Wedding Plannin'

This year, just to shake things up a bit, I'm getting married. I haven't done it in a while, and it's really just time. ;-) Love you, Kristi.

Seems that everyone else is trying to do the same thing, and as a result, I'm helping plan a few weddings summer. I just finished typing up a real long email to assist in the planning for a friend of mine, who also happens to be the Deacon's son. This information is the kind of stuff I bring to every meeting I have when it comes to wedding planning, and a lot of it in general mass planning. I've been writing a long post on mass planning, and since it isn't done, but my emailing IS, I figured I'd just keep the ratio of stones to birds down and just post part of my email here. They are having a Unity Candle, but not a Marian Adoration piece, so keep that in mind as (or IF) you read it.

You may find it useful. First read it, and figure out if its useful. If it's not, then don't read it. It's just that simple.

God bless you in your ministry!
---


PRELUDE(S)
Any number of pieces while people walk in. This is a good place to put things that don't generally fit into the program for Liturgy. I start playing about 15 minutes before any ceremonial actions start, so if you don't have anything in mind, I'll run a few pieces past you. These are generally instrumental and do not necessarily command the attention of your guests.

LIGHTING OF THE UNITY CANDLE
Pick something for your mothers or families to light the until candle to. The action only takes about 90 seconds, but the song can go a bit longer. This can be sung, or an instrumental that you like, possibly having some meaning for the two of you. Instrumentals work well because they can be cut short based on the promptness of actions taken by your mothers. :-) Generally, this would also be when your parents / grandparents are seated. Does your planner have a specific set of plans for this? Since this is really non-Liturgical, there is no formal format here - just experience and a little (very little) tradition. An "Ave Maria" could work here, but generally, I like to save those for Marian adoration type things. This song can command more attention than the Preludes, and starts to bring people into the rite of the ceremony, since this really is part of the ceremonial action, even if it is preparatory.

PROCESSIONAL
1 - 2 pieces for the brides maids, flower girls, etc. to talk into. The bride can have her own piece, or we can reprise the first piece with more "gusto". It's generally instrumental, though a hymn sung WELL can be just as effective. Common examples of these pieces are "Canon in 'D'" (Pachelbel), "Trumpet Voluntary" or "Trumpet Tune" (Purcell), "Jesu, Joy of Mans Desiring" (Bach), "Rondeau" and "Spring".. whose compsers escape me at the moment.

PSALM
The Lord is Kind and Merciful
Blessed are Those Who Fear the Lord
Taste and See the Goodness of the Lord
are among others that are sanctioned by the book.


GOSPEL ACCLAMATION
For Life Teen, we've done stuff I've written recently, which I wouldn't recommend for the sake of familiarity to your guests. "Love Has Come" is the Matt Maher one, again... probably not the best choice (though I'm going to use it for MINE!) More common ones include the "Celtic Alleluia" (Walker), which has a couple selections for verses for weddings.

UNITY CANDLE (and other ceremonial pieces)
Totally your call here. It can be done in silence, which instrumental, or some sentimental piece. We can do a shortened version of "The Prayer" as sung by Josh Groban and Charlotte Church, or really just about ANYTHING.

OFFERTORY
This totally depends on what you're doing for offertory. 1) are you bringing up the gifts? Father can bypass this and just get to the Liturgy of the Eucharist without the procession. 2) Do you want people to sing, or reflect? Since the Offertory Hymn is not really part of the liturgy, we have plenty of leeway. The people are not required to sing, because it is not part of the liturgical rite. It's function is to accompany the otherwise silent actions of sacrifice and procession. It can 1) reflect on the gospel 2) anticipate the celebration of the Eucharist or 3) reflect on the message of the celebration (your WEDDING!) or 4) reflect on theme of the season (we're not really in one).

Marie's doing "Your Love Is Extravagant", I'm doing "The Prayer" here.

PARTS of the MASS
These are the "Holy, Holy", "Memorial Acclamation", "Great Amen" and "Lamb of God". The "Mass of Creation" is the most widely used, but we can really use any one you're comfortable with. I can give you a demonstration of a number of settings in person (among other songs!)

I would elect to have the "Our Father" spoken or possibly chanted - but I wouldn't use another setting unless like 80% of your guests are familiar with the same setting.

COMMUNION
Something that reflects on the Eucharistic Sacrifice. We are one Body, Make Us A Eucharistic People, I am the Bread of Life... another favorite? I've been doing this so long that I know a lot more than what we do at LIFE TEEN, so, if you have a favorite that's great. The best thing I can tell you is something common that everyone knows is best if you want people to sing!

RECESSIONAL
The big one. Marie's going with "Ode to Joy" with a trumpet soloist. Big organ pieces are the norm here, though an accomplished organist I cannot pretend to be. Good use of a soloist can help bolster the piece. Trumpets work well, violins as well.

ADDITIONAL PIECES
Generally leftover songs like our PRELUDE songs, stuff that didn't fit in but is generally upbeat and instrumental - background noise to keep the people generally talking louder than they would otherwise because they just witnessed your exciting ceremony and are discussing any implications by any slip-up or faux pax during your exchange of vows. :-)

ADDITIONAL RESOURCES
I have a couple of trumpet players at my disposal you could audition and possibly a violinist or cellist. Depending on the quantity of songs and quality of their musicianmanship, their fee should command at the absolute least of $50 per player to upwards of $125 or better (especially for those I only know professionally!)

Also, another thing I can advise you is to run our ideas past your parents as well, since they will want to participate and may have a better idea of the diversity of the musical spirit of your guests.

(c) 2007 by Art Leonard. All rights reserved.

Time off

For those of you that missed the announcement last Sunday at St. Vincent's, I'm taking time off this summer to get… like… married and stuff. There are some tougher decisions ahead as Kristina and I start our lives together, but one of the important things to remember is for us to recharge.

This break honestly couldn't come at a more needed time. Most of us in ministry have a RealJob™, RealCommittments™ to our RealFamilies™, and while we exercise our faith through our music, it's often easy to lose sight of the perspective God has in his plan for us.

Yes – worship is important.

Yes – He is first and alone our God.

But what service do I do him and the community if I am exhausted and do not have my family in proper balance with my praise?

Those of you that do Liturgy well know that we cannot just show up on Sunday and make it happen. We need time to prepare, time to pray, and time to be community. With my current obligations, the first people to miss out on my time is my family. With my commitments as director, this means I am committed every week (with a few exceptions). I have missed many a family affair because of my commitments to Life Teen.

So, what am I getting at?

• If you're a director, build up the people in your group to make it for a few weeks without you. Teach your most capable people what it is you do to make things happen. Yeah – we all like to feel important and have a situation where we're always needed, but that's a human need and is not what ministry is about. If the ministry revolves around your presence, then it isn't revolving around Jesus.
  
• Take some time off.
  

I'll be taking time off myself from June 18^th – August 19^th.

God bless you in your ministry.

Not All Feedback is Bad (with a special rip-off from Mark Twain)

Let me start by saying I thought the cacophony of silence on the site was deafening. I've posted a bunch but people had not really been so inclined to post comments or rebuttals. Usually when you get into this stuff you get at least a couple loose cannons in the crowd to make things interesting. The problem with the web is your audience is completely anonymous and invisible.

It's interesting that recently I've gotten more feedback in real life (from people I don't even know) than I have from the web site or even from my own band. It's cool, and a little unnerving , but mostly cool. I want to thank my readers.

Anyone that was at rehearsal yesterday knows I was not having a good day.

Thanks to just a little positive feedback, today is indeed a good day.

As directors, we need to keep this in mind at all times. A little negative feedback goes a long way to making our sensitive musicians insecure, and when we are insecure, we deliver our worst fears in abundance. However, little positive feedback goes a long way to really build someone up.

In an extreme case, I've watched seasoned professionals tell me (the sound man for the night) to turn the backup vocals down on a concert he was doing. The backup singers were having an "off-night". Within five minutes, he was back up on stage, rehearsing more, but doling out the compliments to the singers, building them up! Seems counter to our Godly search for truth and honesty, right? But as a result, their performance did improve!

When we start down the path of negativity, it reinforces peoples' fears in themselves, and it allows their insecurities to take over.

When we bolster with positive feedback, or just even reinforce confidence in people's abilities, we build people capable of doing more than they thought!

And Another Thing

I have the privilege of playing with some of the finest musicians in Catholicism. (No, I'm not saying that because of the above article!) These guys get it and humbly serve every week!

In the past, I've done my part for giving negative feedback – especially when it comes to instruments. Oddly, I have the ability to play piano, guitar, bass and drums (albeit with mediocrity and without discipline). Oddly, it did not actually help me lead – it had put me in the position of wanting to micro-manage every note, flail, pattern and arpeggio out of the band.

I also have the curse of not being able to lie. Remember the whole thing about building up and not being critical? It hasn't always been my strong suit, and I'm still working at it. What those of us who can't lie and don't know what to say do is we stutter and beat around the bush – poorly. This method of communicating is completely ineffective and not as transparent as we'd like it to be. We don't want to say anything bad though – but we have to say SOMETHING.

During rehearsal two weeks ago as we're going through rehearsal before mass, I worked with the guitarists as usual, but I thought I was being critical. When I approached the drummer (Gary – bless ya!) after mass, wondering if I was being to "director-y", he set me straight. I was doing great – and I wasn't being critical. I had changed my style with what I communicated. I had given broad suggestions, built up what parts they had come up with, reinforced their intuition, and given them ideas where they could take their work. In essence, showed them my confidence in their abilities without being critical, and given them room to grow.

Cool, eh? I just wish it didn't happen by accident!

So, Coming Back Around

Our musicians live on compliments. Yes, they truly enjoy making music for the Lord. At some point, we'll probably all be in a place where were just about ready to hang it all up and go do something else.

Until today, I was wondering that about this website!

To quote Mark Twain, "I can live for a year on a good compliment."

Musicians work much the same. A couple parting points:

• Don't over-shower with compliments – it cheapens honesty
  
• Be sincere
  
• Build-up with suggestions rather than correct issues
  
• As a director, make sure there's someone building you up too! (Even if it's not in the band!)
  

Parting Thought

How would Jesus work in a band? (hmm… or would he just get the music out of the way and just preach the Truth™?

God bless you in your ministry!

Time for a Guitar Check-Up!

It's time. I have managed to put it off, but I can put it off no longer.

My guitars' intonations have run out. It's getting harder to do demos, and worse yet - sound good on Sunday.

If you don't know what I'm talking about, then you probably have one of the following problems:

• Can't play your guitar in tune up and down the neck without retuning or bending strings
  
• Action is too high or low up on the neck
• Excessive fret buzz
• Just bad sound

These problems will happen on every, every guitar - even new ones! Here are a couple tips that will help you maintain your guitar and make it sound great. Please note, I am not a guitar expert, but these have helped me!

• Always bring a string's pitch UP from underneath while tuning. Don't tune down to a note; it will make it more likely to go flat while playing it.
  
• Change your strings more often
• Make sure to break in your strings every time. You can either play the guitar for 30 - 60 minutes after putting on new strings or tune it up a half-step for 6 - 12 hours before you need it to be in playable condition.
  
• Fix your intonation.
  
• If you've never done it, get your guitar "set-up" by a professional. I use http://www.mikelull.com.
  

Let's talk about intonation. It's the most likely cause of you hating or loving a guitar.

Intonation is the general term used to make your guitar's pitch be correct all the way up and down the neck. You can do it yourself, but it is tricky, time consuming and has several parameters. It will also make your guitar sing like a bird (assuming you have decent tone to begin with.) In the end, the goal is simple: make every note up and down the fretboard on any given string the correct pitch. The bad news is getting there isn't simple.

The components of the math are: string diameter, string to fretboard height (aka "action"), fret height, and string length. Since we can make string diameter, action, and fret height constant, the thing that usually doesn't stay constant over time is the string length(!). It is also the hardest component to correct.

The factors that cause string length to change are simple:

• Time causes the bridge and or neck under string tension to warp slightly (especially acoustics)
  
• The dimensions of your guitar change slightly under different temperatures and moistures
• The mechanics of your bridge do move over time. If you have a floating bridge, you're doomed to fight this until you tape it down after every string change.
  

So, now that you know why, here's the short of how you fix this:

• If you have an acoustic guitar - give up. Hire a professional to "cut you a new bone". They will fix your bone or put a new one in to match your strings and guitar as well as set your bridge to get the right pitch.
  
• For an electric, I recommend the same technique. But for the brave and bored, the the process is laborious, but worth it:
  
• Select your strings and get them on the guitar
  
• Set the desired playing hight using the bridge mechanics if you can. Avoid fret noise when playing heavy. If you get fret noise, your action may be set too low.
  
• Make sure your bridge is under string tension and locked down as thoroughly as possible - make sure the pitch will drift as little as possible. Tremblo systems are quite problematic.
  
• Using a strobe tuner (seriously), adjust the mechanics at the bridge to make each string's pitch correct open and at the 12th fret. This means the pitch at the 12th fret must be exactly twice the frequency of the open pitch. You will need to adjust the string length by making it shorter or longer to compensate if it's too low or high respectively. (Yes, it's backwards of what we're used to, but the math makes sense!) You will need to do this over and over again for each string since changing the tension on your neck will make the strings perform differently.
  
• The process should probably take an hour for the non-professional. The first time I did my bass, it took an hour, and I was still figuring out how to do it right.
  

When you're done, always play with the EXACT same strings you used when the guitar was intoned.

The problem is physics and the string's reaction to the dimensions they are put through. If you change the dimensions even slightly (like the width of the string versus where it gets clipped by the fret), your pitch will be off.

If you need to change the type of strings (even to a coated version of the same strings you've always loved), take the time and intone your guitar again.

The entire point of this article is GET YOUR GUITAR SET-UP. Most of the music minsters I've encountered don't know what that means. Now you do.

If you're in Seattle, you have got to go to Mike Lull. He really isn't expensive, but he is the #1 guy anywhere and a treasure to have in our backyard.

No one will thank you for it. They'll just dislike you if you don't.

This article is too long. Sorry.

God bless you in your ministry.

Art's Formula for Worship Guitar Sound #1

I am going to call this WGS1 - because it's cool to use acronymns, and I want to be cool - someday.

I personally really go for the Vox™ sound made popular by The Edge of U2 for this type of song. The guitar sits right on the edge of overdrive without always clipping. You lay into it, and there it is – that extra noise!

I actually use a POD (1.0), but the fundamentals are the same no matter what you're on.

Here's how it works for me:

• The Guitar - I use Gretsch Nashville 1962 reissue (FilterTron pickups, using the neck pickup only). Any hollow body or semi-hollow can get great sound. For solids, dial your guitar tone in on the warm side.
  
• Optional Delay - . There are two ways to do this:
  
  • In time with the music, usually an 8^th or quarter note in delay. Using a tap-delay will keep your drummer from killing you. (Read: don't force your drummer into a groove – adjust your equipment!) If you're shopping, make sure you can access the tap feature with your foot. Line6 makes a good model for this. It's green and can be seen on almost every band's pedal-board.
    
  • You can also work on off beats. This is the way The Edge does it, and Christian artists everywhere copy it! You want the delayed sound closer to a 16^th note, but only feedback ONCE. Then when you play, play 8^th notes – you get twice as many notes! Timing is critical. You can also try triplets! Count 1-2-3 per HALF note and tap away! This is even closer to that classic sound – but harder to program on the fly.
    
• The Amp - The idea is to get the sound close to overdriven but not quite there when playing lightly. This will let you arpegiate cleanly without overdriving. Then, you can use a BOOST or just start playing harder to get a crunchier sound! It's very versatile and very "in".
  
  • If I had my way, my amp would be an Orange AD30 TC
    
  • My second choice would be a real-tube Vox AC30. This is the basic amp of George Harrison of The Beatles and U2 and is the originator of the sound in question.
    
  • Lastly, you can get a good emulation from the Line6 POD effects units.
    

Line6 also makes amp versions of the POD with the tones already built in, and in worship can be much more effective than having an amp that does all the work. (Loud backline amps should someday be a Cardinal Sin. J ) Keep your FOH engineer in mind when you're shopping!

If someone wants, I can post my actual POD settings here! Just leave a comment!

Arranging for Guitarists

We've all seen it. Worse yet, some of us may have been in or created one:

A "GUITAR CHOIR"!

For the uninitiated, this is a bastion of the 70's where, like the Doobie Brothers, Alabama, or Lynard Skynard, everyone with six strings and an aptitude for making noise signs up for the church music group. Then, without clear priories, parts or prerogatives, they end up either strumming the same pattern (bad), or just all going their own ways and create an acoustic cacophony.

One way to avoid this is to limit the number of guitarists. As a director, sometimes it's okay to help people find other venues for service. (It's not easy, though.) My suggestion for that limit is three and a half. This does not include the bass player.

Now, some of you might think: that's still too many! Well, you are right – it can be. But with this number it's quite manageable. Here's how you can do it:

1. Everyone plays less. The more people, the fewer things people can do before it gets "too busy". This can be an interesting problem – especially if you have a band of strong "leaders", but to make a joyful noise as a group, not everyone can lay the foundation. (That's the bassist's and drummer's job anyway.)
   
2. Avoid the "rhythm" and "lead" paradigm. It's very 80's and that was (gasp) 20 years ago! (I'm so old.)
   
3. Be explicit about who is doing what so there is no overlap. I'll discuss this further.
   
4. Be creative and avoid just strumming open chords.
   

Arranging With Three Guitarists

So, let's assume you've got three reasonably gifted guitarists. Let's just break down some songs and what we can do with them:

Blessed Be Your Name (Redman)

1. Acoustic Guitar – strumming, leading through most of the song. If you've got a strong bass player, rely on them for driving the song. You might even lay out the first verse! (Gasp!)
   
2. Electric Guitar – Broad chords only on the refrain and the second half of the bridge. Can use reverb or delay to make the sound bigger. Use overdrive. On the second verse, I like to add emphasis
   
3. Electric Guitar – Starting with the second verse, use light arpeggios during the verse – "noodling". Can use some delay, but don't overdo it. See Art's Formula for Worship Guitar Sound #1 (herein WGS1). You might want to start this on the second verse. On the refrains, use a single note with more force to add rhythm.
   

Your Grace Is Enough (Maher)

1. Acoustic Guitar – foundation.
   
2. Electric Guitar – Lead / arpeggios on transitional bridges, WGS1 sound, but with more overdrive.
   
3. Electric Guitar – Broad chords with distortion. If you play keys too, add those little keyboard parts during the verse, or be patient! J
   

Holy Is The Lord (Tomlin)

We do this song in an open "G" so our congregation can sing along. (This affects our capo settings.)

• Acoustic Guitar – Foundation, lead, Open chords
  
• Acoustic Guitar – Capo 5 – play open "D" chords and arpeggiate.
  
• Electric Guitar – Noodling lead parts, similar to recording, using WGS1.
  

Hmm… these examples are fun. Maybe I'll take the opportunity to do my first "audio" podcast!

God bless you in your ministry!

Sing a new Psalm

The Liturgical norms for Psalm settings changed a couple years ago when the USCCB and the Vatican required Psalms to stay more stringent to the Lectionary text and should not be paraphrased. This means there are lots of Psalm settings that are no longer considered correct to use for Mass, even those that came from Catholic publishers. In addition, the Lectionary was revised in 1998.

Therefore we've all hit it – there are now plenty of Psalms in the Lectionary that don't have an adequate* setting.

If you're adventurous, diligent and able to write music to a rigid set of guidelines: go write your own setting!

Now for the tricky part - there are rules. These have changed in recent years, but keep in mind, it's all for the glory of God, so offer up some of that creative freedom and deliver His Word.

1. All text should be taken from the Lectionary. You can find the text for a given week for Masses in the United States at http://www.usccb.org/nab.
   
2. If you absolutely must paraphrase, stay true to the true meaning of the text. You may need to cross-reference the Bible (NAB) to get the words in the proper context.
   
3. Range should be as follows with only very rare exceptions: the "A" below Middle "C" to the "D" one octave above middle "C". (See my article on the subject.)
   
4. Other than that, good songwriting principles should always be applied.  (There many, many books on this subject, and I've read a few of them.)
   
   1. Start with a good hook. It's subjective, but you want to keep the Word in the congregation's head long after Mass.
      
   2. Keep it sing-able. If you can't hum it in your head without hearing the accompaniment, it's probably not a strong enough hook.  
      
5. Be crystal clear as far as which parts the assembly should sing. 
   
6. Keep it simple.
   

When it comes to teaching your new Psalm setting, make sure it works first. Have someone else sing it back to you. A good test of a good song is one that doesn't require you to sing it.

Also, if you have the ability, you might want to make the effort to notate at least the refrain / antiphon on staff paper or using some application like Finale or Sibelius.

God bless you in your ministry.

References

• Redeptionis Sacramentum
  

* Remember, "adequate" is completely subjective; what works for one group might not work for yours. Also, don't forget to check with your local publishers.