The original inspiration for this song came about when a good friend of mine experienced a very serious health issue. It was the kind of thing you could die from. Even though I’d had no information that it would end up this way, I was still worried. The lyrics and melody seemed to flow very easily which, for me, hardly ever happens.
Over the past few months when I’ve been leading worship I’ve been challenging the team with a simple question: “How have you worshipped this week?”
I primarily asked them to (a) remember that everything we do should be for his glory, (b) recognise where God has moved in our lives recently, and (c) realise that sometimes our worship isn’t directed at God.
1 Corinthians 10:31 says…
If our worship songs reflected our true hearts, thoughts and affections on Sunday mornings, would it sound like this? (Check out the video below)
Having decided I’m going to need a clip-on tuner for my Taylor I’ve been reading around at what’s good, and the Peterson Strobe Clip-on seems to have great reviews for its 1/10 cent accuracy and specific sweetened temperaments. Anyone who has tuned up, played a chord and thought “Fab!” and then a second chord and thought “That’s less fab!” will have hit the problem that sweetened temperaments are meant to address. Long time readers of my blog (or interested parties) may want to check back on the Key Colour post I made some time ago.
However…
Various things have got me thinking about people’s outward expression of worship. When I’m leading at church and I look out at the congregation it’s very clear that some people are more engaged than others. This might be down to a number of factors: personal circumstances could be one, my leading could be another! I hear stories from people that they’ve experienced ‘better’ worship at other places.
The question that comes to mind is…
I’ve just noticed that one of the riffs in my instrumental song Tribute is very similar to the intro to Bucks Fizz’s “Making Your Mind Up”
I don’t know whether to laugh or cry!
I recorded this some time ago, but it seemed appropriate to resubmit it here.
I was having one of those musically inspired late night sessions. The chord sequence is straightforward, but melodic and rich enough to give a soundscape that I’m pleased with. There’s even a bit of slide guitar in the middle section, which I very rarely play but really adds to the feel.
Fed up with repetitive choruses?
Praise God the Father, the Immortal Creator
For Your glory you made us, You’re the Sovereign Orchestrator
All that You decree will most surely come to happen
You’re awesome as can be and Your glory none can fathom
After having lots of fun with my new recording software (far far better than Cubase) I’m pleased to present the first song I’ve recorded with it. I’ve entitled it “Tribute”. It’s a rock instrumental, with a few nods to well known theme tunes.
Keep an ear out for a snippet of Vivaldi, a dash of Star Trek TNG, a touch of Top Gun, a flash of Friends and a little bit of the A Team. Oh, there’s also a nod to Eric Johnson too 🙂
If the only type of music you employ in a worship service is old, you inadvertently communicate that God was more active in the past than he is in the present.
If the only type of music you employ in a worship service is new, you inadvertently communicate that God is more active in the present than he was in the past.
Thought provoking article at http://worship.com/2010/09/worship-this-is-the-way-it-ought-to-be/
“Key colour” is absent in equal temperament (ie guitars with straight frets). As all its intervals are equal, the blend of intervals is the same in every key, so all keys sound alike. “Key colour” is a feature of temperaments with unequal intervals. Before equal temperament came along in the mid 19th century, “Key Colour” – also known as “Key Character”, or, in German, “Affekt” – was a familiar and generally accepted part of musical expression. By Beethoven’s day, the concept of “Key Character” (in which different keys conveyed specific emotional meanings), was much refined. A widely read and influential list of keys and their affective qualities, written by Christian Friedrich Daniel Schubart and published posthumously in 1806, contained the fashionable descriptions for all major and minor keys.” from “Six Degrees Of Tonality – The Well Tempered Piano” by Edward Foote.
