The Gift Behind The Talent

 

I originally posted this in May.  But with Black Friday just a few days away and so much effort being put into gift-buying, I’m thinking this might be a good time to look once again at the gifts we already have – the gifts that can’t be bought, just cultivated.

Have a Happy Thanksgiving, everyone!

Potting a plant

[RE-POST] This past week, I wanted to re-pot a plant. It was not doing well, I had not done a very good job of taking care of it.

So I asked my wife, Sue, if she would help me with it.

Now it’s not really that complicated a process. Thing is, I know that if I do it, the poor plant has a chance of surviving. But Sue is great at this stuff, you should see our backyard gardens!

When she does it, the plant will thrive.

Sue is gifted at many things. She is quite a fine musician, an accomplished decorator, a wonderful cook, just to name a few.

And some time ago, she discovered that planting and cultivating flowers was something she enjoyed.

She has gotten quite good at it, and it’s amazing to me! The colors that burst forth all around the outside of our house in the spring are wonderful. And though the colors change, things keep blooming all through the spring, summer and fall! She is talented at gardening.

But what she is really gifted at is making her surroundings beautiful.

Now to her, it just makes sense. She does whatever is necessary to provide the right conditions, the right soil, the right space, the right color combinations, and so on. To me, it is a wonderful mystery!

But that’s how it feels when we do things that align with our talents. To us, our actions don’t seem like a big deal, there’s no mystery, it just makes sense. And it makes us happy.

The Gift That Drives The Musician

For a musician to know if they are talented or not usually depends on other people. If listeners keep hanging around so that you’ll play one more song, that’s a good sign. And if they listen to a few bars and politely excuse themselves from the room, that’s a different sign!

As they work at their craft, musicians will get better. The music will become more cohesive and colorful, with fewer jarring moments than when they started.

Talent doesn’t have much to do with making music at first. But as time and efforts progress, talent is what takes the mechanical and makes it beautiful.

And then the real gift just might shine through. The gift behind the talent that mystically answers why the musician plays might show up. Because the gifted musician not only plays because she can, but she plays so that people might hear and be blessed by the experience.

Sounds pretty altruistic, doesn’t it? What about the musician’s ego? Don’t they play to inflate their sense of self-worth?

Sometimes. But at the heart of it, if a musician’s goal is to create something beautiful, or significant, or worthy, there has to be someone one the other side of it that appreciates its beauty, its significance, its worthiness. The goal of the musician is to bless someone with their art.

Gifts I Am Thankful For

As for me, I am good with music. I love the medium, I really enjoy playing around with song structure, melodies and harmonies, grooves I haven’t tried before. Even writing lyrics. I work at my craft, learning and honing, writing and practicing.

But what drives me to keep creating, in addition to my own need for self-expression, is the joy of getting other people involved in hearing and playing it. Watching their reactions to my music is fun (usually); but having others learn my songs and play or sing them for an audience – what a trip!

And although my pride is involved, if I am to be totally honest with you, the thing I love to do is to encourage people to find joy in life by using their God-given gifts.

One of my favorite things to do is find people with a little ability and a timid heart and bolster their courage as well as build their skills. Then I step back and watch them fly! Time and time again, I’ve watched this happen, and it brings me joy every time.

Sue loves to plant things and watch them grow. That’s what I love to do with people. Get them out of the familiar, limiting confines of whatever pot they’ve been living in, pour in some fresh dirt, supply the water and fresh air – then watch them turn their face up to the sun and thrive.

What Gift Lies Behind Your Talent?

Gift within a gift

You may know already what you’re good at, where your talent lies. But the real gift is being able to use your talent in the service of others. There is great joy in it on both ends! If you haven’t thought about it much, or if you need some ideas on how to benefit others with your talents, here are some thoughts to get you started:

  • Examine your skills – what are you good at and what have you learned to be good at? Can you imagine it as a skill you would employ with someone or for someone?
  • Examine your interests – what medium do you like to work with? Numbers? Music? Conversation? Wood or metal? Are you a talented cook? Do you love to build things? Who would benefit from your knowledge and expertise in this area?
  • What have you had success at in the past? How have others been touched by your efforts? What good things happened when you operated out of your strengths, doing what you have been hard-wired to do?
  • What do others say you are gifted at? And how might you use your talents in new ways? Ask family and friends, they’ll tell you. Make sure you ask people who will tell you the unvarnished truth, however.

How have you found joy in using your gifts to benefit others, in music or something else? I’d love to hear your thoughts on this! Please leave a comment below, or email any questions to [email protected].

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© 2014 Steve Case

Charting A Song: How To Write What You Hear

Two of my favorite cookbooks: How To Grill by Steven Raichlen (2001), and The Better Homes and Gardens Cookbook, 12th edition.
Two of my favorite cookbooks: How To Grill by Steven Raichlen (2001), and The Better Homes and Gardens Cookbook, 12th edition.

With Thanksgiving around the corner, it’s time for us to be thinking about what we’ll prepare for the feast. The list of favorite dishes has grown over the years, and some are now not just expected, they are highly anticipated (sometimes with threats involved if we don’t make them…) Though they will be made from different ingredients in different kitchens with different types of expertise applied, they all have their place of honor on our Thanksgiving table.

So here’s my analogy for this week: figuring out how to play a song is like sitting down to the feast. Where do I begin? Is there anything new here I don’t want to miss? And will there be enough food to go around? (This last one is never a problem at our house.)

Starting Your Song Chart

To chart the song you want to learn, that is, to write it down as you listen, start by drawing a forward slash for each beat you hear. Group them in however many beats you hear in a repeating fashion. Are you hearing 3 beats in each measure, or 4, or maybe 6? Write 4 measures this way for each line of the song, then leave another space between the big sections of the song.

And by the way, if you’ve never tried charting a song, let me encourage you to go for it. You’ll experience new understanding and enjoyment of songs you’ve heard, with new appreciation for the artistry behind them. With practice, you’ll get better and better at it. It will take some focused time, but yes, you can learn how to do it!

Components in 4s

The components of a song, particularly a pop song, are predictable. Rare are the exceptions. Now a composer can create whatever she wants, she has that freedom. But if she wants her song to be heard and embraced by her audience, she will have to stay within normal boundaries most of the time. We expect it.

Each song has (are you ready?) a beginning, a middle, and an end (not rocket science). And we feel the most natural connection with a song when its smallest components are based on the number 4. 2s, 3s and 6s are frequently used as well, but 4 is the default. Historically, 4 beats in each measure is even referred to as “common time”. 4 beats to a measure, 4 sub-divisions to each beat (sixteenth notes), 4 measures per sung phrase, 4 phrases in a verse.

We like 4. So as we start to listen critically to a song, that is what we’ll expect. Try tapping your foot on each beat in the song, and see if it doesn’t reflect the number 4 in some way.

Though the sections within the song will each be built in 4s, the composer might play with timing somewhat. Just for variety, a measure with only 2 beats might be inserted somewhere to make lyrics or the melody flow better. Or, in order to keep energy ramping up, the start of one section may actually overlap with the last measure or two of the previous section. Like the end of a chorus going into an instrumental, for example. As the vocalist is singing the last word of the chorus, the instrumental begins, ignoring the fact that the chorus still had two measures to go. Makes you feel like the instrumental couldn’t wait to get started.

The Beginning

The song’s intro that provides the first impression, maybe a preview of what will follow. Here we’ll find the key, the tempo, and the mood. Soon, as the lyrics begin in the first verse, we get a peek under the hood at the content of the song. The groove, if it is not already in motion, starts here.

The verse may present the problem to be solved or the circumstance to be celebrated or grieved. It introduces the characters in the play and the direction the vocalist wants to go in the song. Might be a story, an intense emotion, or a situation.

The first line of the verse should draw the listener into the second line, the second into the third, and so on. Short or long, at the end of the verse, the listener is intrigued. Not committed yet, but curious.

The Middle

A segment less often included but quite effective might be placed right after the verse. It has been labeled in recent years, the “Pre-Chorus”. It’s job is to build more tension and more expectation that will be brought to fruition in the Chorus itself. Usually this will be just a couple of phrases, leaving you hanging.

Finally, after all this preparation, we get to the Chorus. The song title is probably in here, along with the hook (the phrase you just have to sing along with). It will answer the question or flesh out what was hinted at earlier. Now it is very clear why the composer wrote this song. The Chorus will typically sound bigger and fuller, with additional instruments and vocals, even an orchestra to add to the layers of sound.

After you’ve listened through the Verse and the Chorus, what you’ll hear next is probably another verse. It will be similar to the first verse, but now with more emotion, more detail, more angst. That takes us into the next Pre-Chorus and Chorus, followed by an instrumental section that helps the listener to emotionally breathe. A Bridge, which is really another verse, might follow that, with its own variations in the chord pattern and lyric cadence. It leads us right into… you guessed it… another Chorus or two.

The End

The last Chorus might get louder at the end, or it might calm down, returning us once again to the reality of our lives. A short instrumental may follow, wrapping up the song. Or it might leave you hanging. The cheap way (in my humble opinion) to end a song is to fade the recording out. Maybe they want to give the impression the party will just go on and on. Or maybe the artist and producer just couldn’t agree on an ending.

Filling In The Blanks

Now that you’ve got all the beats and measures plotted out, it’s time to go back and fill in the chords. Some of my earlier posts on how to figure out the key, on naming intervals, and on how emotion can be crafted within the song may be helpful. Again, with practice and time you can get pretty good at this. And it is my hope that you do!

What has your experience been when you’ve tried to chart a song? Please leave your comment below, or email any questions about song charting, rhythm, music theory and next-step musicianship to [email protected]. And if you’d like to keep up to date with CaseTunes, sign up to receive updates and weekly posts in your email inbox!

© 2014 Steve Case

What’s In Your Closet?

shirt in my closetHere’s a subject I admit I know little about. And yet it affects my ability to lead worship every single time I step onstage. Every Saturday night, you’ll find me once again poking my head into my closet, wondering what to wear for Sunday morning. I’ve learned over the years if I really get stuck (doesn’t happen as often as it used to), I can ask Sue.

“So what do you think, sweetie, does this go with that?”

“Oh, no.”

“How about this one?”

“Probably okay.”

“Well, what about this one?”

“Let me help you, dear.”

Other than jeans, I don’t buy my own clothes anymore. Sue has done a wonderful job stocking my closet with clothes that usually keep me out of trouble.

Dress For The Gig

Before you walk onstage, whatever the venue, you really should have given some attention to how you look. Street clothes are okay if you’re trying to present an “every man” image but they can also communicate apathy. Like you just don’t care about who you’re playing for.

The eye is naturally drawn to both the best-dressed and worst-dressed people in the room. If you’re leading worship and someone else on the team has raised the fashion bar, people in the room may experience tension over who they should focus on. I’m not one to get really worried about it, but I do believe it’s true. Take it up a notch just to be safe. But only one notch.

Dress For The People

Dave, a friend of mine, is a traditional church kind of guy. Enjoys singing hymns, wears his suit and tie every Sunday. When I asked him why at one point, he said dressing more formally was a sign of respect for the people he would see at church. And respecting the people was one of the ways he would show respect to God.

I agree.

Now, I don’t wear a suit and tie unless its a wedding or a funeral. And (fortunately) we hold pretty informal Sunday services at our church. But I still want to respect those I’m around. So I’ll pay attention to how people dress for our services, then I’ll take it up just a little.

Negotiables For Worship Leading

Jeans or khakis? Street clothes or business casual? Collar or no collar? Plaid, stripes, patterns, colors – these all matter because our clothing choices may set up unintentional reflex responses from service attenders.

I used to be oblivious to this, until Mark, an artist friend, informed me.

“How does this look?” I would ask, inviting his response to my choice of shirt and sweater. I think the shirt had a small checked pattern and the sweater had a stripe or two.

“It’s okay with me,” he would say. “But it will drive my wife a little insane.” Not in a good way, either.

Apparently what I wore had been the topic of conversation in their house on at least one previous occasion. Not really the outcome I’m working toward in the services. I have since paid more attention to how I look, and when in doubt, I’ll ask those more knowledgeable than I.

Non-negotiables For Worship Leading

There are some standards of dress that we as worship leaders do need to adhere to. These are about modesty and propriety. I realize that even these standards leave some room for interpretation. We don’t want clothing choices that distract, and that includes, of course too much skin.

Don’t let tops get too low nor skirts too high. The tighter your clothes fit, the more uncomfortable you’ll make some folks. And yet, if they are too baggy, it looks like you don’t care. We don’t want holes where there shouldn’t be holes, and we don’t want to see what’s underneath.

There, I’ve said it. Here come the emails…

And as an acknowledgment of how life is unfair, women will need to think about dressing up one level above the guys. When they wear the same thing, my wife tells me the women look like they have taken less care than the men. This is totally a perception thing, but it will most certainly affect worship leading.

The Heart Of The Matter

Now that I’ve come across way more like my parents than I ever thought I would, let me just say this: at the heart of these decisions is the desire to help people know they are cared for, and their opinion matters. I’m not walking onstage to prove anything or boost my ego. I want to worship God, and He told me to love people. If how I dress onstage impacts them for better or worse, I need to pay attention.

Have you found that what you wear influences the way you are perceived? You can leave your comment below, or email any questions you have about dressing for the gig or next-step musicianship to [email protected].

© 2014 Steve Case

Are You Performing With Passion? What We Can Learn From Taylor Swift

Let me say right up front I’ve never met Taylor Swift. I don’t know a lot of her songs. I don’t know much about what kind of person she is. I don’t know what she’ll be like five years from now.

But I am often inspired when I see her perform.

When she walks onstage, she’s ready to rock and roll (or whatever the country and/or pop equivalent is). She wears her emotions on her sleeve, she attacks the stage with purpose, energy and skill. Though she uses her appearance to her advantage, that’s really not what keeps me watching. It’s her attitude, along with her expertise. It’s her passion for the music and for the crowd.

And – I’m just guessing here – I think she has a blast.

What Draws Us In?

We are invited into each performance by several components, all working together to invite us into the experience: the look, the skill, and the passion.

The look is most often the first aspect of a performance that catches our attention. It includes everything we see from the performer(s) to the landscape, architecture, and lighting that surrounds us. It’s true whether it’s on a screen, in a theater, or outside at a summer concert. It has to all fit together. And though many of you are way more visually oriented than I am, the look influences the whole experience, either enhancing or distracting. It starts with the atmosphere of the venue, is enhanced by the lighting and staging, but then is focused on the performer. I’m not judging here, just recognizing the reality that the way the performer dresses and carries him/herself is crucial to first impressions.

The skill of the performer will be the next thing we’ll notice. At first, there is a period of validation – can this artist deliver? When we’re satisfied they can, the next thing we want to know is whether or not they can hold our attention. I joke about having A.D.D., but I think most of us these days are increasingly attention-span-challenged. Are they performing with excellence, are they exceeding our expectations? Then, when we’re convinced they are, we wonder if they will show us something new and fresh. We want to be surprised and delighted.

The passion of the performer, when we’re comfortable with the look and the skill, is what I believe keeps us engaged. Their passion doesn’t just entertain us. It helps us believe. Passion in the performance lifts us up, transcending the mundane and the mechanical. It gives us a glimpse into life on another level, where beauty and excellence are vibrant and alive. We want to live in that place, and the passion we witness in a performance makes us feel like we really can.

Steps To A Passion-Filled Performance

We who perform, though all artists, are all over the map when it comes to our ability to emote onstage, demonstrating our passion. As for me, a guy who has to work at showing emotion when I perform, I admire those who seem to be so good at it. I’m better at it than I used to be (I think). But it takes some deliberate steps for me every time.

  1. Know well what you’re going to sing, play and say. Rehearse the mechanics of your performance to the point of being absolutely comfortable with each facet. Drill the rhythms, pay attention to being in tune. If you are planning to comment between songs, write out what you want to say. Even if you don’t stick to your script, the exercise of writing it out will help you focus on what your message really is.
  2. Look the part. Dress for the gig (more on this in a future post). When you are confident in how you look, you can feel free to focus on the performance. If you are performing for an older crowd, dress up, they will expect it. If your audience is younger, consider the venue and how they will be dressed. Then go just a step up. And never dress in a way that distracts, from too sexy to too sloppy, from clownish to indifferent. Make sure your look fits the experience you are trying to provide for your audience.
  3. Expand your movements. If you feel like you’re moving enough onstage, you’re probably not. This includes, by the way, the look on your face. Are you communicating your passion you’re feeling through your facial expression? You may need a friend’s input for this one.
  4. Let your passion lead you. When you have prepared the music, the atmosphere and your movements the best you can, the next step is to exercise the courage to put your heart out there. It takes courage because you are vulnerable and exposed. But that’s the best way to get an audience to follow you, by showing them how you feel and leading them to the same place. And when you are done, you can be confident you’ve left it all on the stage, you’ve done your job and inspired many through your passion.

Are your performances filled with passion? Please leave your comment below, or email me with any questions about music, performing, and next-step musicianship at [email protected].
© 2014 Steve Case