Part of Setlist Sundays over at Fred’s place.

1. Not Forgotten (Israel Houghton/Aaron Lindsey): CCLI Song #4635576. Key E. We basically created our own arrangement. Not that the recorded version isn’t great, but we find that a lot of Israel songs need to be simplified a little bit to promote accessibility to more musicians and singers. But don’t let that fool you, we rock it with plenty of funky soul. One of our female lead vocalists tears this one up (again a great option for doing Israel songs in their original key).
2. Everyday (Joel Houston): CCLI Song #2798154. Key A. I’m amazed that this song is coming up on 10 years old. It’s still a great song, and even though the verses are a bit wordy, the chorus is super singable and our folks love it. We stick pretty closely to the Lincoln Brewster arrangement. We have an 18 year old guy who sings every other week with us. I split our male led vocals with him about 50/50. He does a great job and provides a connecting point for our teens and college age students just by being on stage.
3. Everlasting God (Brenton Brown/Ken Riley): CCLI Song #4556538. Key A. Lincoln Brewster arrangement. We substitute a keyboard/piano solo instead of a guitar solo, but pretty much follow the same arrangement. At the end we repeat the chorus 3 times. The second of the three, we hit it with just drums and vocals, and everyone (except for the drummer) goes hands up. Claps on 2 and 4. It’s choreographed, but I’m continuously amazed at how many people will start participating when we lead something visually. At that point in the song all over the room people’s hands are up above their heads clapping.
4. Sweetly Broken (Jeremy Riddle): CCLI Song #4514635. Recorded version with visual presentation. Used the recording for ambient music as people responded to the message at the end of the service. Long story, short: message was about Joseph being broken and emptied in the “pit” - we had a “pit” (trash can) on stage, and people responded to the message by taking a real egg and breaking and emptying it into the “pit.” Kind of a symbolic gesture of allowing God to break and empty us. Good response.

I was on keys. I didn’t have a mic in front of me. I enjoyed just rocking out some weird synth lead stuff on Not Forgotten, and holding down the piano parts on the other 2 songs.

Great day. For me it was yet another confirmation of how choreographing certain worship expressions with your team can actually enhance congregational participation.

Tip: Have your singers clap during specific moments of a fast song. Maybe when it’s just drums and vocals (then the other musicians can pitch in too), or maybe it’s when the bridge takes the music down a notch, try the rock show clap (hands up, clapping on all 4 beats). We actually have 2 “stage” lead vocalists, and then usually anywhere from 2-4 side stage vocalists who are off to the side. These side stage vocalists sing behind boom mic stands. The on stage vocalists lead vocally. The side stage vocalists lead visually. I encourage them to jump and dance and clap. They are not allowed to touch their mics. It took a while for some of the vocalists to get used to it, but ultimately it’s created a great visual leading opportunity.