What Child Is This (Electronica)
Here's dance mix I just created for this year's Christmas services using the familiar carol, "What Child Is This" in a unique way.
Hope you enjoy!
We Win
(recorded by the Odessa Christian Faith Center music ministry)
“And when you were dead in your transgressions and the uncircumcision of your flesh, He made you alive together with Him, having forgiven us all our transgressions, having canceled out the certificate of debt consisting of decrees against us and which was hostile to us; and He has taken it out of the way, having nailed it to the cross. When He had disarmed the rulers and authorities, He made a public display of them, having triumphed over them through Him.” (Col. 2:13-15)
“But in all these things we overwhelmingly conquer through Him who loved us. For I am convinced that neither death, nor life, nor angels, nor principalities, nor things present, nor things to come, nor power, nor height, nor depth, nor any other created thing, shall be able to separate us from the love of God, which is in Christ Jesus our Lord.” (Rom. 8:37-39)
“For whatever is born of God overcomes the world; and this is the victory that has overcome the world- our faith.” (I John 5:4)
It is evident that Christ has won the victory for us, both now and to eternity, in which we can confidently say, “We Win!”
We Win (©2011 Lowell Hohstadt)
In the darkness You shine Your light through
In the battle Your ev'ry word comes true
In the chaos You shine Your glorious light
With You on our side, we win the fight!
All the victory here
comes from victory there
All the promises here
You brought us the victory hanging on Calvary!
Takin' a walk of faith ev'ry day now,
Talkin' talk of grace, as I look in Your face
Set my eyes on things above this world
With You on our side, we win
We win, we win,
We win, we win,
We win,
We win the fight!
A Mighty Fortress Is Our God
Here's a string quartet arrangement I wrote using the melody from the hymn "A Mighty Fortress Is Our God."
(purchase entire string hymns album)
The hymn, “A Mighty Fortress Is Our God”, written by Martin Luther, has had wide-spread influence throughout Christendom, having been used by many well-respected musicians throughout history, starting with J.S. Bach in his chorale cantata “Ein feste Burg ist unser Gott” (BWV 80).
Other well-known composers include Dieterich Buxtehude, Johann Pachelbel, Felix Mendelssohn, Claude Debussy, Ralph Vaughan Williams, and more recently jazz pianist Bob James.
The message of God’s protection is as ancient as the Scriptural texts from which it is inspired. Having faith in His capacity to protect and defend us against all forces that would attempt to bring harm to our lives is foundational to the Christian faith. This protection even defies death itself: “That through death He might render powerless him who had the power of death, that is, the devil; and might deliver those who through fear of death were subject to slavery all their lives.” (Heb. 2:14-15) “But when this perishable will have put on the imperishable, and this mortal will have put on immortality, then will come about the saying that is written, “Death is swallowed up in victory. O death, where is your victory? O death, where is your sting?” (I Cor. 15:54-55)
This conviction is not only relevant for eternity, but also for our daily existence, as the following two passages reveal a truth beneficial to our personal relationships.
“The Name of the Lord is a strong tower; the righteous runs into it and is safe (set on high)” (Prov. 18:10)
“The fear of man brings a snare, but he who trusts in the Lord will be exalted” (Prov. 29:25)
The words “safe” and “exalted” in the Hebrew are the same word: sagab, which means to be inaccessibly high, having the connotation of security, a place of safety to the one fleeing or to the one at rest in a fortified height which would be inaccessible to beast and enemy alike.
How many people curry the favor of various communities and leaders, only to be let down in one way or another. “Many seek the ruler’s favor, but justice for man comes from the Lord.” (Prov. 29:30)
Eventually, man’s ideas, communities, governments, authorities and protection all fail. But there is an absolute foundation of strength and power to those who unite to Him by faith. “For He Himself has said, ‘I will never desert you, nor will I ever forsake you,’ so that we may confidently say, ‘The Lord is my helper, I will not be afraid. What shall man do to me?’” (Heb. 13:5-6)
Throughout the ages, thousands will attest that He is faithful to all who put their trust in Him. “Whoever believes in Him will not be disappointed.” (Rom. 10:11)
Angels We Have Heard On High (Mariachi)
Here's a new take on the well-known Christmas carol, Marichi style...
Hope you enjoy!
God Rest Ye Merry Gentlemen (Dubstep)
Here's a little different take on the Christmas hymn, done in a Dubstep electronica mix.
Hope you enjoy!
The Solid Rock
Here's a string quartet arrangement I wrote using the melody from the hymn "The Solid Rock".
(purchase entire string hymns album)
With so many voices competing for our attention, so many good ideas and seemingly stable aspects to our culture or community upon which we can lean, there is only one truth that will withstand the test of time, and that is the solid foundation of faith in Christ Jesus.
It surprises many when they see something they hold dear, something familiar just vanish from existence. Maybe a familiar building that is destroyed to make room for something new, maybe a cultural style that has ceased to be mainstream, or maybe a close family member or friend who has passed away, all of these things can have an unsettling effect upon our lives. As someone said, “The only thing constant is change.”
Even though everything in this world is perpetually changing, there is something higher than this world, something above the natural realm (i.e. super-natural). These things, however, are spiritually perceived. Though they are invisible to the natural eye, they are more real and more substantial than the things we can physically observe.
“While we look not at the things which are seen, but at the things which are not seen; for the things which are seen are temporal, but the things which are not seen are eternal.” (2 Cor. 4:18)
“Now faith is the assurance (substance) of things hoped for, the conviction (evidence) of things not seen.” (Heb. 11:1)
Even though everything around us is changing (seemingly impossible to keep up with) it is the spiritual realm that contains something solid as a rock.
When Jesus asked His disciples who people said that He was, Peter answered,
“You are the Christ, the Son of the living God.” And Jesus answered and said to him, “Blessed are you, Simon son of Jonah, because flesh and blood did not reveal this to you, but My Father who is in heaven. And I also say to you that you are Peter (lit. Petros, a stone), and upon this rock (lit. Petra, large rock, bed-rock) I will build My church; and the gates of Hades shall not overpower it.” (Matt. 16:17,18)
As Peter acknowledged Jesus as being the Christ, the Messiah, he was seeing the ‘unseen realm’, he was able to perceive beyond the natural. Upon the bed-rock revelation that Jesus is the Christ, the true church is being built. It is an unchangeable foundation. Even though history and cultures change, Jesus remains the priest,
“according to the likeness of Melchizedek (king of peace and righteousness), who has become such not on the basis of a law of physical requirement, but according to the power of an indestructible life.” (Heb. 7:16)
“This hope we have as an anchor of the soul, a hope both sure and steadfast and one which enters within the veil, where Jesus has entered as a forerunner for us, having become a high priest forever according to the order of Melchizedek.” (Heb. 6:19,20)
He is the Solid Rock, an unchanging foundation in the midst of an ever-changing world.
My hope is built on nothing less
Than Jesus’ blood and righteousness;
I dare not trust the sweetest frame,
But wholly lean on Jesus’ name.
When darkness veils His lovely face,
I rest on His unchanging grace;
In every high and stormy gale,
My anchor holds within the veil.
His oath, His covenant, His blood
Support me in the whelming flood;
When all around my soul gives way,
He then is all my hope and stay.
When He shall come with trumpet sound,
Oh, may I then in Him be found;
Dressed in His righteousness alone,
Faultless to stand before the throne.
Refrain:
On Christ, the solid Rock, I stand;
All other ground is sinking sand,
All other ground is sinking sand.
Edward Mote
'Tis So Sweet to Trust In Jesus
Here's a string quartet arrangement I wrote using the melody from the hymn "Tis So Sweet to Trust In Jesus".
(purchase entire string hymns album)
A simple hymn of trust, “Tis So Sweet” challenges the believer to simply relax and release control of our cares, worries and all of life’s difficulties, placing them all into the hands of our loving Creator.
It seems too good to be true, this message of God’s love, forgiveness and grace. It’s so easily mocked because of its simplicity. Many wonder, “Could there really be a way of escape from all the uncertainties of this life?” Yes! It’s in the simplicity of trust and faith in Christ.
“Now faith is the assurance (substance) of things hoped for, the conviction (evidence) of things not seen.” (Heb. 11:1)
God placed in each person the ability to perceive His goodness and to see that which is spiritual. Some people call it “women’s intuition” or they say, “I just knew in my heart…”
Modern science has proven multiple dimensions in the known universe. Is it really that hard to believe that there are things happening the realm of the unseen? After all, how many radio, television and cell phone waves are all around us, carrying messages, yet are imperceptible to the human eye?
The spiritual realm does exist, and God’s love, care and guidance are ever-present. It’s really not that hard…take a deep breath, lean back in your chair and say, “I trust You, Lord.”
’Tis so sweet to trust in Jesus,
Just to take Him at His Word;
Just to rest upon His promise,
And to know, “Thus saith the Lord!”
Jesus, Jesus, how I trust Him!
How I’ve proved Him o’er and o’er;
Jesus, Jesus, precious Jesus!
Oh, for grace to trust Him more!
Oh, how sweet to trust in Jesus,
Just to trust His cleansing blood;
And in simple faith to plunge me
’Neath the healing, cleansing flood!
Yes, ’tis sweet to trust in Jesus,
Just from sin and self to cease;
Just from Jesus simply taking
Life and rest, and joy and peace.
I’m so glad I learned to trust Thee,
Precious Jesus, Savior, Friend;
And I know that Thou art with me,
Wilt be with me to the end.
Louisa M. R. Stead
Just As I Am
Here's a string quartet arrangement I wrote using the melody from the hymn "Just As I Am".
(purchase entire string hymns album)
Many churches today have stopped doing altar calls, hoping not to offend anyone. This is a departure, however, from the past century of American churches whose congregants became familiar with the hymn “Just As I Am” as it was either sung or played during an invitation for salvation.
In 1934 famed evangelist Billy Graham came forward to become a Christian while this song was being played, and subsequently used it in his own widely renowned crusades.
I remember my own decision to step forward publicly, as I got up out of my seat to stand before a congregation. It was both a bold moment and an awkward one. I knew all too well my own insecurities, weaknesses and failures, yet when presented with the idea that I could approach the Creator of all things in a sort of ‘divine forgiveness/relationship’, it evoked desire, wonder and fear all at the same time.
As I remember back, I’m glad I decided to get up out of my chair that day, even with all the uncertainty that that moment evoked. As I continued to grow as a Christian, I remember coming across a passage in the Bible that said, “Everyone therefore who shall confess Me before men, I will also confess him before My Father who is in heaven. But whoever shall deny Me before men, I will also deny him before My Father who is in heaven.” (Matt. 10:32-33)
Knowing that I was willing, and am still willing, to be identified with Jesus Christ produced a foundation upon which I could continue to build my faith and deepen my spiritual roots.
That one awkward moment grew into a strength that has extended wonderful benefits, not only to my own life, but to those of my family, friends, co-workers in ministry, and many people I may never know.
My hope is that the American Christian will continue to require passage through that narrow gate of awkwardness for the unashamed.
“For I am not ashamed of the gospel, for it is the power of God for salvation to everyone who believes…” (Rom. 1:16)
Just as I am - without one plea,
But that Thy blood was shed for me,
And that Thou bidst me come to Thee,
-O Lamb of God, I come!
Just as I am - and waiting not
To rid my soul of one dark blot,
To Thee, whose blood can cleanse each spot,
-O Lamb of God, I come!
Just as I am - though toss'd about
With many a conflict, many a doubt,
Fightings and fears within, without,
-O Lamb of God, I come!
Just as I am - poor, wretched, blind;
Sight, riches, healing of the mind,
Yea, all I need, in Thee to find,
-O Lamb of God, I come!
Just as I am - Thou wilt receive,
Wilt welcome, pardon, cleanse, relieve;
Because Thy promise I believe,
-O Lamb of God, I come!
Just as I am - Thy love unknown
Has broken every barrier down;
Now to be Thine, yea, Thine alone,
-O Lamb of God, I come!
Just as I am - of that free love
The breadth, length, depth, and height to prove,
Here for a season, then above,
-O Lamb of God, I come!
Charlotte Elliot
Amazing Grace
Here's a string quartet arrangement I wrote using the melody from the hymn "Amazing Grace".
(purchase entire string hymns album)
What is grace? The Bible defines it as follows (from the Greek word Charis):
That which causes joy, pleasure, gratification, favor, acceptance, a benefit, thanks, gratitude, a favor done without expectation of return; the absolutely free expression of the loving kindness of God to men finding its only motive in the bounty and benevolence of the Giver; unearned and unmerited favor.
That’s what God has done for us by His love, through Jesus Christ’s sacrifice for our sins and resurrection, having justified us before God. As God sees Jesus, He sees us. The Almighty God, perfect and complete, sees us through “Jesus-colored glasses”, if you will. The same way He views His Son, in righteousness and completeness, is how he views all mankind.
You may not feel holy and righteous. You may not always do holy and righteous things, and you may feel completely undeserving of total forgiveness, wholeness and peace. But it’s God’s gift to you.
Like any gift, we can refuse it or accept it. For those who choose to simply accept it, saying, “Thank You”, all the benefits pour in. How could anyone reject such a lovely gift?
Receiving it inspires us with a new idea: we want to give a gift to someone else. It's the gift of unmerited, undeserved favor, forgiveness and acceptance. Our desire to do this is the evidence of whether or not we first received it for ourselves.
“This is my commandment, that you love one another, just as I have loved you. Greater love has no one than this, that one lay down his life for his friends. You are My friends, if you do what I command you…This I command you, that you love one another.” (Jn. 15:12-14, 17)
His grace is truly amazing, as it comes to us, but it takes on a whole new dimension when it flows through us to others!
Amazing grace! how sweet the sound,
That saved a wretch like me!
I once was lost, but now am found,
Was blind but now I see.
‘Twas grace that taught my heart to fear,
And grace my fears relieved;
How precious did that grace appear
The hour I first believed!
Thro’ many dangers toils and snares,
I have already come;
‘Tis grace has brought me safe thus far,
And grace will lead me home.
When we’ve been there ten thousand years,
Bright shining as the sun,
We’ve no less days to sing God’s praise
Than when we first begun.
Holy, Holy, Holy
Here's a string quartet arrangement I wrote using the melody from the hymn "Holy, Holy, Holy".
(purchase entire string hymns album)
Heaven is filled with the praises of God. All of His created beings acknowledge His beauty and worth. The book of Revelation gives us a glimpse of some of this activity:
“And the four living creatures, each having six wings, are full of eyes around and within; and day and night they do not cease to say, “Holy, Holy, Holy, is the Lord God, the Almighty, who was and who is and who is to come.” (Rev. 4:8)
The word Holy (Gr. hàgios) means: set apart, chaste, pure, clean, virtuous, blameless, without blemish.
Living this human life, it’s hard to imagine anything (or anyone) being completely perfect. Everyone has some flaw, some vice. Even the creation itself seems to have imperfections, some quite noticeable, others less noticeable, but still there, nonetheless.
The only place true holiness can exist is somewhere outside our natural experience. As perfect as man tries to be, he ultimately will fall short of complete holiness this side of heaven.
The Apostle Paul shows the answer to this dilemma:
“Wretched man that I am! Who will set me free from the body of this death? Thanks be to God through Jesus Christ our Lord!...There is therefore now no condemnation for those who are in Christ Jesus. (Rom. 7:24,25; 8:1)
God alone is holy, and He has extended His holiness to those who accept His love and forgiveness through Christ Jesus. We are holy only through His benevolent forgiveness.
“But you are a chosen race, a royal priesthood, a holy nation, a people for God’s own possession, that you may proclaim the excellencies of Him who has called you out of darkness into His marvelous light; for you once were not a people, but now you are the people of God; you had not received mercy, but now you have received mercy.” (I Pet. 2:9,10)
Again, in Revelation, there was a book with seven seals that needed to be opened, and the question was asked, “Who is worthy to open the book and to break its seals?”
“And no one in heaven, or on the earth, or under the earth, was able to open the book, or to look into it. And I (John) began to weep greatly, because no one was found worthy to open the book, or to look into it; and one of the elders said to me, “Stop weeping; behold, the Lion that is from the tribe of Judah, the Root of David, has overcome so as to open the book and its seven seals.” (Rev. 5:2-5)
Jesus, the spotless, pure Lamb of God sacrificed for the sins of all humanity, is holy, and He has graciously extended His holiness to those who trust in Him.
Holy, Holy, Holy! Lord God Almighty!
Early in the morning our song shall rise to Thee;
Holy, Holy, Holy! Merciful and Mighty!
God in Three Persons, blessed Trinity!
Holy, Holy, Holy! All the saints adore Thee,
Casting down their golden crowns around the glassy sea;
Cherubim and seraphim falling down before Thee,
Which wert and art, and evermore shalt be.
Holy, Holy, Holy! Tho’ the darkness hide Thee,
Tho’ the eye of sinful man Thy glory may not see,
Only Thou art holy; there is none beside Thee
Perfect in power, in love, and purity.
Holy, Holy, Holy! Lord God Almighty!
All Thy works shall praise Thy name, in earth, and sky, and sea;
Holy, Holy, Holy!
Merciful and Mighty!
God in Three Persons, blessed Trinity!
How Great Thou Art
This is an arrangement, or as I like to call it, an essay, using the theme of this famous hymn.
(purchase entire “String Hymns” album)
When we look up to the sky to see the stars, wondering how far the reaches of the universe extend, or when we see the beautiful mountain ranges topped with snow, or the beautiful flowing brooks of water, the trees, the birds, animals species too numerous to count, for those who can see the Creator through all of these things, it’s not difficult to acknowledge how truly magnificent and powerful God is. But the miracle is not how immensely intelligent He is, or how much force He is capable of wielding. It is rather that He was willing to meet with us on a level by which he calls us 'friend'.
“Greater love has no one than this, that one lay down His life for his friends. You are my friends…” (Jn. 15:13,14)
“And the Scripture was fulfilled which says, “And Abraham believed God, and it was reckoned to him as righteousness,” and he was called the friend of God.” (Js. 2:23)
“And Your gentleness (lit. condescension) makes me great.” (Ps. 18:35)
O Lord, my God, when I in awesome wonder
Consider all the worlds Thy hands have made,
I see the stars, I hear the rolling thunder,
Thy pow’r thro’out the universe displayed.
Then sings my soul, my Savior God, to Thee;
How great Thou art!
How great Thou art!
Then sings my soul, my Savior God, to Thee;
How great Thou art!
How great Thou art!
(Stuart K. Hine)
7 Attributes of a Complete Contemporary Musician- Part 7
Attribute #7: In the previous six blogs, we have seen that the complete contemporary musician will have a meaningful purpose for his work (Attribute #1). He will be open to cultural influences, learning from great artists of the past (Attribute #2), as well as embracing the creativity of other contemporary artists (Attribute #3). He is able to both improvise and read music (Attribute #4), and is willing to study and participate in new innovation (Attribute #5). He will have a rich understanding of both composition as well as performance (Attribute #6).
In this seventh and final blog, we will discuss that the Complete Contemporary Musician is willing to teach and train the next generation of artists.
It is not enough to simply achieve artistic greatness for the sake of one’s own personal goals. That is certainly more noble-minded than the pursuit of fame and fortune, but there is yet a deeper and more profound meaning to an artist’s existence. He must be doing more than serving his aspirations for the sake of his own name, or the duration of his work, but rather have an awareness of a larger historical context.
The sincere artist is part of a much bigger picture. He is part of a community that is influencing the course of human existence in the expansion of noble purposes and eternal consequences. Upon the accomplishment of his life’s work, a sincere artist will have influenced society on a much more profound level than what can be measurable by Billboard’s top 10 list.
“Greater love has no one than this, that one lay down his life for his friends.” (Jn. 15:13)
An artist’s ultimate goal should not be that of fame, notoriety, wealth and personal gain. Rather, it is the propagation and continuance of the very inspiration and beauty he has stewarded throughout his life. The flow of the creativity he has nurtured, and the inspiration with which he has co-labored, must be carefully handed over to the following generation. Successfully passing the baton insures that this flow will continue to influence succeeding generations. Some call this an artist’s legacy, but it is really not about the artist at all. It has more to do with the inspiration being transferred than it does the skills and philosophies of the artist himself.
“And the things which you have heard from me in the presence of many witnesses, these entrust to faithful men, who will be able to teach others also.” (2 Tim. 2:2)
“Older women likewise are to be reverent in their behavior…teaching what is good, that they may encourage the young women…” (Titus 2:3-4)
The Scriptures are full of admonishment to train and educate the younger generations.
“He has also set eternity in their heart…” (Eccl. 3:11)
Whether we like to admit it or not, our journey on this earth is finite. We can somehow perceive eternity, but this eternal vision should not cloud our thinking when it comes to how precious the commodity of time really is.
The priests who ministered in the temple were given a set number of years that they would serve. “This is what applies to the Levites: from twenty-five years old and upward they shall enter to perform service in the work of the tent of meeting. But at the age of fifty years they shall retire from service in the work and not work any more. They may, however, assist their brothers in the tent of meeting.” (Num. 8:24-26) There is a time in life to shoulder the burden, and then there is a time to step back and help those who are carrying the load.
Teaching and training is a precious commodity. “Like apples of gold in settings of silver is a word spoken in right circumstances.” (Prov. 25:11) “Oil and perfume make the heart glad, so a man’s counsel is sweet to his friend.” (Prov. 27:9)
The willingness to give the wisdom and skillful knowledge gained, combined with the inspiration from which it came, is seed sown, ultimately producing a harvest. This harvest is not just for the student, but for the teacher, as well. As we give away what we know, more is given back to us. This miraculous process of teaching and training deepens the roots of the very things we have shared, giving us even richer insights than what we initially gave away.
Perhaps J.S. Bach did this out of necessity, but the role he lived as teacher to those around him produced exponential benefits in his artistic work. Even though he didn’t have the modern tools of our day, he was able (through delegation, training and leadership) to produce a huge quantity of music, arguably greater than anything produced in our generation.
The only way an artist’s 'legacy' can be perpetuated into history, causing exponential influence, is through this process.
There is a sacrifice, however. It takes a willingness to look beyond the natural human desires of today’s prestige. It takes an eye to see another artist’s burgeoning creative pursuits, along with the compassion to give away time and energy you would otherwise have used for your own work. It takes patience to help the maturing artist see in himself what you have seen in him, and the willingness to push past his natural human failings, knowing that the treasure hidden inside is worth mining.
The sacrifices, however, are well worth the effort and even though the giver may only see the results through heaven’s eyes, ultimately, there will be a harvest of eternal proportion.
(for more, I encourage you to read “What About Fame?”)
7 Attributes of a Complete Contemporary Musician- Part 6
Attribute #6: In previous blogs, we have discussed the following points regarding the complete contemporary musician.
He will have a meaningful purpose for his work (Attribute #1). He is open to cultural influences, learning from those who have come before him (Attribute #2). He is willing to embrace the creativity of other contemporary artists (Attribute #3), and he is able to both improvise as well as read music (Attribute #4). He is willing to study and participate in new innovation (Attribute #5).
In this blog, we will explore the need for the complete contemporary musician to be proficient in both practices of composition and performance.
The subjects are mutually beneficial to each other. Without one, the other does not exist. They blend together almost like the covenant of marriage. The inter-relationship between the two subjects, at times, becomes so saturated that it is difficult to always tell when composition isn’t performance, and when performance isn’t composition.
In Attribute #4, we discussed the subject of improvisation. This is one way the two worlds can simultaneously coexist. Another example might be when a performer adds his ‘interpretation’ to the work, making it uniquely an expression of his own artistry. Many who compose music will attest to the fact that at certain moments in the creative process, one feels as though he is performing while he is at work, even when he is the only one in the room.
There are times when the composer, with all of the specific instruction he can muster, must step aside to allow the performer ‘room’ to express the work in a way which sometimes even goes beyond the composer’s own original imagination. It is futile for the composer to exert his authority over every tiny detail of performance, ultimately stifling the creativity that emanates from a mutual relationship with the performer.
I believe that the complete contemporary musician must be able to function both as a composer as well as a performer because, without the knowledge and experience gained on either side of the equation, he will be severely lacking in his ability to make meaningful music in either discipline.
For example, if a performer has no understanding of composition, or the process of creativity, his performances will tend towards a mechanical approach, simply robotically moving through a sequence of notes and pretending emotion. However, when he sees himself as a composer, he will be more willing to take risks with the material, gaining insights into the mind of the composer himself, catching the ‘spirit’ of the material, and not the ‘letter’ of every ‘crossing of the t’ and ‘dotting of the i’. I am not insinuating that the performer should become slack in his approach and respect for the creator’s original work, but rather encouraging a comprehensive approach to his interfacing with what the composer has given. I would go so far as to say that the performer’s own unique ideas actually complete the process of creativity.
Many times, as a composer, I am elated to hear a performer bring my composition to life in an unusual and unexpected interpretation. I believe many composers feel the same way.
Composers, on the other hand, if lacking in performance experience, tend to become cold, distant and irrelevant to their audience, hiding away in some castle of ideology and technical matrix they have created. When a composer is also a performer, he intuitively knows what will work for a particular audience, and imagines that audience’s response while he is working.
Not every work is for every audience. In a perfect world, it would be wonderful to believe it was true, but the world of performance simply isn’t perfect. And that’s the beauty of it! The composer needs to ‘get his hands soiled’ in the imperfect dirt of audience interaction. When he is keenly aware of who he is writing for, he will know the boundaries he can push and those he must never cross. The process of composition is simply about making good musical judgments along the creative path, judgments that work both for the audience as well as the performer. I am not insisting that the composer must relinquish his idealism altogether, but rather that he ‘tailor’ the ideas to fit the needs of his audience. According to Stravinsky, in his “Poetics of Music”, the narrower the boundaries, the greater the creativity.
The intermingling of these two disciplines, I believe, will yield the most successful results for both areas distinctly. I am not advocating that an artist should relinquish his particular ‘bent’, his ‘gifting’, as some people have more creative leanings, while others have greater success in the art of performance; however, I want to encourage ‘both sides of the coin’ to expand their capacity to embrace the other side. Doing so will ultimately create the best results for both worlds.
(For more on this subject, see “Opposing Paradigms”)
Loop Fun
Here's a musical experiment: Modern Classical composition using looped patterns and hip-hop beats, with an electric violin improv over the top of it.
Hope you like it!
7 Attributes of a Complete Contemporary Musician- Part 5
Attribute #5: In earlier blogs, we have seen that a complete contemporary musician will have a meaningful purpose for his work (Attribute #1). He is open to cultural influences, learning from those who have come before him (Attribute #2). He is willing to embrace the creativity of other contemporary artists (Attribute #3), and he is able to both improvise as well as read music (Attribute #4). In addition to these, the complete musician/artist must be willing to participate in new innovation, utilizing and expanding current tools available to him.
Every society and time period has its own ‘cutting edge’ innovation, whether it is artistic, philosophical, governmental or industrial. Perhaps the greatest innovation in our modern day is the advent of electronic technology, i.e. the computer (and internet/communication possibilities). It continues to shape not only the development of music and art, but also its dissemination around the world.
The ‘stage’ an artist performed upon didn’t change much from the Greek amphitheater to the Wagner opera house (representing about two-thousand years), but all of that rapidly changed just in the last (less than) one hundred years. Music’s ‘stage’ has moved from the concert hall, to radio and television, then to the recording industry and finally to the home studio via You Tube and the internet. With much of the world embracing technological interactivity, the Internet is now music’s stage, and its performers are the world’s population. Talent and skills developed upon past ‘stage’ paradigms may or may not have a role in success. Rather, it’s about innovation and creativity.
Here’s a short list of some of the areas easily available to the musician/artist today: 1) Multi-track recording, 2) MIDI Sequencing, 3) Sampling, 4) Looping, 5) Micro-tonality, 6) Synchronization to other media (lighting, video, etc.). This is just on the creative side of things. There’s another arsenal of tools on the distribution/marketing side: 1) Pod-casts, 2) Forums, 3) Blogs, 4) Facebook, 5) You Tube, 6) I-Tunes, 7) Personal web-sites, 8) Digital distribution in so many ways it’s almost ridiculous to try to enumerate them.
One can become so involved in the technological tools, however, that he can lose objectivity. This is a real danger for today’s electronically savvy artist. I believe it is critically important for the artist (as shown in Attribute #1) to have a firm grasp of history so that he can objectively navigate his future.
I had a conversation with a co-worker one day, as I was making a photocopied ‘archive’ of a report. When he asked me what I was doing, I said, “I’m all about archiving. If you don’t know where you’ve been, then you don’t know where you’re going.” His smart reply to me was, “…unless you have a map.” But a map does no good if one doesn’t know his location on it!
Knowing history, combined with a comprehensive knowledge of currently available tools will give the artist an awareness of ‘where he is on the map’.
It’s not good to be stuck in the past, but it’s equally detrimental to be so immersed in contemporary ideologies that one loses objectivity. When the artist loses objectivity, he also loses direction and motivation. Objectivity, however, can be regained by reviewing history.
Here’s a simple example of what I’m trying to say. When I begin writing a song, I generally have a ‘seed’ idea that just came to me. It could be one short phrase, or a measure of music. When I begin to think of that phrase over and over again, something miraculous happens: it grows out of itself! I wonder what I will do next. I might even get a little nervous that I don’t know what to do (there are so many possibilities). But then I remember to go back to the beginning and think about the material that’s already there. When I do this, yet another miracle happens: it grows out of itself again!
Through this process of ‘organic growth’, all of my creativity comes. It comes by thinking about what has already been given to me. The same is true for the artist, as he endeavors to discover his destiny and future. If he feels lost or overwhelmed by all the possibilities, he should go back and review his artistic roots. He should study historic examples of others, seeing how they overcame unique obstacles in their day, as this can directly relate to current struggles he may be facing. (The tools of today are new, but human nature is the same!)
“The wisdom of the prudent is to understand his way.” (Prov. 14:8)
Having a secure sense of artistic direction is the best foundation to stand upon as the artist forges ahead with the newest and latest technological tools, establishing new creativity and artistic paradigms.
Who knows, if he's successful, perhaps he too will one day be studied.
Crucifixion Song
As we approach the Easter season, here's a song from a musical I wrote called "Resurrection Power". I just call it "Crucifixion Song". It's set to the text of Isaiah 53.
Hope you enjoy!
As a lamb led to slaughter,
as a sheep before its shearers,
He opened not His mouth He was silent
He was despised and forsaken of men,
a man of sorrows, acquainted with grief
Surely our griefs He bore and our sorrows He carried,
but He was pierced through for our transgressions
He was crushed for our iniquities
The judgment for our peace fell upon Him
By His stripes we are healed
By His scourging we are healed
By His Blood
By His Blood
His sacrifice brought us freedom
His sacrifice made us whole
Bought by the Blood of the Lamb
Bought by the Blood of the Lamb
Purchased with nail-scarred hands by love
Washed in the Blood of the Lamb
Washed in the Blood of the Lamb
Bought with the price of love,
by love, by love,
by love, by love,
by love
7 Attributes of a Complete Contemporary Musician- Part 4
Attribute #4: We have established the fact that to be a complete contemporary musician one must have a worthy purpose for his life and art (Attribute #1), he must learn from those who have come before him (Attribute #2), and he must be willing to embrace the creativity of other contemporary artists and stay abreast of the times (Attribute #3). The skilled and successful musician must also be able to function both creatively and responsively in the process of making music, that is, he must be able to improvise as well as read music.
The improviser, to a certain degree, becomes the composer. He spontaneously creates the music at the moment. The music reader, however, is responsive to the one who has created the work already, endeavoring to bring the ideas into completion as carefully and accurately as possible. Both scenarios have merit. They are ‘two sides of the same coin’.
Improvisation lends itself to freely expressed emotion-inspired creativity, while reading notation yields a more accurate, carefully constructed and pre-meditated order.
Improvisation many times marks the burgeoning of a new historic style. As the style continues to work its way through history, however, notation begins to document it so that others can appreciate and participate in its established patterns.
Take, for example, Rag-time music. It wasn’t until Scott Joplin put the music into notation that its wide-spread influence could happen. A similar process occurred in 19th Century Europe with the Gypsy musicians who improvised profusely. Skilled composers brought much of the creativity into notation, historically cementing the music for others to enjoy and play.
Throughout history, there has always been interplay between improvisation and notation, the creative expressiveness of improvisation together with the careful preparation, pre-meditation and design of notation. Take Bela Bartok, for example, who took the un-notated Hungarian melodies as themes for his classical compositions. Another example is George Gershwin, who took jazz motifs and raised them into a sophisticated symphonic structure. J.S. Bach merged the two worlds of improvisation and composition simultaneously, as he was able to create a multi-part fugue in his mind as he improvised! (He literally improvised as he composed, and he composed as he improvised. The process was one and the same to him.)
I once had to arbitrate in a great debate between people in my music ministry team who could only read music while straining to improvise, on one hand; while on the other hand, there were those who could only improvise and had no desire to read notation.
The music readers argued their points about the benefits of reading notation, and chided those who lacked that ability.
The improvisers, however, mocked those who couldn’t ‘play by ear’, citing the benefits to knowing how to ‘flow’ when given only a chord progression, at most.
I pondered how to solve this dilemma, and one day, as I was reading my Bible, a scripture popped out at me that said it all: “The hearing ear and the seeing eye, the Lord has made both of them.” (Prov. 20:12) I knew then, as the leader of the group, that I must expect everyone to improvise (or ‘play by ear’), as well as knowing how to read notation. Once the entire group felt comfortable with both, I knew we would have a winning combination.
One of the main benefits of reading music lies in the fact that it doesn’t exist as sound, but rather as ideas. It leaves room for interpretation from the participant’s imagination. It is not subject to the flaws of a human performance, but rather exists on a higher plane of ‘pure ideology’. (For more on this, see “My Vision- The Technique”)
Another benefit is that it structurally allows more than a few people to participate, giving clear and concise direction to all who join the plan. When dealing with larger groups of people, a more specific plan becomes necessary. Take for example traffic in a big city versus a small town. In one situation there have been multiple engineers who have designed highways and clover-leafs for huge volumes of traffic; whereas, in the other situation you might have a single policeman to direct a few vehicles.
The same hold true with music creativity: more people, more planning; fewer people, less planning (or easier improvisation).
The complete contemporary musician should be able to function proficiently in either situation, able to both read fluidly and improvise freely, to intellectually and accurately follow a chart, as well as participate creatively with others in a small consort. He must know how to live successfully in high structure, as well as in little or no structure.
Perhaps someday, even as J.S. Bach, the one who is skilled in both areas will experience the simultaneous merging of both worlds!
7 Attributes of a Complete Contemporary Musician- Part 3
Attribute #3: The Complete Contemporary Musician, along with having a meaningful purpose for his life and art (Attribute #1), and having a solid understanding of those who came before him, with the ability to perform their works (Attribute #2), must also be familiar with the current styles of the day, not only of his own geographical and philosophical region, but of those regions beyond. He should desire to be relevant to the times in which he lives, yet not at the expense of excellence.
Having a firm grasp of past historically successful artists gives him ‘food for thought’ and creativity, but the modern artist must not be stuck in the past if he intends to successfully connect with a contemporary audience. Being aware of cultural trends, the likes and interests of his current day should be like a whetstone, sharpening his own artistic edge. “Iron sharpens iron, so one man sharpens another.” (Prov. 27:17)
It is important that the artist have a solid understanding of his artistic direction, being firmly established in his own unique giftedness, while looking about the landscape at the works of others. Otherwise, he will be tempted to abandon the inner-plan of his heart to chase after someone else’s success. An artist who has no grounding in his own predetermined pursuits will be invariably “tossed about by every wind of doctrine” he sees coming his way.
There is a successful balance, or ratio, that must be struck between identity and cultural relevance. If an artist becomes so aware of all the cultural swirlings of ideas and ideologies that he loses his sense of personal destiny, then he must back-up and regain his equilibrium of who God has created him to be. “For we are His workmanship (lit. work of art), created in Christ Jesus for good works, which God prepared beforehand, that we should walk in them.” (Eph. 2:10) (for more on this see, “My Vision- the Community- History”)
While firmly grounded, the artist must not be afraid to step beyond the familiar, to see what others are doing. The very nature of artistic endeavors is to focus on creativity and innovation; however, if the artist stays in that state of focus and creativity, he may realize that the world has passed him by if he doesn’t look up (and out) from time to time. Whether we like to admit it or not, we artists are not an island unto ourselves. We are ultimately not independent at all, but are dynamically involved in the flow of history and community, having relationship within our own lives, those around us, and God himself.
Not being aware of the surrounding culture would be like trying to drive a car through the city blind-folded. It doesn’t matter how pretty or powerful your vehicle is, at some point, you’re gonna crash!
The artist should not only be aware of his surrounding culture, but also challenge himself to move beyond his own levels of comfort, into new areas of knowledge and study, not just of past artists (as was discussed in Attribute #2), but of new geographical and philosophical possibilities. For example, one who is familiar with the latest advances in American techno-pop genres could look into what is currently happening in Bali music or tribal rhythms from Africa. It’s about having a curiosity of life and a sincere appreciation for the successful creativity of others.
Technological advances are changing at a fever-pace, and this opens another wide door for new possibilities, challenging our very paradigm of how the creative process functions.
Igor Stravinsky is a great example of navigating change. He went through several stages of artistic development, starting with large orchestral works for the Russian Dance Theater, then developing Neo-Classicism through works of smaller scale. He went through periods of experimentation with jazz and serialism but somehow he always sounded like ‘Stravinsky’. His unique giftedness never swayed as he moved through these vastly divergent musical styles.
He could have easily been so enamored with Gershwin, that he ‘copied’ his style, or so impressed by Schoenberg that he mimicked his every stroke, but rather, he stayed true to his own uniqueness at the expense of ‘caving’ to the pressures of what was ‘hot’ at that particular moment in history. He included the cultural leanings without compromising who he was as an artist. This is what prioritizing excellence above relevance successfully looks like. Success as an artist is the ability to give the world uniquely who you are, while using the current cultural language to do it.
Could there be any greater example than Jesus, who identified with His culture on every level, yet brought a revolutionary message that transcended that culture. He was intrinsically woven within the fabric of the culture’s history, yet He stood out from it, pointing to a new destiny. This is the goal of the successful artist, to touch culture, yet to transcend culture, to excel in the midst of the mortal weaknesses of that culture’s communication tools.
The complete contemporary musician must be willing to ride the edge of these truths, constantly navigating and negotiating: 1) Who God has made him to be, 2) What he can learn from others, and 3) How he can speak truth to an audience that understands his message.
This is the sojourn of the one who hungers and thirsts to fulfill his destiny as a successful artist in both relevance and excellence.
7 Attributes of a Complete Contemporary Musician- Part 2
Attribute #2: The Complete Contemporary Musician, in addition to having a meaningful purpose for his music and art (Attribute #1), will have a solid understanding of artists who have come before him, along with the ability to perform their works.
A “know-it-all” attitude is not a flattering characteristic in a world replete with opportunities in the acquisition of knowledge and understanding. If an artist is unwilling to admit that he doesn’t “have it all together” in every aspect of his life and art, he ultimately is a shallow person, with a shallow future of productivity. Only by realizing that there has always been, and will always be, someone else better at some skill or some knowledge, can the artist have enough hunger to grow in new areas.
“My son, if you will receive my saying, and treasure my commandments within you, make your ear attentive to wisdom, incline your heart to understanding; for if you cry for discernment, lift your voice for understanding; if you seek her as silver, and search for her as for hidden treasures; then you will discern the fear of the Lord, and discover the knowledge of God.” (Prov. 2:1-5)
Treasure is wealth, and the wealth we are talking about is: wisdom, knowledge and understanding. Knowledge is the gaining of facts, understanding is the arranging of those facts, and wisdom is the proper application of the understanding gained. (Many people have knowledge, but they are completely lost when it comes to applying that knowledge or even understanding what it means in a larger context.)
No matter what artistic genre the artist may be involved in, perhaps even having been skillfully involved for a number of years, there is still room for growth. There is still time to ‘step out of the box’ to consider something never yet seen or experienced.
For example, a pop/rock drummer could set a goal to be able to read through a score of Mahler’s 2nd Symphony, or to conduct through parts of Stravinsky’s Rite of Spring. A classical musician could take some time to transcribe a Miles Davis or Led Zeppelin solo and practice it on his instrument. There are numerous possible examples, but the main stream of thought here is: expand the normal borders of your art! Don’t just stay in familiar territory, try something new to you. Make personal history. It may have already been done, but not by you!
There is a vast reservoir of knowledge just waiting for the taking in the history of Western Art Music (or Classical Music, as we have commonly called it). The lessons we can learn, however, have somehow gotten buried by the glamour and glitter of our current-day pop-culture’s examples of quick fame and fortune (and ‘throw-away’ art). But the lessons are still there, nonetheless.
Many contemporary musicians, even if they have spent some time studying the Great Masters of old, have unfortunately been content to simply leave that history in the past, missing the opportunity to use the gained revelation as fuel for rich, dynamic creativity today.
History is a little like the dinosaurs of yesteryear, having decayed, yet now useful as fossil fuel for our modern-day automobiles. The process of transforming the creativity of yesterday into fuel for today is what will bring meaningful richness to today’s art. To put it bluntly, if the artist has no historical knowledge, his art will have no power.
Just studying history is not enough, though. The artist must immerse himself in the best possible way: through performance. There’s something profound about giving one’s time and energy into the recreation of historic art. Through performance, the lessons get inside of the artist, becoming a part of his inner-consciousness. As he goes through the process of bringing the art to life for today’s audience, he ultimately plants seeds of greatness into his own life, as well.
Honoring history is a little like the Scriptural admonition, “Children, obey your parents in the Lord, for this is right. Honor your father and mother (which is the first commandment with a promise), that it may be well with you, and that you may live long on the earth.” (Eph. 6:1-3)
If you want your art and creativity to live long and prosper, learn to honor those who have come before you, be willing to ‘go digging’ for hidden treasure in fields you haven’t yet seen. Through the process you will discover riches beyond comparison, deep rivers of inspiration, when everyone else has run dry!
7 Attributes of a Complete Contemporary Musician- Part 1
To be an artist in today’s fast-paced, highly competitive society is a daunting challenge, to say the least. The artist/musician must have a tenacity and inner strength that can withstand the criticism of his new ideas, the charisma to reach a new audience and the technique to rise above the average.
When considering ‘success’, an artist must grapple with the question as to what ‘success’ really is for his own life. It’s a little like the Peanuts Cartoon of Charlie Brown shooting an arrow at the fence and subsequently drawing a circle around where the arrow stuck. When asked by Lucy what he was doing, he replied that this was the way he knew he would always have a Bulls-eye.
As artists, instead of justifying our lives, living in a dream-world of ego-centrism and unrealistic expectations of an audience’s recognition just because we consider ourselves to be ‘great’, there should rather be some concrete and measurable standards to which we hold our lives and our art.
In this series of blogs, I am outlining what I believe are definitive characteristics of a successful contemporary musician/artist, attributes of ‘character’ (if you will) of a complete and mature artist, who will be truly beneficial to society.
Attribute #1: The Complete Contemporary Musician/artist, before anything else, must have a meaningful purpose for his art.
If the artist has a purpose that is anything less than compelling, his art will suffer for it. The motivation of the art defines the art itself. The art emanates from within its purpose.
For example, if the artist’s intention is to simply ‘make lots of money’, then his art will be crassly commercial, artificial and superficial. This kind of art lasts long enough to titillate an immature and naïve audience, then quickly falls into obscurity and obsolescence.
If the artist’s purpose is to ‘become famous’, then his art will revolve around ‘self’ instead of anything of higher meaning. Flamboyancy and a wide palette of extreme attention-getting techniques are typical to this kind of motivation. Unfortunately, the self-made artist is, in the end, a disappointing object of worship. Once the shock-value of the display wears off, his audience is acutely aware of his ordinary humanity, and even resents the fact that he spent more time on ‘marketing himself’ than on developing something of lasting value.
Another unfortunate result of this kind of artistic purpose is the fact that men are simply unable to withstand the pressure of being ‘worshipped’. They self-implode. The psychology behind all of it is too much to bear when they find themselves living a lie. The subconscious awareness that they are not really able to live up to everyone’s expectations of ‘deity’ drives them to strange and various dissipations, which all end in further emptiness and un-fulfillment.
Having a purpose of ‘societal benefit’ is compelling to many artists. Some find fulfillment in promoting a ‘Green Earth’, or to help raise funds to ‘Fight AIDS’ or some other societal ill.
Some artists simply like to ‘bring beauty’ into the world, or to ‘make people think’ about politics or societal dilemmas.
Every artist is on a journey to answer the question of meaning in his life and work. It is not a stagnate, life-long rut that he endures, but rather a constantly evolving paradigm-changing awareness of ‘reality’. What he was involved in a year ago may seem to be ‘silly’ to him today. Most artists are adept at raising these questions, and are constantly searching for new answers to meaningful awareness.
In my journey, I have come to believe that the highest expression of music and art are in the worship of God.
I’m not alone in this belief. One of the greatest musicians to have ever lived believed that “Music’s only purpose should be for the glory of God and the recreation of the human spirit.” (J.S. Bach) [for more on this, see 10 Lessons J.S. Bach Taught Me]
The Bible is replete with thousands of years of historical records showing the use of music in worship to God.
In my personal experience, having lived through most of the above-mentioned examples of artistic purpose and motivation, I have come to sense a vastly greater peace and contentment in this pursuit, knowing that I don’t have to ‘measure up’ to society’s varied and ever-changing whims and ‘hoops’ to jump through. I simply have ‘an audience of One’, and He is already pleased with me by the forgiveness He offers through the sacrifice of His Son Jesus Christ.
Regardless as to where you might be in your pursuit of meaningful artistic creativity, I encourage you to continue to ask the question: “What is the purpose of my life and art?”
When you ask it sincerely, you will undoubtedly be on course for a life of true meaning and authentic success.