Instruments of Worship
The Instruments of Worship Podcast, hosted by Casey Rinkenberger, is dedicated to encouraging and equipping classical musicians to lift high the name of Jesus with their instruments and their lives. Tune in every Monday for a new episode!
Instruments of Worship
Contemporary Worship: How Do We Join As Classical Musicians? | Ep. 16
Have you ever wanted to play on your church worship team, but have been intimidated or confused about reading chord charts? For classical musicians trained to read notated music, the idea of improvising can be very scary and very well hold us back from using our musical gifts to serve our local church and worship the Lord. After today's episode, I know you will feel more comfortable with the idea and not be so confused on how you, a classical musician on a classical instrument, can be a valuable member of any worship team!
Discussion Questions - Try reflecting on your own or with a group:)
- What holds you back from serving on your church worship team?
- May God desire you to serve your church and worship Him through using your musical gifts at your local church?
- What needs to happen, what do you need to learn in order to be able to do this? Who is someone who could help you or answer these questions?
To engage our hearts in greater worship to Him, check out these songs that relate to this episode!
Praise to the Lord, the Almighty
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Hi friends, my name is Casey Rinkenberger and I am so excited to welcome you to the Instruments of Worship podcast. This is a podcast dedicated to encouraging and equipping classical musicians to lift high the name of Jesus with their instruments, but also their lives. Have you ever wanted to play on a church worship team, but have been too intimidated or confused about reading chord charts? For classical musicians trained to read notated music, the idea of improvising can be very scary and very all hold us back from ever using our musical gifts to serve our local church and worship the Lord there. But I hope that after this podcast, you will feel a little more comfortable with the idea and not be so confused on how you, a classical musician on a classical instrument, can be a very valuable member of any worship team. So someone asked me just this last weekend, what has been bringing me joy and what has been just giving me life recently? And sometimes when people ask this question, it's sadly difficult to come up with an answer. But it's really a good question to ask and to reflect on yourself. Anyways, I'm thankful that when she asked me that question, I was able to quickly explain how playing in my church worship band has been just so life-giving and a great avenue of worship to me, especially after coming off of playing at Good Friday service, just so filled up. by that. But that definitely has not always been the case. Like many classical musicians, I grew up feeling so safe with notes written on a page and therefore terrified of the idea of reading a chord chart instead. You might be asking, why? Well, first of all, because I had no idea how to read a chord chart, much less do it well. And I always want to do especially something musical to the best of my ability. I want to do it well. And the second reason is I was just so frustrated with the idea of having to become a beginner again on an instrument that I was advanced on, that I had dedicated my whole life to learning. So I was thinking, how does that make sense? I surely don't need to become a beginner again, have to start over at ground zero to be able to play in church, but that's kind of what it would have required. So I wasn't really into it that much. When my church youth group was hoping to start a student-led worship team, I even opted to learn a completely new instrument, which would have been the guitar, and sing, both of which I had never really done before so rather than using the instrument I had spent my whole life playing I went with learning the guitar and singing instead because I felt more comfortable with that than even playing my violin in a worship setting so if you want to go learn guitar and sing in a worship band somewhere by all means go for it absolutely do but I think it just shows the point that this is such a foreign territory to most classical musicians that I would would have rather learned an entirely new instrument than figure this out. This whole church music thing on an instrument that I am comfortable with the instrument. I just wasn't comfortable with the setting or the style necessarily because it involved improvising. And I can't imagine that I'm really alone in this. I had tried reading chord charts before on my violin, probably two or three times in my lifetime. And let's just say it never left me wanting to go back for more. And honestly, I was probably voluntold by my mom. I was going to play in church and we were just going to wing it together. So that was growing up what that was like for me. But if you listen to my introduction podcast, you know that the Lord led me to First Lord Baptist Church in Waco during my time at Baylor. And there the worship was just unlike anything I had been a part of before. It was glorious to me. I got to play in an orchestra alongside a full choir and a full worship band. So really, it was the first time I had been on a worship team using my vine in and I loved it but I got to read off of music that was the only reason I was there doing it was because I could read music use my gifts in that way but I didn't have to be forced to improvise or play on a chord chart so it was chill I nothing to stress over super enjoyable and worshipful but I'm thankful Lord gave me that because it gave me a love for playing on a worship team and just desire to use my instrument the skills that he's given me as an offering back to him and work So it wasn't until I got asked to play the violin in our church's second service, which was more a contemporary service, that I was really forced to start digging into this chord chart worship music thing on the violin. So the first service had the orchestra that I always got to play in, but then the second service was just a standard worship band. So there was no orchestra, no music. It would have just been me, my violin, and a chord chart. So essentially, I just got thrown right into the deep end, which unfortunately is how a lot of us have to start if we're going to venture into this new category of playing our instrument. And it definitely wasn't necessarily easy or comfortable. I probably didn't do an amazing job at first. But I've kept doing it and I've just learned a lot along the way. And so I thought I would share that with you today because I think it's kind of sad that there can be so many classical musicians who attended church, but they never feel like they have the tools to really learn how to use those gifts to serve their church and to worship the Lord through the worship team. And so I think that if people had a few more tools in their tool belt, that they might just feel a little bit more comfortable to try. So if playing in your church were team has been intimidating to you hopefully you can just be encouraged through my story that it won't always be that way and it may turn out to be something that is actually super life-giving to you So just a few prefaces before I begin. Today, when I refer to classical musicians using their instruments in a worship setting, I'm typically going to mean anything outside of what you normally see on a worship team. So anything outside of like a guitar, acoustic guitar, piano, voice, maybe electric guitar or bass. Those are very typical instruments, at least in a contemporary worship band. And I'm just going to mainly talk from my experience, which has been playing a violin in a worship setting. But I believe that the principles could really be applied or said about whatever instrument you might play. So with that, I would love to get started with just talking about the right motives going into this. I am not saying that necessarily just because you play an instrument, you have to be on a church worship team. I think that there are a lot of people who it may be a great fit for and they have this fear that's kind of holding them back. But for sure, before entering into something like that, you would want to make sure that you have the right motives going in. And really all that is, is just a heart of worship. And I describe that just as really lifting the Lord high, lifting high the name of Jesus and praising him for who he is and what he has done. It's not about ourselves. Our worship is to him and for him. I did an episode called Music for Service, Not for Stardom. So that has a lot to say about all of this. So maybe go back and listen to that. But I thought I would just read this verse from Psalms 34 because there are tons of examples of a heart of worship in the Psalms. But Psalms 34 verses one through three, I think kind of encompasses this idea really well. And it says, I will bless the Lord at all times. His praise shall continually be in my mouth. My soul will make its boast in the Lord. The humble will hear it and rejoice. Oh, magnify the Lord with me and let us exalt his name together. So I think that's just showing kind of what a heart of worship would be like. And obviously, we're never going to be perfect. But the idea of wanting to magnify the Lord, not ourselves, to exalt his name, not our own, and to just bless his name, praise his name all the time. So living a life of worship, not just on Sunday mornings, but a whole life dedicated to worshiping the Lord, which is really what he made us for. So serving on a worship team should just be an overflow of this life of worship, not just a performance opportunity, of course. The way that my worship team describes it is kind of like a graph like this. And I think I might have talked about it in another episode. But essentially, they're talking about ability and character. If you're an expert at your instrument, but don't have a heart of worship or high character, they might say, the worship team probably is not the place for you at the moment. So even though you may be at music school, if you don't have a desire to lift high the name of the Lord, if you're most Thank you so much. On the other hand, if you're lacking in ability in your craft, maybe this is just a hobby that you've had, but you have a heart of worship and you have that high character, your ability for your craft can be developed. So maybe not now. Maybe let's develop your craft a little bit more. But certainly at some point, there's probably going to be a time where you can gladly, joyfully serve your church in that way. If you are lacking in ability and don't have a heart of worship, neither is there. It sounds kind of stark, but there's unlimited potential for harm on a worship team. If you don't have a desire to lift high the Lord and you can't even play your instrument, then again, probably the worship team is not a place for you. But if you have ability and you can play an instrument and you have a heart of worship, then you have unlimited potential for the Lord to use you for good. So if that's where you maybe you find yourself and you just come to church every Sunday and just consume, I would maybe encourage you to consider and pray about is the worship team a place where the Lord might want you to serve and worship and honor him. I know it can be scary sometimes, but pray and ask the Lord. And I just think of the loaves and the two fish that that little boy brought and that we can bring just our humble offering to him and he will do with it what he wants. He will give us the abilities. He will give us the strength. He will help us learn how to improvise if this is his desire for us. So if that's maybe where you find yourself, here are going to just be a lot of different practical things to hopefully give you an overview of some things that might be helpful for you to know to help you kind of understand, get your head wrapped around this using a classical instrument in a church music setting, not in a classical music setting, and how you might do that, like how it's different and where do you even begin and some practical tips. So first, I want to talk about your role. I think why playing a classical instrument in a work worship setting felt so confusing to me is because we are what I would consider a single line instrument so of course it's possible to play chords on a violin but that's a super extended technique it's very difficult typically you have to be very advanced to navigate playing them especially well on a violin so typically a violin just plays a single line of music at a time not full chords at a time but that's definitely different than a guitar or a piano whose role is is typically to provide harmonic structure. Of course, that's not necessarily all they do, but they can play full chords at once fairly easily. So just the nature of the instrument helps inform their role in the worship team. So the role of a guitar piano is typically harmony. The nature of a drum set, on the other hand, is much different. They can't sustain notes. They don't play pitches. Instead, they provide rhythmic support and structure. The electric bass typically provides support through the baseline. And then of course, voices are mainly singing melody and maybe some harmony to fill in there. Hopefully that gives you an idea of the different roles that different instruments play in a worship band. They can play baseline, rhythm, harmony, and melody. And so what's super special about playing a violin though, for example, in a worship setting is that you are not confined to any of these categories necessarily, but actually you can weave in and out of whatever role that you think suits best for the moment. So as a single line instrument, you could play the baseline. You could do something rhythmically active that could help support or kind of add into a specific style. You can play harmony. You could play melody if you wanted to, and you could play play any sort of line that maybe combines melody and harmony, those sorts of things. So you have a lot of freedom, which that might be overwhelming to you at first. And I promise it will get easier. But another role that I think a violin has in a worship band setting is to add a layer of beauty that otherwise might be missing. We talked a couple of weeks ago in an episode of how God loves art that is good, true and beautiful because he is the incarnation of goodness, truth and beauty. I'm a part of Bible Study Fellowship, also known as BSF if you've heard of it. And in their notes this week, they wrote, God created within all humans an appreciation of beauty to draw people to himself. His glory defines the pinnacle of all beauty. So we have beauty in this earth because of God. He created it. And whether people know it or not, they can be attracted to God by things that are beautiful, like beautiful flowers, beautiful sunsets, and even beautiful music. Because of the rich and emotional sound that comes from just the sound of the violin and even the vibrato that you're able to do on a stringed instrument, I think that they can add a layer of beauty to really any ensemble. So when I play, I see my role as, yes, I can weave in and out of all those different things that I talked about earlier. But I also see it as adding as much beauty as I can through a beautiful sound, maybe a motive vibrato or super desirable harmonies. I try to play whatever I think sounds the most beautiful. I think the same could be said for woodwind instruments. And maybe if you play a brass instrument like a trumpet, maybe your role is a little different that you get to add a layer of triumph or celebration, power or victory. But Overall, what's important is to know what your role is and how you can be a best part of the team. It's a team effort and you're just one aspect of it. So you're not the soloist, but how can you maybe add something that might be missing to bring a unique style, a unique addition to it? Okay, so you might be wondering, that's all great, but where do I practically start? Where in the world do I start? And I would say that the best place to start is listening before you even pick up your instrument. You can learn so much by listening. And I hope that already you listen to a lot of worship music in your life. But if you don't, now would be a great time to start integrating it into the rhythm of just every day. It can impact you so much. Most importantly, this helps orient our hearts towards worship as a part of our lifestyle, as we were talking about, that it's not just a Sunday morning occurrence. But this also allows you to immerse yourself in just the overall style of worship music, whether you know it or not. you are actually picking up on patterns. On the whole, it will always be easier to improvise the songs that you are already familiar with compared to songs that you're hearing for the first time. Why? Because you know what's coming next. If you don't know what's coming next, you won't know when to change harmonies, where to land, or how to connect point A to point B. And you'll just be more stressed out about your performance rather than the offering of praise you make to the Lord. whether you know it or not. If you're familiar with the song, the chord structure or the harmonic rhythm is already inside of you. You can tell. You unconsciously notice when chords change and what the chord changes even sound like. But naturally, as you listen, you also pick up on the melody, which is very useful information. So I would say listen to a song enough that you can hum the melody and hear when the chords change. For this Good Friday service that I just played at, we played a lot of songs that I had never heard before. And I'm just so thankful that I listened to them a lot for probably a solid week before I even started to try to play and come up with things to play with. So very even recently, I've just felt the impact of listening before even starting to play. And that can be said classically, you know, but definitely when you're improvising, it will be so much easier if you know what's coming next. So listen to a song enough that you can hung the melody, hear the chord changes, And then I would also recommend sitting down and just humming lines alongside that recording that aren't the melody now. So something else that you love listening to or just that works well with whatever else is going on. So hum what you think is beautiful. And again, it could be a bass line, kind of providing harmonic support, or it could be a cool rhythm that you think fits well in that section. It could be a super cool harmony, or it could be anything. Just hum what you think sounds beautiful. And that will help you to learn how to just be creative kind of in the moment. It will also help you to get used to the types of lines that you will play without having to worry about, oh, where do I find that note actually on my instrument and just other logistical factors. Okay, so now if you feel pretty comfortable kind of being more creative on the spot, adding some of those unique lines, let's talk about adding a chord chart. There are usually two different types of music that you could receive as a church musician, and that would be either a chord chart or a lead sheet. So a chord chart, and I'll show you here, is probably what you think of when you think of church music. So it gives you the name of the song. It gives you a time signature. This one is in 6-8 time. It gives you the key. This is in the key of G. And it also gives you all the words to this song you can see here. And then on top of the words, you see these different chords just sporadically on top of them. So that is a chord chart. Shows you those sorts of things. What's different about a lead sheet is that it has the melody notated out. So this is what a lead sheet might look like. It has everything else that the chord chart has that I just listed, but it has the melody notated out. So even though most classical musicians would probably look at the two and gravitate towards the lead sheet because they see notated music, it really isn't going to help you that much because you probably will want to avoid playing the melody since the singers will already be doing that. So if the worship pastor gives you a choice between the two, you might just try to find one you feel more comfortable with and then go with that. For me, it really just kind of depends on the song, but Also, you may not have a choice. You may just get a chord chart or you might just get a lead sheet or maybe something else. But these are what we're going to focus on for now. So moving forward again, I would start by listening along with either your chord chart or lead sheet. You could always sing along if that's helpful for you. The main thing is that you know when the chord changes. What's different about a chord chart is there are no measures, as you can see here. It's just all written above the music. I guess one thing that is good about a lead sheet is you do have actual measures so maybe you can see more when in a beat structure how and when the chord changes so if that's helpful for you then go with the lead sheet but either way you want to know when those chord changes and if you're having a hard time picking up on that or the time signature feels weird just try conducting along with the song or setting a metronome and seeing if that helps really to know the harmonic rhythm of the song when it comes to chords though this is when a little theory knowledge is going to come in handy And if you don't feel super comfortable with chords right now, that's okay. You might just consider there would be tons of YouTube videos on it, or you could grab a basic theory workbook to help you feel more comfortable. You'll just want to know key signatures for various keys. So it might just be good to brush up on your scales if you haven't done those in a while. And I would just say that most worship music isn't in a super obscure key. So just start with the main ones, probably major, some minor, and G, D, A, C, those ones, probably maybe B, which has a few more sharps, but I wouldn't say it would be in the key of C sharp likely. So that's good. You'll also want to have just at least a basic understanding of triads. A triad is a three-note chord which has a root, third, and a fifth. And why you need to know that is just to know what options you have when you see that chord. So maybe it says G, G major chord. You would want to know what options you have of notes to play within that chord. So when you see that letter written on your chord chart, that tells you what the root of the chord is. So if you see a capital G on your chord chart, you know that the root of the chord is G. And you can definitely play the root of each one of those chords if you want to. That's definitely an option. And it's a great place to start just playing the root of the chord at the correct time. And you're already doing what you set out to do. You've already got it. But to make it a little more interesting, though, you do have options of other notes you can play that are still guaranteed to sound good because they're within that chord. And that would be the other two notes of the chord, which would be the third and the fifth. An easy way to think about this, if you're not super used to theory, would just be, okay, our chord is G, then skip a note, which would be A, and you get to B, and then skip a note and you're to D. So G, B, and D. And I think of it essentially as a mini arpeggio. So instead of focusing like what note is in that chord, I just kind of remember a lot of the time the shape of my fingers. So within a chord, you will likely have a perfect fifth. So one, two, five. So on a violin, that would just be right across from one another. So you've got your G third finger on the D string and then right across from it would be your third finger on the A string, which would be the D note. So that's a perfect fifth, just right across from each other. And then there's just another note in the middle, which is your third. So a lot of the times if you just practice your arpeggios, it will just be one, three, one, three, one, or two, open, two, open, two, and so on. Then if you just remember your key signatures, you're golden. So practice your scales and your arpeggios and you know the building blocks to your chords because scales help you know what sharps or flats to play and arpeggios essentially outline the chords you'll be playing anyways. So those are super helpful aspects of getting more used to these chords. What's cool though is that once you know the fundamentals of the chords, there is still a lot of freedom. A lot of people would say that you can't mess up when you improv because who's to say it's wrong when there's no music written out? And it's like, actually, that's super fair. And it's mostly true. So don't be afraid of improvising. You do what you can. And then if you play a note that you just don't think sounds the absolute best, you can just casually and nonchalantly move to another note that sounds better, which will usually just be either a note above or a note below. And if that happens, you call it a suspension and you move on. But I want to explain some non-chord tones though, which can be a good place to start just to give you some options of some ways to make your line a little bit more interesting. So non-chord tones are notes that are not within the chord, but could still have a viable place in your part. So again, the main rule in all of this is to play what sounds good. But to give you a starting point, we're going to talk about neighbor tones, scales, and appoggiaturas. It sounds a little complicated, but it's not. Just a place to start. So a neighbor tone is just the next note either up or down and then back again. You might try it within a measure. You might try it transitioning to a chord. You also have scales at your disposal, which can be a great way of transitioning to a new section. Or I love to play slow scales because it helps build the excitement for what's coming next when people can hear the scale pretty slowly, actually, probably even like whole notes or so. But you could also do a faster scale, like five or four note scale into something that's coming next, into the next measure or into the chorus again. And an appoggiatura is just essentially a leap and then a step. So maybe a leap up and then a step down, or maybe a leap down and a step up. And this is great as you're maybe transitioning to a new chord, just to make it, again, a little bit more of an interesting transition. Some other tips that might be helpful as you're first starting out is this is something you're going to have to practice. I think when people hear the word improvise, you think really just like improvising on the spot. And maybe there are people that can do that. But this is an area that you will want to show up prepared. You will have wanted to practice this music, even though it feels a little strange to a classical musician. Usually think of practicing is like drilling hard spots. But this is just something you're going to have to get used to and try day to day even. So The other part of that is that as you're practicing, you could come up with some ideas that you really liked and you might want to replicate again. So there are certain sections that you're like, That'll be easy. But if there are spots where you're like, for some reason, that's still not sitting right, then maybe come up with a plan. And that will really help you not be fearful the day of. It can help you feel really prepared. And so as you see, I have certain notes, like I have this A circled. So that means like, just play the A. You don't need to play anything else. Or instead of, you know, playing this E, I have a G sharp written there. Just have a little plan. It doesn't hurt. Nobody's going to care. And if that helps you, then do it. And eventually it will get to the point where you may not need it but I think it's especially fun when you get to be creative in your practice time you get to try different things and just see like oh wow I really love that and I just think that fits perfectly so why not write it down and just have a plan doesn't have to be for the whole song but for certain spots that's totally fine and it actually just helps you feel more comfortable and it probably is going to sound better if you're not just winging it and you might have a plan for some of those extra hard sections you can see that especially if you're going to try to play a little faster then maybe have some of those things written out so that you don't have to stumble through it quite so much. So practice and then also just feel free to make some notes. That's okay. Another thing I would just say is remember that you're part of a team. You're not playing a concerto anymore. This is a very different land. So in some ways you could honestly compare it to chamber music. You're all working together to create a beautiful offering of praise to our king. Again, it's important to know your role and try to just add to the group, but not take away from the group, if that makes sense. The other thing I would say is don't feel like you have to play the whole entire time. And usually I don't. I typically don't come in right away. I stay out the first verse or more. It just kind of depends. And there are a few reasons for this. In worship music, there is just natural repetition that takes place because you're working with verses, choruses, bridges, interludes, whatever. And this repetition is good because it helps us all really remember the words and the meaning behind them. But not coming in right away also gives you a little bit more breathing room to not have to come up with just tons of different ways to play the verses or that sort of thing. And even when I do come in, I usually start with something on the G string so it's less noticeable. And I'll just try to keep it simple at first. Usually when a song gets to talking about how awesome Jesus is or what he's accomplished for us, there's just a natural build. The whole song is not going to be stagnant. So leading up to that, you could start to transition to some higher strings and change your notes a little quicker. Instead of playing whole notes and playing the bass line, you could think about half or quarter notes, even eighth note maybe if it's fitting. So just follow the flow of the music. And you'll notice that with dynamics too. You probably don't want to come in super loud at the beginning. But there might be a place where you want a little more volume because it's more victorious and celebratory. And I would say same thing for the E string. I keep E strings for very special occasions. There's not typically a Sunday where I play E string on every single piece. And I rarely shift higher than third position in any of the songs. I think that's just a good general rule of, again, this isn't a concerto. You just keep it kind of more at a singable level. As I said earlier, just go with the flow of the music. And I think that something that relates to this is literally listen to the words and then just react to them. Give yourself that freedom. If they're more solemn and the words are more reflecting on our sin or something, you'll probably want maybe a slower vibrato, staying on lower strings, picking notes that are very close together, not a lot of leaping. But if the words are talking about Jesus's victory and rehearsing his awesome character, then maybe you're moving to higher strings and adding more more skips or leaps in your notes. Just listen to the words and react to them. Just my last point is no matter what, always make sure that you're listening to your sound and make sure that it's beautiful, clean, and pure. I'm sure I'm talking to people at a variety of different levels. Maybe you've played for a year or two. Maybe you've played your whole life. But no matter what, we always want to make sure that our sound isn't scratchy or muddy, but it's just beautiful. It has that nice resonant tone. Then just a few reminders for your heart as we begin wrapping up. I know that this will be a humbling process because you're becoming a beginner again. And improvising can be so scary because we're miked. Any mistakes in quotes that we make would be easy to hear and you're up on stage. But I would just say trust in the Lord. I'll pray on my way to church or on my way to rehearsal is Lord, just please place each one of my fingers as you would please so that I can just focus on worshiping you. So just trust him with the results. Let him guide you and lead you. Don't put all that pressure on yourself and give yourself grace that the first couple of times that you do this, it might make you nervous and it might be really hard to focus on the worship because you're just trying to figure this all out. There's so much grace for that. And I promise that it won't always be that way. And I just encourage you just to bring the Lord into it. Whatever the fear is for you, take it to him. Sometimes I'll pray, free me from the burden of trying to get the right notes and just take care of it, Lord, so that I can focus on worshiping you. So bring him in to all of these things. He cares about it for sure. And I will warn you that it's likely you're not going to get the praise classical music brings you. And if you're joining a worship team in hopes of receiving some sort of recognition, just don't. It's not the right reason to join and you won't get it. It's typically not as impressive. And many times people assume that you're reading off music and they don't know at all the toil that you've gone through to learn how to improvise and try to feel comfortable with it. Obviously, we don't do it for the praise. As 1 Corinthians 1.31 says, Therefore, as it is written, let the one who boasts, boast in the Lord. But just remember that the Lord does see your effort. He sees the time that you've put into practicing something that seems so simple. You're not playing as many notes as fast as you're used to, but he is well pleased with your effort and with your heart of worship. So rest in that. And that heart is a good and natural response just to the perfect, holy, pure, good, loving, kind, righteous father, the creator of the universe who is worthy all our praise and so i just pray that we will have that heart of worship it's part of the name of this podcast right being instruments of worship our lives being worshiped to him but also using our instruments in worship to him if you're a musician i just hope you don't feel all the fear and confusion regarding this topic anymore that you might feel a little bit more confident to start praying about whether the lord would want you to use your musical gifts in a worship setting it's really not as scary as it may seem and you Yes, it will be humbling, but how good of a process to be humbled and to be sanctified in those ways. And I can just tell you from my experience, it was hard at first, but it's now super life-giving and something that I just can't wait to do for several years to come. And honestly, just hope I get to play more part in. We can, of course, worship the Lord through classical music. We've talked about that. probably almost every episode until now. But there also is certainly a place and a time to use your instrument and the skills that God has given you in a church setting to worship him on a Sunday morning with your church family and just lifting his name high. So I hope that this has been an encouragement to you, but that you also feel like you're more equipped on how to just think about and maybe start pursuing this idea of using your classical instrument in a church music setting. So I just want to thank you so much for spending part of your day with me today. Make sure to check out the description for more worship songs that relate to this topic. And also in the description, look for discussion questions that you can reflect on by yourself or with a group. And if you think you might know someone who might be encouraged by this podcast, please send it to them and make sure to download, follow and subscribe wherever you are listening. And I will see you next Monday.