10 Ways to Recruit Church Musicians

It's a common enough story. A faith community finds itself without an organist, and sets about advertising for a new one. In this community's mind the person needs to have the same or similar skills to the previous leader. After all, there is an instrument sitting there with no-one to play it. Right?

Wrong. This faith community is making the same mistake as has been made for generations. When musical leadership is posited as the realm of a chosen few, leadership is invariably polarised and participation inhibited. Rather than recognising the gifts of those within the community, the powers-that-be try to enforce the status quo, and miss out on what could be. This is explored in Virtual Music Barriers.

Each faith community is a unique set of challenges in this situation, not least the assumptions the community holds about music. These are often reflected in the response of potential new musicians.

Looking Beyond "No Thanks"
Fear is a potent deterent to musical leadership in the church. Here are a few common responses:

• I am not a good enough musician.
• I have no experience.
• Others will think I'm an upstart because I am not skilled enough.
• I can't lead every week.
• You need someone younger.
• You need someone older.
• I'm not like X, I can't do X like he/she could.
• I don't play an instrument.
• I don't play the organ.
• I can't sing.

Each of these responses is based on a perception of what being a church muso looks like. And what it looks like almost always limits possibility. I would argue the Key Selection Criteria for Church Musicians is somewhat broader than this.

My 10 Top suggestions for recruiting musicians attempt to squash each of these fears by providing a solution:

1. Allocate a budget
While this may be used to purchase new music, it can also be a means to invest in the skills of your people through personal development pursuits like...

2. Pay for a term of lessons
If you've a guitarist, singer, trumpeter (doesn't matter what they play) in your midst, your community could offer to pay for a term of lessons with a local teacher.

3. Establish a tutorial system
Those with less experience and expertise might be coupled with a mentor who offers one-on-one assistance.

4. Attend a workshop
Fill a car and travel to a workshop being offered in your state. Not only will you come back inspired with new ideas, but you'll do some good team building with those you travel with.

5. Look beyond your four walls
I have never met a community with no musicians living in it. They are there if you are willing to look. Seek them out and learn from them.

6. Listen beyond your four walls
Be open minded about the music styles that can be welcomed into worship. Listen widely and ask others what they like to sing and listen to. Find out what other faith communities like yours are doing.

7. Encourage your children
Are the children in your community singing? Find out how to get them involved.

8. Take baby steps
Don't move too fast. Be prepared to build slowly. If people lack confidence they will be more comfortable accompanying just one song each week for awhile.Use percussion creatively to accompany other songs.

9. Monster Music Night
Find out about your community. Hold a fun night and invite any kind of performance from groups and individuals in your midst. Be prepared to be amazed.

10. Think beyond the songs
Involve people in musical leadership in less formal ways by considering 6 Sound Innovations for Worship, use soundscapes, make your own instruments, play a music game at your next church meeting.

Effective recruitment is a perennial process. Where it is, most faith communities will find they are able to weather the comings and goings of musicians quite comfortably because they have nurtured and encouraged a community of people with various skills and abilties, and welcomed a variety of styles with grace.

You are welcome to offer your recruitment idea here for others to consider.

You may also be interested in:
How is the Church Accompanying Song in 2011?
8 Top Tips for Getting the Blokes to Sing
A Cappella Sunday
10 Ways to Improve the Band by next Sunday
10 Ways to Fertilise Your Community's Musical Life

And this article from the USA late last year: Tough Times for Church Organists 

10 Key Selection Criteria for Church Musicians

In employment circles these days, applicants for jobs are required to address what is known as Key Selection Criteria (KSC).

Consider the role of church musician. It may not be one that enjoys any financial reward, and yet there are a group of skills that can ensure the musical life in faith communities is neither elitist, exclusive or stagnant.

Here's my KSC for church musicians. What would yours be?

1. Team player with a big picture perspective.
2. Willing to sit out and let others play.
3. Prepared to practice individually.
4.Committed to rehearsing with others.
5. Willing to learn new material.
6. Prepared to attend workshops and share newfound knowledge.
7. Commitmed to developing positive relationships with people other than musicians.
8. Able and willing to accommodate wide variety of music styles.
9. Able to discern musical skills in others which contrast with their own, and encourage them to get involved.
10. Observant, with big ears and thick skin!

What have I forgotten?
Please add your own KSC to this list.

You may also be interested in
How to Teach a Song in 4 Steps.
Why We 'Like' Those Who Share Our Musical Taste
Poll : How does the Church accompany song in 2011?

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Music Games for Church Meetings

The Last Shall Be First
Here's a game to engage the most reluctant of players. Divide the meeting into 2, 3 or 4 teams. Post butchers paper on the wall in front of each team and a texta. The aim of the game is for teams to list as many songs as they can in three minutes. (Optional: Give each team 3 minutes to list as many songs as they can to get them started. They will probably exhaust the list quickly once the game gets underway, at which time spontaneity will come into play).

Each team lines up behind the first competitor, in front of their paper. On your "go" the first competitors from each team write the name of a song. When complete, they dash back to pass the texta on, and then stand at the back of the team. The second player must write the name of a song which begins with the last word of the song before. Team members can help each other out by calling out their ideas.

For example:
1st player - There was an old woman who swallowed a fly
2nd player - Fly me to the moon
3rd player - Moon River
and so on.

Or
Lord of the Dance
Dance with the Spirit
Spirit of the living God
God has chosen me etc...

If players are unable to continue the thread, the team may cross the last song out and replace it with a title that can be built upon.

Have Fun!

You many also be interested in Virtual Music Barriers

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Musicians now "Ministers" in Canada

Musicians in the United Church of Canada are rejoicing after being given the opportunity to be recognised as ministers, alongside Congregational Designated Ministers and Lay Ministers. 

In the UCC, musicians have previously had four levels of involvement: volunteer, fee for service, contract, and part time/fulltime employment. Now an further three options have been developed with increasing pastoral, liturgical and educative responsibilities attached.

This reform is as a result of a decade of work by support body Music United, and its predecessor, in the United Church of Canada.

Printed on the brochure outlining the reforms, is this wonderful statement of affirmation: 

The Music of Worship 

Music is not inserted into worship; 

rather worship is inherently musical. 

We are a singing people. 

How we sing together 

and what we sing together 

reflects our faith, 

our church, 

our union with fragile creation, 

our thoughts and our feelings about one another, 

and our attitudes toward all humanity.

Adapted from 'A Theological Statement of Music in the United Church of Canada' (July 2008)

Find out more about the new ministry structure here Making Music Together Brochure

What do you think?
Make your views on our poll, or by adding your comment here.

Music Director Wanted

Western Heights Uniting Church (Victoria, Australia) is hunting for a new Music Director. The position is for 9hrs per week in a congregation of "all ages". It involves taking primary responsibility for making sure that music presented on a Sunday morning is of good quality (ie practice/develop/nurture musicians & singers). To find out more phone the church office (03) 5229 2681.

virtual music barriers

All congregations have virtual barriers when it comes to music. I'm not talking here about musical taste so much as a set of assumptions. For example, some communities limit themselves, closing off multiple possibilities by appealing for an organist, choiur master, pianist or guitarist, rather than being open to the gifts present within the community. 

Take a moment to consider your community. How many people here do you think learned a musical instrument in years past? Probably more than you realise. In my own congregation, I once jotted down 42 people I knew played instruments, let alone those I was to discover later.

Here are some ideas you might like to consider as a starting point to realising greater potential:

1. Find out who learned an instrument as a child or young person.
2. Find out who sings in the shower, or whistles in the shed.
3. Who knows how to play a recorder - the recorder has been widely taught in classrooms for decades now.
4. Who has taught themselves an instrument?
5. Welcome players of tuba, bagpipes, banjo, autoharp, harmonica, african drums, electric guitar and piano accordian into your instrumental mix.
6. Find out who has connections to musicians/artists beyond the faith community.
7. Focus on the missing demographic within your musical leadership
8. Who has an instrument in the attic or under their bed that can be utilised by someone?
9. Who would be willing to contribute musically once a month, or twice a term?
10. Who are the people preparing for music exams? Are there VCE music students in your local community who need an audience? Can they be invited to play for offering, or communion distribution this week?
11. Run a confidence building session for interested parties, and enlist the help of a local music teacher at the congregation's expense.

12. Consider if your musicians are leaving themselves open to a level of criticism no flower arranger would ever be expected to endure.

You may also be interested in Why We 'Like' Those who Share our Musical Tastes

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Starting a Band (and avoiding instrumental cacophony)

Some years ago I was invited to kick start a new church band in a tiny rural congregation in Victoria. It was a faith community that had previously been dependent on a small organ. When I arrived the prospective band members were waiting. It was possibly the most unusual instrumental combination I'd ever encountered: acoustic guitar, piano accordian, euphonium, pipe organ and clarinet.

Acknowledging the Challenges
The encounter raised some significant musical and theological challenges for me. The musicians were nervous. They had never played together before, and their previous public 'performance' experience could be recorded on one hand. The age-range of the particpants was vast, with the youngest in primary school and the oldest over 70.

Questions pinballed about in my brain as I listened to them talk:
Is it even possible to combine these instruments in a satisfactory way?
Is it possible to include people in musical leadership with such limited experience?
Is the musical result more or less important than engaging these musicians in the church's life, particularly as some had virtually no connection with the congregation in the past?
What is the minimum skill level advisable for participation in musical leadership?
When and how and should we say 'wait awhile' to those learning their instrument?


Getting Started

Learning to sit and wait for answers does not always come easily, but it often turns out to be quite fruitful. I decided to find out what each of them imagined their contribution would be. It is not unusual for the 'musical director' to have quite a different vision to that of the players. Rather than the process being director-driven,  the opportunity was offered for input from others.

We talked about the willingness and availablity of the musicians to rehearse together and to practise at home. They were all willing to work on improving their musical skills.

We explored the notion of being prepared NOT to play. For some songs, the piano accordian and clarinet would team up, for another the guitar would lead, and in the next the organist and euphonium. These various combinations not only enabled variety on accompaniment for the congregation, but meant the musicians only need to practise up one or two songs each week.

I encouraged them to make further connections with their local primary school and to invite participation from those in the school community.

What about you? 
How do you go about deciding who can and can't (yet) offer musical leadership in your faith community? How do you balance the theological imperative to encourage the developments of gifts, with the responsibilities that come with any form of leadership?
How does the musical life in your faith community reflect 'Kingdom' values?
How does your community blend unusual instruments?
Are there any instruments you regard as unacceptable for use in worship?

What to Play
For tips on how to use The King of Glory with a young band click here.

You may also be interested in
Virtual Music Barriers
How to Improve the Church Band by next Sunday

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