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There’s a problem in lots of churches when it comes to worship participation — there’s lots of standing around waiting to be led in worship. You know what I’m talking about. There’s that 16 measure rippin’ electric guitar solo, the 12 measure outro that’s the same as the intro, the 2 second pause between songs, and then the 8 measure needed intro to establish tempo/key/feel. That’s a lot of ‘waiting around’ for worshippers who are used to more of the ‘sing only when directed to’ type of format. More charismatic influences use these times to allow the song and worshipper to breath. But it’s a problem in my churches who do not follow that more charismatic/free worship structure.
Here’s what I mean…
The most difficult part (and crucial part) of any musical worship environment are the transitions from song to song. Once you establish a key, maintain tempo, get a groove, and begin singing — a song can virtually run itself. However, once the song is over, getting to the next song can be a challenge. There may be a tempo difference, difference in key, a mood/texture shift, or even needing room for something else to happen (pray, scripture reading, video, etc.).
Using click tracks to create “transition click tracks” can create a smooth flow from song to song. This means there are clicks/loops for the songs, but also click tracks and loops that guide through the in-between times. These loops can create a smooth live feel that link songs into a more seamless set.
For example, this past week we had these three songs in a row.
Sweetly Broken (B)
New Doxology (E)
You Shine (E)
Began Sweetly Broken with the full intro (to establish key/tempo/feel). When we got to the end of Sweetly Broken, we simply played an Eno3 chord on the final word — leaving a deceptive/unsettled feel. It’s typically OK to leave a song hanging at the end on a dominant (V chord) or subdominant (IV chord) if it sets up the next song’s key. For example, if a song is in the key of B…the the deceptive chords to end on would be either an E or F# (subdominant and dominant respectively). The *Eno3 chord played at the end of Sweetly Broken sets up the beginning of New Doxology (Key of E).
*no3 simply means the chord doesn’t have the third played in it, so you’d play an E and B…or sometimes called open fifth
The more tricky transition is going from the New Doxology into You Shine. Yes, they are the same key — but they are drastically different in both tempo and style. The solution here is to sing a SLOW version of You Shine’s ‘pre-chorus’ in order to denote that we are transitioning to a new song. This means after the last note of New Doxology, while still stirring the last Eno3 chord — a NEW click track would count off into You Shine’s pre-chorus at a slow tempo. Once the pre-chorus is completely sung at that slower tempo, another click track triggers for the actually You Shine song. Also, the proverbial 8 bar intro into You Shine is stripped down to simply two measures of Eno3 vamp to launch into the first verse.
It sounds complicated, but all these transition loops are automatically built into the click tracks & loops available at mymusicwriter.com — so all the work is done. Figuring out transitions can be daunting at first. It takes time and fore-thought. And if you are using click tracks, the live timing and feel are critical for the end result for worshippers who are following. Minimizing timing distractions and working out flow in advance can increase the opportunity for worshippers to be in an environment that guides them smoothly.
And as for those electric guitar solos or extended piano intros, try displaying Bible verses that keep the worshipper engaged. It will point their eyes to God, and maybe take them off the stage for that moment.
Here was our line up…
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