Mainstage (Using the Arpeggiator) By Aaron Vasquez

     In this article, I want to address the Arpeggiator File which can be found in the MainStage Channel Strip Library.  To explain what the Arpeggiator does, we will define what an arpeggio is.  An arpeggio is defined as the following; a musical technique where notes in a chord are played or sung in sequence, one after the other, rather than ringing out simultaneously. For more information on arpeggios, see the following article (https://en.wikipedia.org/wiki/Arpeggio).  The arpeggiator file in MainStage creates an arpeggio pattern for you, instead of you having to physically play whatever the selected pattern is.  For example, if you sustain a D major chord on your keyboard, with an arpeggiator function selected, you will hear a random pattern of these 3 notes (D, F#, A)  played individually with some sort of rhythmic pattern.  In short, they keyboard application does the work for you.  All you have to do is sustain a chord on the piano, and what sounds is a fantastic arpeggiated pattern.  To hear an example of a MainStage arpeggiator, click on the link and scroll the video to 9:36.  In addition, this video demonstrates other sounds that are possible with keyboard application, MainStage. (https://www.youtube.com/watch?v=VlVa2j_LfOs).

    To begin, here are instructions to assist with locating the Arpeggiator folder in MainStage.  First, open a channel strip and go to the Patch Library.  At the bottom of the library (3rd from the bottom), is the Arpeggiator folder.  Within this folder, there are 6 additional folders.  All of the files within these folders contain a pre-set arpeggiated pattern.  These pre-set patterns are all very unique.  

    For the rest of the article, we are going to focus on how to use these patterns in a live performance.  In order to do this, you will definitely need to be utilizing a click track.  This is the only way that the arpeggiator, and the band will be able to stay in sync.   For, the most part, these arpeggiator files will have no problem staying with a click track.  However, there is one issue you may encounter when playing chords, rather than single notes, with an Arpeggiator file selected.  The issue is staying with the click.  In our experience, it is pretty difficult to stay with a click if you are changing every single note from chord to chord.  For example, when changing from a C chord (C,E,G) to a D Minor Chord (D,F,A) you end up changing every single chord tone.  If you are not 100% in time when changing chords such as these, the arpeggiator sound and the click may begin to fall out of synch.  We advise you to do everything possible to avoid this style of chord playing when using the Arpeggiator function in MainStage.  Instead, it is very helpful to keep a note or notes sustaining on the keyboard while changing chords.  By doing this, the loop pattern will continue in time uninterrupted.  

     This is the key to keeping the arpeggiator and the click track in sync.  We at Praise and Worship Guitarist have two methods that we would encourage you to implement;  Common Tones and Pedal Tones.  Both involve sustaining a note or notes while changing chords.  Lets look at the two methods.  

    First, You will find it very helpful to apply common tones whenever possible. Chord common tones have to do with voice-leading.  This is something that we have discussed in a past guitar lesson on Praise And Worship Guitarist (http://static1.squarespace.com/static/55b12272e4b080c8f92786a3/t/56e1875a1bbee02674f037b8/1457620826521/Open+Strings+%28By+Aaron+Vasquez%29.pdf).  Common tones in chords are when two chords have 1 or 2 of the same notes to create that particular chord.  For example, a C chord (C,E,G) and a G Chord (G,D,B) both have a G note.  Therefore, they have 1 common tone.  Here is another example, a D chord (D,F#,A) and a B Minor chord (B,D,F#) have two common tones; D & F#.  This is all common tones are regarding chords.  This technique and knowledge can be very helpful when applying the Arpeggiator and playing chords.  Here is the catch, not all chords in a key signature share common tones.  However, there is a technique that can be applied to get around this problem.  This leads us to the second method. 

    Method 2 will focus on Pedal Tones.  A pedal tone is a sustaining note over changing harmonies/chords (For more information on pedal tones, visit https://en.wikipedia.org/wiki/Pedal_tone).  The two most common scale degrees used in pedal tones are scale degree 1 (Tonic) and scale degree 5 (Dominant).  Scale degree 1 is simple.  It’s the root note of whatever key the song is in.  For example, the song Let God Arise by Chris Tomlin is in the key of B Major.  Therefore, the root note is B.  The dominant would be the fifth scale degree of that key, which would be a F#.  It is definitely helpful to know your key signatures.  Here is a way to find the 5th scale degree.  Play an ascending major scale, and stop on the 5th note.  For example, B, C#, D#, E, F#.  If you find yourself struggling with this, we recommend finding a music teacher and having them teach you about key signatures and playing scales.  

    Here is the point of all of this information; scale degree 1 or 5 can sustain over in chord within the key signature, and it will sound great.  Therefore, try putting one of these notes as the highest note or the lowest note, and continue to sustain it over every chord change.  This is an easy way to make sure the loop pattern continues uninterrupted.  

    I know this is a lot of information, so please check out the video tutorial for this lesson.  You can find it at http://www.praiseandworshipguitarist.com/video-tutorials/

Thank you so much for checking out this article, and we trust that this information will be useful to your church.  Thanks again, and God Bless.  

Aaron Vasquez, MM

Capos: By Aaron Vasquez

By Aaron Vasquez

Written for praiseandworshipguitarist.com

Download PDF (With Diagrams)

All worship leaders need to have at least a basic understanding of how to use capos.  Purchasing a chord chart for your guitar player(s) that is in an uncomfortable key can have several negative impacts.  However, there is always a “tool” that can be utilized to get around these “negative impacts”.  That “tool’ is a capo.  A capo, if used correctly, allows the guitarist to play the chord shapes for a different key, but they will still sound in the original key of a song (See the video on capos for more information https://www.youtube.com/watch?v=XtAvSC-mYFc). It is what it is; some keys are justbetter for your guitarist, and a capo allows the guitarist to always play in one of these better sounding and more comfortable keys.  

    First and foremost, a chord chart that is in an uncomfortable key can make things physically more challenging for your guitarist.  This can cause disruptions during worship if the guitarist struggles during the performance.  I have always strived to make things as easy as possible for my worship team, especially volunteers.  Also, when things are easier for your team, it will allow them to relax and be more able to worship our Lord and Savior, Jesus Christ.  If things are more physically challenging, the chances go up of them being distracted and losing an experience to truly worship.  This is something we should strive to avoid with our musicians.  Musicians have got to worship as well!!!

    Next, uncomfortable keys, such as Bb, will not sound as smooth or good as the key of G, for example.  The reason for this is because 1st position open chords are more prevalent in specific keys such as A, C & G major.  The “Open Chords” in these keys naturally create smooth voice leading.  Good voice leading, put simply, is sharing as many common tones as possible between chord changes (For more information on voice leading, go to https://en.wikipedia.org/wiki/Voice_leading).  In a nutshell, these open chord shapes sound better than bar chords, especially on an acoustic guitar.  

    These are the 2 main reasons that you need to utilize capos and provide the best possible chord chart for your guitarist.  Due to this, Praise and Worship Guitarist is providing a diagram that will help you find chord charts that will best suit your guitarist, and your praise team.  The way this diagram works is simple.  The first 5 keys listed in the diagramare key signatures that your guitarist will most likely prefer to use a capo on.  After the first 5 keys, the capo becomes potentially less important.  The last 5 keys are, for the most part, completely optional.  However, we provide optional “capoed” keys that you may want to use in case you have several guitarists.  Option 1 of each row, in our opinion, should be your 1st choice, Option 2, your 2nd choice and option 3 will most likely be your least utilized option.  As helpful as we trust that this diagram can be to you and your team, always communicate with your guitarist.  We highly recommend that you ask your guitarist what key they prefer.  If you have any questions, please don’t hesitate to contact us.  Print up the diagrams provided on the next 2 pages.  We truly hope and trust that this will be helpful for your church and praise team.   God bless! 

Connecting Worship Songs to the Sermon: By Pastor Mike Butler

How many times have you heard, "wow those songs really synced up with the message today?"  Probably not near as much as the pastor has has heard, "did you guys talk about the music selection before you wrote the message?"  So many people think that worship music is really designed to act as  the precursor to the message - almost the opening act of sorts. This is a really shallow understanding of worship. The same type of mentality is sometimes stated negatively about the sermon, "I can read the Bible any time, but getting into a song now that's worship."  Well it is, but it may be the wrong type of worship. Finding a way to connect every aspect of worship can be challenging especially when you consider that so many musicians, vocalists, and even worship leaders almost never meet with anyone else on the Pastoral staff to discuss worship - let alone the person whose responsibility it is to speak from the Scriptures every Sunday. To truly provide a time of worship, there must be more than passing interaction between those who are called to lead other into worship.  While it is true to say that in our current culture, many of our musicians, vocalists, and even media leaders (A/V, Words, Graphics, etc.) are volunteers, there are still great needs to connect all of those leaders with the individual - and even individuals who are responsible for preparing the sermon.  If the musicians understand where the sermon is going, it is helpful for song selection; however, it would be wrong to assume that this is always the process. In fact, for many of us being directed to music that is awe-inspiring, Spirit-filled, theologically driven, can spark a fire in the heart of the speaker to hear even more clearly from God.  Working together will allow both to feed off of one another as we lead others to worship.  Simply put:

1.  Meet together regularly to discuss what God is doing and how He is prodding you forward.

2.  Discuss songs, passages, books, and your overall hunger for more of God with each other. You'll be surprised what you may find. 

3.  If nothing else, it reminds you - this isn't a show, a gig, or Ted Talk.  This worship of God Almighty and we are participants together in it. 

Together we will lead others to the Throne of God, assuming of course we've been there ourselves.

Go in Peace. Pastor Butler

Apps for Digital Charts: By Chris Vasquez

It is 10 minutes until service kickoff. You prepared and practiced. You completed sound check and even managed to squeeze in a quick pre-service group prayer with the band. You’re still a little anxious about that new song, but you have the chord chart on a music stand just in case. At least you did during practice. It’s still here somewhere…right? Where is that thing? 5 minutes till service begins. Can you print one out in time? Maybe you can text the sound guy and ask him to print one. Seriously, it was right there…where did it go? You are frozen in terror. The countdown clock ends and service starts. You worry about the lyrics to the new song all the way through the first 2 songs, messing up a few of those lyrics because you can’t stop wondering where your chart went. Time for the new song. You sing the first line and then blank. The song grinds to a screeching halt. Service is ruined. God was not glorified. People begin leaving the room in disgust. A few even throw some insults your way. Two days later, your church closes its doors forever and is the topic of numerous scandalous national news shows. And all because you lost your chart. How dare you? 

Let’s assume you’ve managed to change your name, your appearance, and have begun a new life on the opposite side of the country. The last thing you want is a repeat of the Lost Chart. You begin to think if only you had access to every chart at your fingertips you might be able to avert any disastrous church-closings in the future. Below are a few tools and apps for managing digital versions of those precious charts and lyrics. 

Planning Center Online: Subscription (Web, iOS, Android) 

If your church doesn’t use Planning Center to manage its services, talk to whoever you need to in order to make that happen. In addition to acting as an online repository for all your charts and lyrics, it can handle all your personnel and scheduling. It isn’t free but if your church can swing the subscription it can be well worth the cost. 

GoodReader: $4.99 (iOS) 

Good Reader is iOS (iPad and iPhone) only, but works great for having offline access to Word documents and PDFs. Organize your files and create folders for each setlist. 

Dropbox: Free (Web, iOS, Android, Windows) 

Dropbox is awesome. In addition to having a web and desktop client, Dropbox has an app for just about any platform you can think of. The best thing about Dropbox is being able to organize your files and folder however you want and have access to them wherever there's an internet connection. You can also download them for offline use.