can never be bypassed. It is sin. Until sin is dealt with, true revival can never come. And there is only one way to deal with sin: "He who covers his sins will not prosper, but whoever confesses and forsakes them will have mercy."14

Frankly stated, many sections of the contemporary church are full of "covered sin." Here are some sins that Christians often seek to cover:

  1. Abuse of a child—physical, emotional, sexual—or a combination.
  2. Broken marriage vows.
  3. Unethical dealing with money.
  4. Addiction to pornography. (I have been shocked to discover how common this is among leaders in the church.)
  5. Gluttony—overindulgence of our physical appetites.

God's remedy is twofold: first, confess; then, forsake. It is seldom easy to confess our sins. Yet there is no other remedy. "If we confess our sins, He is faithful and just to forgive us our sins and to cleanse us from all unrighteousness."15 God has never committed Himself to forgive sins that we are not willing to confess.

But it is not enough merely to confess. We must also "forsake." We must make a resolute determination not to continue to commit the sin we have confessed. We must follow the succinct advice that Daniel gave to King Nebuchadnezzar: "Break off thy sins by righteousness."16 Between righteousness and sin there is no middle ground. "All unrighteousness is sin."17 Whatever is not righteous is sinful.

Are you face to face with a difficult decision?

If this letter has caused you to question things in your life that you have been accepting, or has confronted you with some area of disobedience, open up to the Spirit of truth! He is ready and willing to come to your help.

Yours in the Master's service,
Derek Prince

PS: The theme of my next letter will be the Gifts of the Holy Spirit.

Notes:
1 - John 14:16–17
2 - Romans 1:18
3 - Revelation 12:9
4 - John 14:6
5 - John 17:17
6 - 1 John 5:6
7 - 1 John 5:6
8 - 1 Thessalonians 1:5
9 - John 8:44
10 - Acts 5:3–5
11 - Job 42:7
12 - 2 Samuel 12:1–15
13 - Matthew 21:11
14 - Proverbs 28:13
15 - 1 John 1:9
16 - Daniel 4:27, KJV
17 - 1 John 5:17

Reproduction for free distribution is permitted.

Saturday, August 2, 2008

Play or blog? Tough question...

Greetings!
Hi everyone, I've spent a lot more time living what I write about than writing about it.  It's been a busy but productive time at home, at work, and at church.  I've had the privilege of a few jam sessions with friends (everything from a full band situation down to 2 guitars on the front porch). Needless to say, it's been a while since my last post.  My laptop has also been to the manufacturer and back for a warranty repair.  It's been tough to find time to blog since the other computers I have access to aren't really located in good spots for blogging (kids, work etc.).  I'm back now.  I should be able to put out content a little more often.  Hope you find it encouraging and helpful!

New Toy/Tool!
Some of you know I've been saving for a new electric guitar for quite some time now.  I finally got it!  It is a blue Taylor T5.  For those who may not be familiar with the T5, this instrument is a hybrid guitar that can produce acoustic as well as electric tones.  I got really excited about it when it came out because I saw the dual tone capability would keep me from having to swap between my acoustic and electric guitars during a song set.  It is a step up from the electric guitar that I was using, and it will be a great tool.  I came across the dealer that sold me the guitar when I was doing some research on eBay (Mojo's Music in Edwardsville, Illinois).  He had the exact model (T5-S1) that I was looking for in stock, and it was the right color...translucent blue stain on a flame maple top.  It was a guitar he purchased for his inventory about 2 years ago and just didn't sell.  By the time I called and was interested in the guitar, he was tired of looking at it and sold it to me for a little bit more than what he paid for it.  What a blessing (for me)...he was also glad to get rid of the guitar!

The T5 opens up some sound possibilities that weren't available to me with my other instrument.  It's a blast to play and it sure is nice to look at (if you ask me).  To each his own...I've found mine.  To make it all the more special, I was able to purchase it the Monday after Father's Day!  Yes, I had saved up for it, but the timing of it worked out so that it was really a Father's Day gift for me.

After a month and a half of playing the T5, I really don't have any complaints.  The pickups, especially the neck pickup sound amazing!  The acoustic tones aren't as "belivable" as I initially hoped...admittedly, I'm a bit spoiled by my 10 years of playing my other Taylor, a 710ce.  I'm still tweaking the settings on my PODxt to find the right balance.  In fact, I have acoustic strings on it right now and I have some new settings to work with (see below).  The acoustic settings sound better with these strings, but it seems that I've lost some sustain on the electric settings.  All in all, my tone has improved.  It's a lot of fun to play!  There are few things that pull the best out of me like playing a quality instrument.

Influences

One thing that I recommend to anyone who asks me about learning to play an instrument is to find a "hero" of sorts.  Doing authentic music is all about producing sounds outside that you hear in your heart.  There's certainly a place for getting away and finding creativity in solitude away from other influences.  Still, how can you create anything if you don't begin to develop your own mental library of sounds that you like?  Yes, you will be out of balance if you only study from one source.  Everything you play or write will always sound like someone else.  On the other hand, when you're learning, it is helpful to have someone else that you look to for inspiration and technique.  A few of my inspiring influences are: Steven Curtis Chapman, Lincoln Brewster, Paul Baloche, Andy Park, Marty Sampson, Darlene Zschech, etc.

New Tone
Speaking of Lincoln Brewster, I downloaded his tone!  Lincoln has some amazing guitar sounds when he plays live and in the studio.  He's had access to some of the most sought amplifiers and effects available, but he has settled on several products from Line 6 for his live sounds.  I have a Line 6 PODxt, a device that Lincoln has used in the past.  FYI, I use the FBV Shortboard to control the settings when I'm playing live.  Lincoln posted his settings on his website recently, and I was able to download them and set up my system with some of the exact settings that Lincoln uses.  Do I sound like Lincoln when I play? Not hardly!  But, it's fun to hear some of the sounds he has put together.  I was able to glean a couple of settings, especially for my acoustic guitars.  Thanks to Lincoln for letting us "borrow" his tone!

Songwriting
I brought out a new song that I wrote to our church band last week.  It went over well and I think the song will probably make it into our regular rotation.  I hope it will be a declaration of faith and praise that our people can really embrace.  There are more songs to come...stay tuned!

Wrapping Up
God is soooooo good.  I really do stand amazed when I take a step back and look at where I've been and what He's done.  Being a Husband and Dad myself just makes the picture of His love for me even that much clearer.  I'm also oh so aware of how much I need Him to fill me up so that I reflect Him as I relate to my family.

Be blessed!
Andy Johnston, the Facilitator

musicsharegroup@gmail.com
musicsharegroup.blogspot.com

 

Thursday, July 31, 2008

Fireproof: Never Leave Your Partner Behind...Coming in September!

I just caught the trailer of this film. If you're married or ever hope to be, go see this film! On second hand, if you have a pulse and breathe oxygen, go see this film! If you have a blog, write about it. If you have a friend, tell them about it. If you think it's a joke, criticize it. Just get the word out! (can you tell I'm a little bit excited about this movie?)

Be blessed,
Andy Johnston
the Facilitator

Sunday, June 8, 2008

Quick Tips for Church Guitarists

Greetings!

I came across this list of tips for playing guitar in worship, and I thought it was worth passing along.  You can find the original source here: http://www.in2guitar.com/praise.html.

Playing guitar for Worship

Okay, you've been asked to play for praise and worship for the first time. Now what? Maybe these ideas will help:

1. Pray that you play well and are able to check your ego at the door.

2. For a start, find a site with lyric/chord sheets and tab. Unfortunately, this will only help you if your song leader uses the same chords. Praise leaders are notorious for re-arranging songs to fit their own voice ranges (hehehehe). It's a funny little conceit offered by the position.

3. Your praise leader shouldn't expect you to "use the force" to play in front of a crowd, and, for that matter, he may not be expecting it. Remember what Paul said about doing all things decently and in order? Nicely ask your praise leader to provide you with copies of HIS lyric/chord sheets, just in case he's overlooked it or doesn't know you are uncomfortable. Ask him to rehearse. If your praise format allows it, ask for music a few days in advance.

4. Praise leaders are notorious for having a sense of timing discernable only to them. Start your adventure with a willingness to adjust meter in the middle of the measure. No kidding. Be ready and don't be embarassed if keeping a steady tempo sometimes makes you stick out. Some folks just don't understand that an instrumental ensemble typically reacts with intertia more akin to a tour bus than a sports car. Oh well. Don't be surprised if musical measures, verses, and beats, spontaneously either show up or get dropped. Try to surround yourself with a little "bubble of professionalism" which allows you to adjust to anything pleasantly.

5. To quote my wise Mom, "It's better to keep your mouth shut and have people think you are an idiot than open it and remove all doubt." Thus, don't be afraid to lay back and play quietly. Learn a light touch which allows you to come and go as needed. Remember, you are not performing, you are leading. Act like you know what you are doing and are comfortable, and the congregation and your fellow leaders will be more comfortable. If you feel a little lost, drop back in volume, act like you are playing but don't, and try to catch up. What is it Tom Hanks said in That Thing You Do? "Smiling! Smiling! We are always smiling!"

6. Get a capo. A nice one. One which can be set with one hand. I use a Kyser. Praise music publishers are notorious for re-arranging songs to be keyboard-friendly, using E-flat, B-flat, and their cognates as keys. Of course, the result is that they are often guitar-unfriendly. The capo is your friend!

7. Learn to take your capo on and off and change locations quickly, because praise songwriters are notorious for pulling a "Barry Manilow" (key change) before the last verse or chorus. That's a funny little emotional manipulation, isn't it?

8. Bring your own supplies (picks, spare strings, cords, pencils, etc.), even if the church offers to supply. Be a Boy Scout. In a pinch, you are prepared.

9. Can't hear yourself, even through the monitors? You might want to consider investing in an acoustic guitar amp which has a line out for the P.A. Tuck it in close and run it just loud enough to be heard. Are you suffering through "monitor wars"? Things getting too loud and muddled on the stage? Look HERE

10. In the book, How to Keep Your Volkswagen Alive, for the Compleat Idiot, by John Muir, I read a most excellent quote, supposedly from the Bible:
"Come to kindly terms with your ass (donkey), for it bears you."  In this context, we are speaking of the sound mixer. The mystery is great.
(Note from the MusicShareGroup Facilitator:  This is a little bit more colorful humor than I like to employ, and no, that phrase is not found in the Bible.  I'm leaving this item in to preserve the integrity of the author's work.)

11. It seems the halls of the church are strewn with the bodies of musicians roasted, toasted, roughly handled, or burned out by supporting worship. It's funny that something which is supposed to be so positive can be so hard. Remember that in any ensemble, you are going to have at least as many opinions, maybe more, as you have musicians. If it is at all possible, let others have the opinions, make the demands, and take the spotlight (in worship?), for where those are is where the pressure and controversy really are. Just support the effort as a service to the Lord and His body.


Well, there you have it!  I hope you found this brief post helpful and enjoyable.

Be blessed!
The Facilitator

MusicShareGroup@gmail.com
MusicShareGroup.blogspot.com