Is Your Denomination Slowly Committing Suicide?

George Bullard identifies ways denominations start to decline.

For decades we have known that persons who smoke multiple packs of cigarettes per day are slowly committing suicide. Many of these people did not want to commit suicide. Some claim they did not know they were committing suicide.

At some point in their life they started smoking because it was cool, to deal with stress, in response to peer pressure, as a rebellion against their parents, because cigarettes were denied to them, or because cigarettes were available to them.

Later they became hooked and even if they wanted to quit many could not or were in denial. Even when they began showing signs of illness they could not stop. Even when they were told they were committing suicide they could not stop. Even when they were hospitalized due to their illness and had surgery to remove diseased parts of their body they could not stop. Even when constantly on oxygen some could not quit.

In What Ways Is This Like Your Denomination?

Many denominations are slowly committing suicide. Suicide is not an intentional destination. It is, however, the unintended consequence of their collective actions over multiple years.

Denominational movements reach a point that they institutionalize. They do this because it is fashionable, to create organizations that will guarantee their survival, in response to requests from parts of the constituency that they provide more programs and management, to complete their rebellion against other Christian groups they do not want to emulate, because focusing on institutional things keep them busy and gains them greater status and notoriety, and because the opportunity was available to them.

Eventually they become hooked and even if they wanted to quit, many cannot or are in denial they are killing themselves. Here are seven ways their suicide is becoming increasingly inevitable. These are not the only ways, but they are effective ways of committing suicide.

First, they lose their first love which is congregations. They focus time, energy, and resources on social and political issues as well as supporting auxiliary institutions rather than congregations. They focus their efforts directly rather than in ways that cooperate with congregations. Rather than building up congregations who can impact issues and institutions, they strive to build up their own role in impacting issues and institutions.

Second, they fail to create and sustain a congregational multiplication movement that launches a number of new congregations each year equal to three percent of the number of congregations they have at the beginning of each new year. The three percent figure is minimal to sustain the denomination when a certain percentage of congregations are dying each year, and a majority of existing congregations are plateaued and declining.

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The Worship Bully

Lift it up! Sing it out! Raise your hands! Get your praise on!

Sometime worship leading can sound less like encouragement and more like jazzercise.

Worship leaders, I get it. I completely understand. You want nothing more than for your congregation to revel in and drink deeply of the blessings God has for them in worship.

Your heart burns for them to experience joy and peace and satisfaction in the presence of God as they passionately pour out their praises to Him.

You long for the day when your church would be known as that place where 1 Chronicles 16 worship happens, where your services are described by Psalm 96, and where Colossians 3 worship is expected and happening.

Sing to him, sing praise to him;
tell of all his wonderful acts.
Glory in his holy name;
let the hearts of those who seek the Lord rejoice.
1 Chronicles 16:9-10 (NIV)

Worship the Lord in the splendor of his holiness;
tremble before him, all the earth.
Psalm 96:9 (NIV)

Let the word of Christ dwell in you richly, teaching and admonishing one another in all wisdom, singing psalms and hymns and spiritual songs, with thankfulness in your hearts to God.
Colossians 3:16 (ESV)

We long for this as artists and worship leaders because somewhere along the way we’ve tasted and we’ve seen. We’ve stood still in the thin place between heaven and earth. We have seen what can happen when the people of God turn back to the cross, lift their eyes to God, fall on their faces, confess their deep need of grace and mercy, and celebrate the goodness of God in every circumstance of life – this is worship and we want everyone to experience this!

Somewhere along the journey something clicked for us. “I’ve experienced this and know this is true and good and possible. I want nothing more than for other people to experience the same thing and find this same reality of the presence of God.” We were given opportunities to do that, encouraged, trained, developed and resourced so that now we are in the scary-yet-secure position of standing before people and helping them to do these things we know can be possible.

Turn from your sin.

Lift your eyes to God.

Celebrate His goodness and His grace.

Drink deep from the blessings He has for you.

Please. I beg of you. You need to do this.

In our desire for our congregations to seek the good things of God in worship, we can sometimes make the focus about the experience and not about God. We make it about the songs and not about the Savior. We make it about the art and not the Artisan.

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Lessons From the Last Decade: Criticism, Controversy, and Conflict

It’s been a wonderful ten years in ministry at my church. And it’s also been very hard.

Some of the hardest moments have come when I’ve been the recipient of criticism, the cause of controversy, and involved in conflict. Sometimes the criticism was justified, and I needed to hear it, but other times it was just someone being mean and hurtful. And sometimes the controversy was because I had unknowingly ruffled some feathers, while other times it was because I stumbled into some spiritual strongholds. And sometimes the conflict was over insignificant things like whether or not we should have drums play during communion, and sometimes it was over major things like whether drums are Satanic in origin or not (they’re not).

For many years I struggled with responding to challenges with defensiveness, all the while getting my feelings hurt, my ego bruised, and my identity in limbo. I’d write multi-page emails responding to a woman’s harmless complaint about volume, or I’d be a bit of a jerk in a meeting with someone who thought the 4/4 rock beat was going to cause people to lose their salvation, or I’d get depressed, lose sleep, and get overwhelmed.

Ministry can be very tough and lonely at times. Especially when you have detractors. What do you do?

Cling to the good news of Jesus Christ
You. Are. Hidden. In. Christ. That’s very good news. And you can’t let yourself forget it when you’re someone’s target. You are safe, you are loved, you are accepted, and you are covered by Jesus’ blood. It’s amazing how freeing this is, and how bad things can get for you when you forget it.

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A 5 Step Strategy For Introducing And Leading Your Original Worship Songs

There’s no hiding that I’m a fan of worship leaders writing original worship songs.

I wouldn’t say it’s a distinguishing, necessary skill for all worship leaders. You can still be an incredible worship leader in your church without ever writing a song.

However, I encourage everyone to try. You never know if there may be a gift inside that you’ve never allowed to grow.

With that being said, leading your own songs can be a sticky situation. So many doubts rush through our minds:

  • What if no one likes it?
  • What if another writer has written a better song on this theme?
  • How do I even introduce it?
  • If I start leading my songs, should I do an album?
  • I’m the worst songwriter ever.
  • I’m the best songwriter ever.

While I encourage everyone to try writing, just because you wrote a song doesn’t make it great, ready, or even a good congregational worship song. This is an important step. You have to be willing to step and back and approach it objectively.

Writing songs begins with a heart of humility and service – wanting to equip your church with songs for certain seasons. As soon as it becomes about making a name for yourself, you’ve lost your effectiveness. The songs lose their punch.

For some tips on making your songs ready for congregational use, check out this post.

In this post I want to outline a process I use before I introduce an original song to my church. This will help you think strategically about the song, your people, your church’s mission, and keeping it congregational.

5 Steps for Introducing Your Worship Songs

Provided your song is “done” to the best of your knowledge, here are some next steps:

Here we go:

1. Get Some Trusted Feedback – Before you start leading your song, I would get some trusted feedback from a couple people. First, share your song with a trusted pastor or theologian. This is helpful for making sure your song is theologically correct. It’s easy to write worship songs that sound cool and feel good, but if there’s not substantial truth in the song, it’s just not worth it. Have this pastor/theologian friend analyze the song and see if there might be better, truer ways of expression. Also, I’d get some feedback from a trusted singer/musician to make sure the song is catchy and singable for average folks.

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How to Mix Two Electric Guitars

Guitars can energize a mix or absolutely destroy it.  I’ve watched rookies look dumb-struck at the mixing console because they didn’t know how to handle mixing two guitars.  Mixing two guitars is a simple process in which you do the same thing to each guitar channel EXCEPT with one added step.

First of all, you MUST identify the role of each guitar in the song.  A guitar is either going to play rhythm or lead.  Take the two guitars in the song and identify the role of each.

Let’s say, in this example, there is a rhythm guitar and another guitar that will play rhythm with the occasional lead elements in the song. Let’s make them both electrics.

Electric Guitar Number 1

Start with the rhythm-only guitar and go through these three steps:

  1. Roll off the low end.  Drums and bass should be working the low end so let’s clean up this first guitar by using a high pass filter.  There is no perfect frequency cutoff for a HPF so I can’t say, “enable it at exactly 104 Hz.”  Start at around the 100 Hz point and slowly sweep the HPF frequency up until you hear a better sounding low end from the overall mix.  I’ve used it as high as 280 Hz.  Don’t worry about the number, listen for the right spot.  Much of it depends on what the electric has going on; mucho distortion, overdrive, pick a flavor.   If you only have a fixed-point HPF then enable it.

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Songwriter Interview: Chris Tomlin

Dan MacIntosh interviews Chris Tomlin.

Dan MacIntosh (Songfacts): Looking over The Essential Collection, I notice that a lot of the songs are collaborations. Is collaborating with other songwriters your preferred method of writing songs?

Chris Tomlin: Yeah. It has really become that. I love that. Not just anybody, but I have a good group of guys that I really enjoy writing with, and we write a lot of songs together. Guys who really seem to get it. We all have the same heart of writing songs for the church, and really being open-handed and saying, “Lord, take these songs and do whatever you want.” I think it makes the song better, stronger, when you have some really amazing songwriters around you and you’re in it together. There’s strength in it.

Songfacts: One of the times that I saw you perform, Louie Giglio spoke, and I notice that he’s also a frequent collaborator of yours. I know what a great speaker he is, but I don’t really see his musical side. But you do. Tell me a little bit about his musical personality, maybe that side that we don’t see of him.

Chris: He’s got a really great gift when it comes to lyrics. As far as words, that’s his gifting. He has great, inspiring thoughts. As a pastor, as a leader, and a communicator, it’s a great vision. So when he sets out a vision for something, we just run with it in songs. Sometimes he comes and has been throwing a lyric around in his head, or it’ll be in his journal, and that’s how a lot of his songs have come. “I Lift My Hands,” the single from our latest record, is a perfect example, something that came from him and I took it and crafted a song around the idea.

Songfacts: Does he come to you with ideas and say, “Chris, I’ve got this great idea for a song and I’ve got some ideas, can you help me complete it?”

Chris: No, it’s usually me saying, “Hey, man, do you have any ideas?” Because he never pushes any ideas along to me. But it’s usually, “Hey, man, anything kind of bubbled up?” And usually there’s something in there. I try to come to him a few times a year.

Songfacts: So he’s your go-to guy, then, in a lot of ways?

Chris: Yeah. Matt Redman, Jason Ingram, Matt Maher, there are some guys that have really, over the last couple of years, I’ve started writing a lot of songs with, and just really enjoy that process with these guys.

Songfacts: Do songs generally come quickly for you?

Chris: They don’t. Every song is a different kind of process. On this latest record, which spans the time of about 12 years, “We Fall Down” was the first song that I published and started finding its way around the churches, and that was a song that came really, really fast. And the song “Forever,” which was an early song of mine, it took – no pun intended – forever to write that song. It was just such a labor of love, really. Others come quicker, but I have a perfectionist mentality, so I always rewrite: I can make the verse better, okay, now I can make the chorus better. I usually don’t just write something and throw it out there. It goes through a lot of different channels for me.

Songfacts: The song “How Great is Our God” is a song that the collection is titled after. Do you remember any stories about writing that song, as far as where the ideas came from and what that experience was like?

Chris: I wrote that song when I was living in Austin, Texas. I remember sitting on my sofa in my little apartment. And Psalm 104, was the psalm I was looking at. It said, “You our lord are very great. You’re clothed with splendor and majesty, wrap yourself with light as with a garment” – through those opening verses and just describing a little bit of God, the glory of majesty, that little chorus came out. I started singing the chorus and, man, I had no idea, I thought the chorus was just a little simple thing and it was. And I had no idea it would become such a song in the church, and a song that finds its way in so many different cultures, different languages. It’s so transferrable, so accessible. I had no idea that it would ever become that.

I remember I had the song, I thought it was finished. I didn’t have a bridge to the song, and I met Ed Cash who produced that record it was on. First time meeting him and talking to him about maybe producing my new record. And I remember he picks his guitar up and and says, “This ‘How Great is Our God’ song, I think it’s pretty good, but it’s not finished.” And I’m like, “What are you talking about? Who do you think you are?” And I remember him grabbing his guitar. I believe it was something about, “What if you do something like this?” And I remember he just started singing, “You’re the name above all names, you are worthy of our praise.” And it’s really good, but when you open up and let somebody else sneak in, it just makes it better. So that’s when we knew it was taking it to another level.

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Principles of Songwriting with Paul Baloche

Songwriting Skype session with Paul Baloche.

This Skype Session is part of the curriculum of “Principles of Songwriting II”, a class taught by Travis Doucette as part of the Songwriting Specialization at the Center for Worship at Liberty.

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