Standing on Strong Shoulders

The inspiration behind the modern hymn ‘By Faith’.

Several years ago I turned to a wise and older friend for some much-needed advice. My friend humbly replied that while he didn’t have all the answers, he’d gladly offer his shoulders for me to stand on, so to speak, in order for me to gain perspective. He provided thoughtful counsel, and still does so on a regular basis.

Since then, the image of standing on someone’s shoulders often comes to mind, perhaps because of how rarely it seems to happen. Our culture is so fixed on chasing what’s most current that we often miss seeing how God has worked in past generations. We can learn, for example, from the incredible passion, conviction, priorities and art seen in the lives of the first hymn writers (while also realizing that even our newest ideas often can be traced to earlier origins). Creativity can take on new forms of expression and human insight can produce fresh fruit with each age, but none of us begin with a blank sheet of paper! We are in the middle of the story.

As God’s people, we need to lean on those who’ve gone before us.

Tonight we ate Mexican food with a pastor friend who shared how young members of his congregation are finding themselves in need of the older ones to demonstrate what it means to live and grow as men and women of God. As a young boy I observed my grandfather’s practice of arriving at church an hour before the service began to spend quiet time with the Lord in preparation for worship. Both examples demonstrate the impact one generation can have on the next. Scripture also reveals this:

“One generation will commend your works to another; they will tell of your mighty acts.Your kingdom is an everlasting kingdom, and your dominion endures through all generations. The Lord is faithful to all his promises and loving towards all he has made. My mouth will speak in praise of the Lord. Let every creature praise his holy name for ever and ever.” Psalm 145:4, 13, 21

When I read this passage, I’m reminded that the praises and testimonies of one generation are to echo into the next. All ages serve and worship the same God, gather under the same gospel and add to the collective song that praises the faithfulness of God as each generation shares in his promises to us. We are part of something timeless, and the exercise of stretching our vision beyond ourselves leads us further down the road to an eternal perspective on all of life and our very reason for being.

In our own songwriting for the church, we often consider these questions:

• Is there a musical vocabulary that might link generations and not separate them?
• What thoughts were important to believers in the church from generations past?
• Are the lyrics we sing expressing these overarching themes or dispelling both the challenge and relief that comes when considering the well-trodden path of faith?

These questions influenced the lyrics in “By Faith,” our song inspired by Hebrews chapter 11. We tried to tell the chapter’s overarching story and show how believers today are traveling on the same journey of faith as those throughout the ages who’ve walked before us. Our prayer is that our songs–and lives–will give something whole and bright to the those coming after us who are ready to take hold of it!

Watch a By Faith video, download sheetmusic and view other resources here

By David Neff (Christianity Today) – Ten Good Ideas from Contemporary Hymn Writer Keith Getty

Irish songwriter Keith Getty began his workshop Tuesday at the National Worship Leaders Conference by telling those who had come to learn how to write a great worship song to leave. “Because art is the expression of life, you cannot ‘how-to’ creativity

Getty collaborates with his wife Kristyn and friend Stuart Townend. “They’re the words and I’m the music,” he says, estimating that somewhere between 5 and 20 percent of the words of any of their songs are his. “But we both get involved on both sides.”

Here are ten notable and worthwhile ideas edited and distilled from Getty’s workshop comments:

1. The primary form we use is the story form. The gospel is primarily story. How do you take people who want 4-line worship songs and get them to sing 32 lines? By structuring the song as a story.

2. It is important to look at things that are harrowing and that don’t necessarily make us feel happy. The central core of the Christian faith is not something that makes us happy. We need to acknowledge our need for a redeemer. The reason we worship is that we meet God through the central story of the cross.

3. We need lament. But if you want to write lament, remember that a successful lament resolves. Not into a happily-ever-after ending, but like the psalms of lament, by ultimately acknowledging that God is God.

4. To write strong melodies remember that folk melody has to be passed on orally (aurally). I try to write songs that can be sung with no written music. I imitate Irish folk melody, with a great deal of contour, of rise and fall.

5. Use pastors and theologians as resources for your writing. But keep company with them. Don’t just ask them to fix your text here or there when you’re done with it.

6. Trinitarian worship safeguards us from so many problems our worship can get into: either an overly stern view of god or a casual view of god. Both can lead to problems in our lives.

7. Martin Luther is one of ten people from history I would want to have coffee with. I have looked at a lot of Luther’s hymns and emulated him. First, Luther had a high view of redemption. He also believed we live our lives in the midst of spiritual warfare. Thirdly, he had a high view of the church and a high vision of the church.

8. The congregation is the choir and it is merely the privilege of those of us who are musically gifted to help them sing.

9. Lyrics and great writing are the same thing. Lyricism is poetry. If your write lyrics, read as much poetry as you can. Lyricists are people who love words and do crossword puzzles.

10. Growing up, I never listened to pop music as a child. I was steeped in church music. That could be a blessing because everything I write can be sung by a congregation.Christianity Today

David Neff’s Blog

Gettymusic.com

On writing for children…and learning from the Irish…

I have not had the privilege yet in life to be a father, nor have I worked as extensively as many in children’s music. I have written and reflected a little on the subject this month as we focus on children’s music and as Kristyn and I begin to plan towards our new children’s music project being released in the next year.

The thoughts of two Irish people have been particularly challenging as we approach the subject of addressing artistic creativity in the context of the children who belong to our churches.

While at home in Ireland I live on the beautiful North Antrim Coast – many of you saw my father-in-law’s photographs on our facebook page – that’s County Antrim and, for the most part, County Derry where we live. It’s interesting that the fine hymn writer Cecil Frances Alexander hails from there, having been a Pastor’s wife in Londonderry in the last century. She saw a need to write hymns that helped teach the Bible and, until recently, I was unaware that her efforts to teach the Apostle’s Creed through hymnody were actually efforts to teach the Apostle’s Creed specifically to children – hence hymns such as “All Things Bright and Beautiful”, “Once in Royal David’s City”, and “There is a Green Hill Far Away” – and this to children without many of the education privileges we have today.

It strikes me particularly unusual, giving the fact that much of children’s literature today is story-driven, highly involved, complex, mystical and requiring of such intellectual commitment, yet much of children’s theological teaching, songs and even worship to Almighty God can be so simplistic and shallow rather than telling the ascendant and beautiful story of Christ.  When it comes to writing for children I have also always loved what Belfast-born CS Lewis had to say in “On Stories”:

1. No book is really worth reading at the age of ten which is not equally (and often far more) worth reading at the age of fifty—except, of course, books of information. The only imaginative works we ought to grow out of are those which it would have been better nor to have read at all.
2. Where the children’s story is simply the right form for what the author has to say, then of course readers who want to hear that will read the story or re-read it, at any age. I never met The Wind in the Willows or E. Nesbit’s Bastable books till I was in my late twenties, and I do not think I have enjoyed them any the less on that account. I am almost inclined to set it up as a canon that a children’s story which is enjoyed only by children is a bad children’s story.
3. When I was ten, I read fairy tales in secret and would have been ashamed if I had been found doing so. Now that I am fifty I read them openly. When I became a man I put away childish things, including the fear of childishness and the desire to be very grown up.
4. Let there be wicked kings and beheadings, battles and dungeons, giants and dragons, and let villains be soundly killed at the end of the book. Nothing will persuade me that this causes an ordinary child any kind or degree of fear beyond what it wants, and needs, to feel. For, of course, it wants to be a little frightened.
5. Those of us who are blamed when old for reading childish books were blamed when children for reading books too old for us. No reader worth his salt trots along in obedience to a time-table.
6. And I think it possible that by confining your child to blameless stories of child life in which nothing at all alarming ever happens, you would fail to banish the terrors, and would succeed in banishing all that can ennoble them or make them endurable. For in the fairy tales, side by side with the terrible figures, we find the immemorial comforters and protectors, the radiant ones; and the terrible figures 
are not merely terrible, but sublime.
7. Once in a hotel dining-room I said, rather too loudly, ‘I loathe prunes.’ ‘So do I,’ came an unexpected six-year-old voice from another table. Sympathy was instantaneous. Neither of us thought it funny. We both knew that prunes are far too nasty to be funny. That is the proper meeting between man and child as independent personalities.

So why have the creativity of Lewis and Alexander both had such enduring appeal to children and value to the church? Ultimately there is something mysterious about art but there are several factors we can certainly learn from:

• A high view of art: timeless excellence in all their work and paying no attention to temporary fads or gimmicks.
• A high love for people: the ability to always communicate warmly and accessibly through their art without patronizing us.
• An infectious and childlike love for God’s creation and all things that are good, true and beautiful.
• A clear, enthralling vision for helping people see with fresh eyes the Gospel story.

-Keith

Read more about the music of Keith and Kristyn Getty at www.Gettymusic.com