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Excerpt
Here is a small excerpt from the book:
Running Sound
What manner of person is the sound man, or woman? Why would anyone want this position? They
hear only criticism and almost never praise. When the band sounds good, it is the band who gets the
credit. When the band sounds bad, the sound man is quick to be assigned a large portion of the blame.
Theirs is the most thankless of jobs. And yet, if they do not perform their function well, nothing that
happens on the platform really matters.
I have often marveled that music is unique because in no other art form does the artist take his or her
work and place it so thoroughly in someone else's hands to preserve or ruin. While a painter may give
his work to an exhibitor, if the artist is dissatisfied, he may simply take back his paintings and
display them with someone else. But a musician only gets one chance to perform a particular work. While
doing so, he is totally at the mercy of the sound man. Unless a sound man has been in that position, it
is hard to realize how much a worship team depends on him as a member of the team.
The Sound Man as Team Member
The sound man should be considered a member of the worship team
the same as everyone else, albeit, in a much less visible role. As a member of the team, he should be
expected to attend rehearsals and assist the team there just as during a worship service. While the
demands on the sound man in rehearsal are much less than during worship and the temptation to skip out
great, there are a number of reasons why he should attend:
* assist with setup of equipment
* run monitor mix
* familiarization with song set and special needs
* early detection and prevention of equipment problems
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Here is more of what you will get:
| Bright and Dark Keys?
Many musicians are able to detect a difference in the
"color" of a key. Keys with flats in them seem darker and more suited to blues and melancholy
music. Sharp keys, by contrast, are brighter and hence more energetic and cheerful. On the other hand,
many people detect no difference between key "colors." Some argue that there can be no
difference at all between the keys of F-sharp (6 sharps) and G-flat (6 flats) on fretted or keyboard
instruments since the notes are all the same (that is, they are played the same way). Similar arguments
are expressed over the keys of B (5 sharps) and C-flat (7 flats) or C-sharp (7 sharps) and D-flat
(5 flats).
If you notice a difference in the color of a key, then give this
some consideration when transposing a piece-though I would give the other elements in the decision more
weight. If you do not detect a color difference, then don't worry about it.
Key Changes
If you frequently do a song in a number of different keys,
consider producing copies of the song in each key, especially if the song can be reduced to a single
page. This reduces confusion. If you have a copy with all of the keys written in, simply place 1/3
inch correction tape over one key and make a new copy with that key obliterated. Then remove the
correction tape and repeat for other keys. The correction tape comes with the same temporary adhesive
as is on Post-It(tm) notes.
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Want to read more? Click here to read Chapter 1.
Click here to see the table of contents.
It works.
Bruce,
I mentioned your book on another list and it is being mentioned on a new
web site for worship leaders and there's a link to your page too.
Check it out at
http://www.baldworshipleader.com/ .
By the way, it is a GREAT resource. Thank you a lot. I have my colored
pencils out and am highlighting tons of good and useful information. I hope
you get hundreds of orders for it. It is WAY worth the read.
Fawn
It's not just a matter of opinion. In America most people between their teens and their 50's
speak the same musical language; they've all been raised on radio, and their native tongue is pop
music. Churches everywhere are discovering the impact of singing Christ-centered praise to top-40
stylings.
Bruce writes from the heart of a veteran worship leader who knows first hand the excitement
of seeing people come into the presence of God with enthusiasm and passion. His work strikes me as a
very practical and hands-on, with real-world ideas to help traditional churches step into what can be
the scary new territory of contemporary worship. I'm giving a copy to every worship leader I work with.
Phil Christensen
Worship Leader and Author
Kregel Publications and Worship Leader Magazine
I've devoured your book and am on my second read. I have learned so much from your
book, it has helped me with areas where I knew I needed help and helped me in areas where I didn't even
know I needed it!
Most all the books I have read on worship are such fluff (8 in all, all fluff except for 2).
So 'feely' that I can't use them practically. Yours is quite helpful and I wouldn't put it in that
category at all. It is a book that I should have had about 6 months ago.
Thanks again,
S. Britton
It's the best book I've read for beginning teams and worship leaders. If a church is considering
or beginning to incorporate contemporary worship, they'll find this a great asset. It practically and
understandably explains what you need to know when building a foundation for a worship team. Its
suggestions are applicable to whatever style you're doing, too, and doesn't try to force you into a
mold.
I gave a copy to a high school student who just started leading his youth group worship band
at the church where I work overseeing Fine Arts and leading worship. While reading it at school in
study hall, he kept becoming so excited that other students were sneaking glances at him.
Not bad for $10.
Tim M., Indiana
There are some excellent, down-to-earth tips in the book that I haven't found elsewhere in a
worship manual.
Grace and peace,
Catherine
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No matter what your function is in worship, you
can benefit from an easy-to-read book that understands the problems
you face.
It will help you find the best modern worship music, form a new worship
team or get the most from your existing team members and select the
right equipment (even on a budget).
About the author
Bruce Kunkle is the director of worship at River
of Life Community Church in Perrysburg, Ohio where he plays guitar
and keyboards. He has been heavily involved in church music since
the mid 1970's. His roles have included founder and leader of a contemporary
gospel singing group, composer and author of three Christian musical
productions. He has been responsible for the worship music in each
church he has attended since 1983. His wife, Susie, sings, plays keyboard,
recorder and Irish whistles and is the worship leader in his church.
Our Returns Policy
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"A Practical Guide To Contemporary Worship" is
the fastest and easiest way to learn how to establish or improve a contemporary worship team.
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