Bringing the Church Back Together-Part 3-Practical Application

In my last two blog posts (Bringing the Church Back Together- Part 2- First Steps and Bringing the Church Back Together- Part 1- Biblical Foundations) I discussed the biblical foundations of intergenerational worship and the importance of buy-in from the staff and the key leaders of your church. In this post I will speak specifically to the music/worship leader who will have to deal with the musical conundrum of bringing multiple music types together in a unified approach. It will be a challenge to some degree, but it can be done. I hope you’ll find these practical applications helpful. As always, I’m sure there are many more I could add to the list.

  1. Pray! Again, I cannot emphasize this enough. Music and style is often a passionate subject for many in the church. Often, it’s the non-musician who is the most hesitant to any change in the church. Be assured there will be push-back, but pray the the Holy Spirit would cause you to response in gentleness and love as you explain thoughtfully of the plan to integrate the services.
  2. Find a common “set-list.” Many churches with multiple services have at least some common tunes that are sung in each service. Begin by using these songs when the services come together whenever possible. Obviously there will be modifications to the instrumentation or “style” of the song depending on who is leading, but at least find some common ground.
  3. Aim to use players and singers from all teams together. This may be pretty difficult practically and relationally, but remind those how important each person is to the integration of the services. If you have redundancy on instruments, set up a schedule for all to play. If you’re going to integrate the choir into the new service (and if you have one, you should) they will need appropriate time to learn newer songs to help teach the congregation. If you used orchestra in one and only a praise band in another, you must find “charts” that allow all to play together. This process will stretch your players on both ends. Those used to “rocking it out” may feel stunted by the charts they now have to play. On the other hand, the less contemporary service might feel things are “louder” and too “rocky!” Be prepared to alter and make changes as you get started. Remember to keep your personal feelings in check. Listen carefully to the suggestions you hear. Some will be worth altering, while others will just be complaining. Be careful to make all feel valued and use grace as you respond to each comment.
  4. Introduce/Re-Introduce songs carefully and slowly. There are fantastic new songs and timeless hymns that probably have been ignored in the services when they were apart. Pick “new” songs to introduce that are lyrically sound, melodically and harmonically interesting, and memorable. When I’m confronted from time to time about new songs that “no one knows,” I simply say, “I understand we don’t know it well right now, but I believe this song is strong textually and will endure the test of time.” I’m careful to say this because I also know there will be something in just about EVERY service I plan that has something most people are familiar with. In short, FAMILIARITY is more important than labeling something traditional or contemporary. What people want, truly, is something familiar…find that common ground first and work from there.
  5. Remember your church is NOT like the one down the street. I cannot emphasize this enough. Do not try to emulate everything you see working for the church that you perceive to be “doing it right!” You must contextualize carefully. Know your church–be careful to study her history, the demographics, the musical worship expressions over time, and the talent level of the musicians. Also, know your community. Things work differently in a county seat town in rural GA than they do in the white collar suburbs of Metro Atlanta. Study your people. Push them out of their comfort zones when appropriate, but don’t completely eradicate Southern gospel from a church that’s had that embedded in their history for 100s of years just because you don’t like it. The church I am serving is vastly different from most of the churches in our area. We know who we are and what we do well and we capitalize on that. It’s create a niche for us that has allowed us to be who God has called us to be without trying to emulate other churches in our area—who, by the way, do the things they do VASTLY better than we ever could.
  6. Give up your personal agenda and work as a team. You are not the star of the show, worship leader…God is. He likes it all. He LOVES to hear his children worship in spirit and truth. He is not stylistically pulled one way or the other. He just wants authentic praise, offered with all the excellence we have to offer. That said, remember that part of being an intergenerational family means we ALL serve…not just the uber-talented. We are a team; we work together for the goal. This concept will be harder for some than others. You control freaks out there will struggle given up control to others, but it’s necessary. Remember the goal of being intergenerational is that we try to value all and give them a role of importance. This means being very intentional about including “budding” singers and players. It might cost you some in the “excellence” you may be striving for, but if we only use our A-list players and singers, we will lose on on developing new ones. Someone one invested in us when we weren’t so great—we must do the same. Basically, create a culture that aims to nurture rather than simply “perform.”

 

 

Using the Gradual Release Model to Develop Next Generation Leadership

One of the core values of any intergenerational church should be developing new leaders. While all generations are valued and important, perceived value must be shifted during the development of new talent and leadership. Often seasoned leadership must take a “back seat” to let emerging leaders develop the necessary skills and traits to be able to lead forward. However, each person (the “teacher” and the “student’) still have valuable roles, albeit at times different generations will be more visible than others.

Because we value all our generations in worship so much, we regularly schedule time for our children and youth to share their gifts and talents in worship leadership. It’s an intentional process. We don’t just teach them music performance, but also the importance of modeling worship behavior for congregational participation. For our students that show great musical potential and feel the call of God to vocational ministry, we work hard to invest in them specifically. We accomplish this by using the “Gradual Release Model,” developed by Pearson and Gallagher in 1983. This model (seen below) does exactly what the term suggests, it allows the “student” to assume responsibility as they get more opportunities to serve. Ultimately, it is our prayer is that the Lord will call some from our church to vocational music ministry and because they’ve been leading throughout their lives, they will already be equipped to lead elsewhere.

Obviously, the role of the “teacher” changes as the students are developed. This “passing the torch” approach is not without its difficulties. Obviously, the budding leadership still needs guidance along the way, especially if something the emerging leader does something that might be perceived as a mistake or cause embarrassment to themselves or others.

Here’s a practical example of how we are using the Gradual Release Model. One of my personal piano students has a desire to use her gifts further in accompanying for choirs and worship services. Currently, we’re using the model with her and using our Youth Choir to give her a safe place to test her wings. Our pianist for the Youth Choir is an excellent mentor herself. This fall, we had my student sit in on rehearsals and watch our pianist at work. During rehearsals they would discuss important things such as playing parts, anticipating director’s movements/gestures, playing techniques for a choir, etc. (Focused Instruction). By Christmas they had moved to Guided Instruction, both sitting at the bench, working together. They even played a four-hand accompaniment to one of our songs for Christmas. Since January, they’ve entered the Collaborative Learning phase. Our student has learned the parts and accompaniment to one of our songs and she is taking “lead” in the rehearsal on that tune. Our pianist is sitting with her and helping make sure she doesn’t miss anything and is successful, but it’s basically the student playing for me. By the end of the Spring, I hope that we’ve moved her more and more to her to the Independent playing phase where she becomes our pianist for the Youth Choir by this fall.

This process helps the student be successful, but also keeps the pianist and me on our toes as we strive to make clear what we need from our student. It’s a gratifying process, especially if the student is quite good and practices before rehearsals! The value we place on investing in next generations will be evident as we develop new leaders who will “carry the torch” after we are unable to.