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How to Bring the Spirit to a Sacrament Meeting Musical Number

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Ryan Crossette started playing the piano at age five on a beat-up piano in the backwoods of Missouri. Now he composes hymn arrangements by ear, and he wants to help people make connections with music. One way to make that connection is through sharing music with others. Ryan’s opportunities range from posting on his Instagram, to recording albums, to playing musical numbers in sacrament meetings. Playing in church can be daunting. Ryan shared these tips to help first-timers bring the Spirit to their sacrament meeting musical numbers.

Tip 1: Know the Hymns Well

One tip Ryan shared was to know the hymns well. He said, “If you haven’t practiced hymns, you won’t be writing hymn arrangements anytime soon.” Similarly, you won’t likely be sharing hymn-based musical numbers in sacrament meetings either.

Hymn arrangements come easily to Ryan because he knows them well and has internalized them. He understands how he wants the chords and melodies of each arrangement to sound. He’ll even replicate drums and rhythms in his arrangements. As he practices, he asks questions such as: How would I want the congregation to sing it? How do I feel? What do I feel? These same questions are on his mind as he plays musical numbers in sacrament meeting.

Tip 2: Prepare with the Spirit

A second tip Ryan shared is to have experiences with the Spirit. To bring the Spirit to a musical number so others may feel it, you must first bring it to your practice sessions.

For Ryan, environment is key. He practices in a spiritual rather than a functional environment. One of the first things he does when practicing is to look for inspiration. It could be something about the hymn that moves him or something he connects with emotionally. These often come in church, general conference, solos, hymns, or testimonies. He reflects on what inspired him and tries to incorporate that (be it the words, melody, or a combination) into how he arranges hymns.

Tip 3: Pray Beforehand

Not only does Ryan know that music can touch people, but he also knows that he needs help to do so, and he prays for this help before taking the stand. He feels that hymns are sacred, similar to the scriptures. He recommends looking at them in a selfless way, saying it is important to “do it for someone else. Otherwise, the Spirit won’t be there.” He understands that in the end, it isn’t about him—it’s about helping someone to feel the Spirit that day. Sometimes the hymn turns out completely different than what he prepared, but he’s comfortable with that because it means people were touched.

Tip 4: Have Courage and Take Your Shot

As I interviewed Ryan for this article, he referenced two well-known movies. The first was We Bought a Zoo. In the movie, Benjamin tells his son Dylan, “Sometimes all you need is 20 seconds of insane courage.” Ryan said when it comes down to it, you need just enough courage to get yourself seated at the piano in front of the congregation. As humans, we often make up excuses—we aren’t as good as someone else, we don’t have the time to practice, etc. But he says, “Do your thing, go be you, and you’ll get better at being you.”

The second movie was Tooth Fairy. In a conversation between two characters, Derek says to Randy, “You’re not gonna find out if you quit. You can’t score if you don’t take the shot.” Ryan said it’s best to get out of the mindset that someone is better than you.

Tip 5: Bear Your Testimony

Musical numbers can be as impressionable for the listeners as it is for the musicians. Ryan’s testimony, which is compiled of moments when hymns have touched him, helps him bring the Spirit to the meeting as he bears it through song.

Ryan says it’s important for him to bear testimony through music so he can be forgiven of his sins. He shared Doctrine & Covenants 62:3: “Nevertheless, ye are blessed, for the testimony which ye have borne is recorded in heaven for the angels to look upon; and they rejoice over you, and your sins are forgiven you.”

At times, Ryan feels God saying to him, “Just go bear your testimony, and I’ll take care of the rest.” And sometimes, the testimony comes out just right.

Let God’s Love Motivate You

Ryan said that he often feels inadequate and flawed, but when he plays and shares his testimony, he feels renewed and baptized—like he has a clean slate. He feels the Spirit and feels God appreciates him for sharing his talent. Playing and internalizing music brings him closer to the truth of the gospel and the importance of the gospel message than anything else.

You can find Ryan’s music on Spotify, Apple Music, Amazon Music, and Pandora.

A headshot of Hailey Ashcraft.

Hailey Ashcraft

Hailey Ashcraft was raised in Idaho and currently lives there. She’s visited many states, but Idaho is her favorite. Hailey volunteers for LDSPMA as the senior editor on the articles team. She loves to read, write, and edit. When she’s not writing, she can be found hiking, baking, cooking, playing piano, hammocking, petting a kitty cat, country dancing, or hanging with friends. Her favorite color is blue, and she loves chocolate.

    Getting Started in Music Production

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    I am often asked how to get started with music production. Many of these people already have the recording equipment and a basic idea of how to record and mix, but they don’t all know how to create a song from scratch.

    Blank Canvas Syndrome: BCS

    As a songwriter or producer, having a “blank canvas” in front of you can be a total creativity-killer. If you have BCS, the answer is as simple as knowing where to start. And to learn to produce music, where to start is where someone else finished. In other words, we’re going to “reverse engineer” a song. Reverse engineering trains your ear to hear the detail in every sound that makes up the song, and until you hear those details in other songs, you won’t know how to create the sounds you hear in your head.

    Pick a Song

    First, select a song that you know you have the ability to recreate. I don’t play guitar, so I’m obviously not going to choose a guitar-heavy song. Virtual instruments are pretty amazing, however. If you are still learning your software and aren’t quite sure what instruments you have, that’s okay. This is how you will learn what you have and don’t have.

    Don’t forget the vocals. If you are a singer, make sure to pick a song you can sing. If not, find a singer and pick a song they know. Give yourself the best chance of being able to replicate the song in every detail.

    Now that you’ve chosen your song, import it into your DAW. Set the tempo, create markers at all of the verses, pre-choruses, choruses, interludes, notable moments (drops), bridges, etc.

    Sounds:

    Drums

    Start with the kick pattern throughout the entire song. I usually use a kick sample rather than programming a midi note and then tweaking it. I have samples that already sound pretty close to the way I want the kick to sound, especially for modern music. I find the absolute closest sound to it that I can, knowing that I might still need to play with EQ/Comp before it’s right. Then I go through the same process with the snare hats, cymbal crashes and swells, and other percussion and sound effects.

    What if you missed something? No biggie. You may notice later on when you are programming keyboards or synthesizers that there was this little triangle blip you didn’t notice before. Go ahead and add it as soon as you hear it. Get it in there. What if it takes 2 hours and you still haven’t gotten the kick drum to sound right? Move on. Get it as close as you can and take note about what you couldn’t get right. Then when you listen back and you can tell that your version sounds different than the original, you’ll remember what obstacles you encountered and hear what a difference those “little” differences make in the final product. This is part of the “learning to listen” process.

    *Trick: Use your eyes when copying drum patterns. You can often see in the audio file of the original where drum hits are because there’s a big spike!

    Bass

    One of the best discoveries I made when I started programming/producing music was that the bass is the coolest instrument of all! You can replicate it, which will eventually help you figure out what your bass should do in a song you are producing from scratch. There will be some nuances that you will never be able to recreate using a virtual bass, even though you can get close. Most virtual instruments have amazing sounds including slides, string squeaks, string hits, etc. The point is that you are learning what a bass player does, what the tone of the bass is and how that sound adds to the character of the song. If you do play the bass, focus on getting the tone and the feel to match the song you are recreating.

    Other Instruments

    Begin programming all of the “inner” instruments. If you can’t tell what all instruments are there, just start with the most obvious one first. You’ll probably experience something I call the  “zooming in” phenomena. The closer you listen, the more you hear. As you listen carefully, you’ll notice more sounds. And then more. It’s okay if you now hear a synth sound that you didn’t hear five days ago or even five minutes ago. Keep “zooming in” until you think you’ve gotten everything.

    Since matching synthesizer sounds exactly can be hard, program the notes first then flip through synthesizer presets and find the closest one. Sound design is going deeper than what you’ll want to worry about at this stage, so don’t get hung up on matching the sound exactly for now. Just get as close as you can. This will help you to become familiar with your synths, which is imperative. Once you know what your synth presets sound like, you can work toward learning how to shape and design them to your desired sound.

    Guitar tone is king, and nailing the tone just right can be an elusive moving target. There are literally thousands of combinations of settings when you consider every guitar knob, pickup switch, mic placement, amp knob, pedal possibility, effects processing . . . it’s mind-numbing. Needless to say, you could spend years just figuring out how to match guitar tone to your favorite songs. Just like the synths, get it as close as you can and then move on. You’ll get better and better every time you tackle this reverse-engineering exercise.

    Trick: Make note of places in the song where there are breakdowns, soft choruses, intros, and outros. Oftentimes, these are the sections where you can better hear patterns or sounds that may be going on throughout the song but aren’t as easy to hear in other sections of the song.

    Vocals

    Begin with the lead vocal. Make sure the recording is clean and “uncolored” with room acoustics or outboard hardware that may add specific coloring to the track. You can add processing later. Once you have your lead vocal track, you get to listen to the processing of the vocal and try to match the processing on your copy song.

    Now, work on the backing vocals. Zoom in closer and closer and notice every harmony, double, and stack. If you are not a singer, this might be difficult for you to hear at first. Work with your singer to pick out all of the parts and get them recorded. Don’t overcomplicate it! The harmony notes will most likely fit the underlying chords going on, so make sure to follow the chords and you should be in good shape. 

    For all elements now in your song, make sure you have addressed panning, EQ, compression, reverbs and delays, and other fun spatial processing. As with everything in music production, you will get better the more you do this.

    You’ll notice that you started from the bottom and worked your way up. This is what I’ve found works the best for me. See if it works for you!

    A headshot of Becky Willard

    Becky Willard

    Becky Willard’s music career spans nearly three decades working in nearly every corner of the music industry. Her passion is in finding and working with the most determined artists who are ready to take control of their artistic career.

    She’s coached, mentored, and developed a number of artists who’ve been featured on The Voice, American Idol, America’s Got Talent, The X-Factor, and more. You can learn about her here.

      Selecting the Right Song for the Right Time

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      As a musician or music leader, choosing music is an exciting and daunting task. You know you can’t please everyone, but that’s no reason not to try your best. The right song or song grouping can be the linchpin that holds a meeting together and makes a good gathering great, but selecting something inappropriate can have the opposite effect. 

      So, what factors should you consider? They might vary depending on your situation, but here are a few. 

      Doctrine, Doctrine, Doctrine 

      When determining whether a song is appropriate for a church meeting, you should always consider the question, “Is this song completely doctrinally correct?” Songs from official Church publications, such as the hymnbook or Church magazines, have already been vetted for doctrinal soundness. Doctrine is taught frequently by prophets and leaders and is confirmed by the united voice of the Quorum of the Twelve Apostles and the First Presidency. It is not hidden in obscure corners or given by a solitary voice. 

      This means that when you bring in an original work or a hymn from another Christian tradition, you must be careful. Some deviations are small, some more major, but any deviation from the truth can drive out the Spirit. When you read or listen to the lyrics of a song, pay close attention to how it makes you feel. If there’s something off, it might be the Spirit’s prompting. 

      For example, there is a lovely Christian hymn called “Holy, Holy, Holy” that is widely used in other churches. While the song is mostly doctrinally sound, its refrain highlights the doctrine of the Trinity, that God is one being Who manifests as three different people. The lyrics say, “God in three persons, blessed Trinity.” Without some adaptation, this would not be appropriate for a church meeting. When the Tabernacle Choir performs this song, they use the alternate version, “God in Thy glory through eternity.” 

      Consider a popular “feel-good” song like “This Little Light of Mine.” It has a general message about being a good example, but it could just as easily be sung in a secular setting. If being a good example is your topic, consider other hymns, such as “Come, Follow Me” or “The Lord Is My Light.” These focus on the example of the Savior and would be more appropriate for a church meeting. 

      Find the Focus 

      When choosing a song for a church setting, ask yourself, “Will this song put the focus on the Savior?” Music that is too showy or that draws too much attention to the technical aspects of the song can detract from the message of the meeting. Perform with genuine emotion without doing anything to draw extra attention to yourself.

      The Savior saw beauty in simple things. In Matthew 6:28-29, He says, “And why take ye thought for raiment? Consider the lilies of the field, how they grow; they toil not, neither do they spin: And yet I say unto you, that even Solomon in all his glory was not arrayed like one of these.” King Solomon had riches and a mighty empire. He built opulent palaces and buildings and wore the finest clothing. The Savior says, however, that the simple lily possesses a simple, humble beauty that surpasses all the pomp of King Solomon. It would be good to remember this principle in the music we perform as well. 

      Inviting the Spirit 

      When truth is spoken or sung, the Holy Ghost can be present to testify of that truth. When selecting music, ask yourself if the song is presenting doctrinal truths that the Spirit can confirm. Songs should not only be selected to elicit strong emotions, but should also strive to underscore the message of the rest of the meeting. Work closely with local leaders to coordinate your efforts and invite the Holy Ghost to participate in the selection process. If you are set apart with a musical calling, you have access to the keys you need to accomplish your work. This means that you are entitled to revelation about the musical decisions you make. Do not discount the power of the spiritual gifts you are given in the scope of your calling, even if you have never held this calling before. 

      Clear, Competent Writing 

      Not every song text needs to be a Shakespearean masterpiece, but there are certain aspects of the craft that should be present so the writing does not detract from the message. For example, hymn texts have a set meter, which is a pattern of the number of syllables per line. A hymn with an 8 6 8 6 meter will have eight syllables in the first line, six syllables in the second line, and so on. Many hymn texts will also follow a rhyme scheme, which means that the last words in certain lines will rhyme with each other according to a pattern. Selecting texts that have employed sound poetic principles can help the message shine through and be more memorable for the listener. 

      The Right Song at the Right Time

      A song you choose one time for a church meeting might not be the best choice in another time and place. Seek the gift of discernment to know what message the Lord wants His children to hear and how that message should be presented. Study the options and the guidelines out in your mind as the scriptures direct, and then choose with confidence, knowing that the Lord will magnify your efforts as you strive to serve Him through music.

      Michael D. Young

      Though Michael grew up traveling the world with his military father, he now lives in Utah with his wife, Jen, and their three children. He played for several years with the handbell choir Bells on Temple Square and is now a member of the Tabernacle Choir at Temple Square. He is the author of the novels in The Canticle Kingdom Series, The Last Archangel Series, the Chess Quest Series, and the Penultimate Dawn Cycle (The Hunger), as well as several non-fiction works, including An Advent Carols Countdown, The Song of the Righteous and As Saints We Sing.  Visit his website to learn more.

        Creating Your Music Brand

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        You’ve heard the term “branding” thrown around, but let’s talk about what branding really means, how to find yours, and why it is the essential first step to building a sustainable career in the music industry (or any creative industry, really).

        “Branding is what people say about you when you’re not in the room,” states Stephen Linn of AmpliFLY Entertainment. Linn also explains that you can’t control it, but only influence it. Your brand secures your identity and makes you unique in a very crowded space.

        Steps to Creating Your Brand

        1. List 3 to 4 words that describe your personality. Using these words, create (or hire someone to create) your:
        • Logo
        • Photos
        • Clothing style
        • Fonts
        • Wardrobe including jewelry, makeup, clothes, shoes, etc. (on and off stage, yes they can and should be different)

        2. Write down your Mission Statement and Elevator Pitch. Music changes the world one song, one artist at a time. Write down your goal for giving back to the world. Whenever you have options, doubts, or decisions to make, referring back to this mission statement can keep you aligned with your brand and will even strengthen your brand identity.

        Your elevator pitch is a thirty-second summary of who you are and what your music is like, as well as who it will appeal to. You should have this concise and clever summary not only figured out, but memorized. Avoid statements like “unlike anything you’ve heard before” or “the best music you’ve ever heard.” I once heard someone’s music described as “It sounds as if Keith Urban and Taylor Swift had a baby and that child was raised in San Diego.” You can envision what that would sound like, right? Be clever!

        3. Define your vision. What do you see when you envision success? Will you be performing to a stadium full of fans? Will you be living comfortably as a songwriter? Will you be creating 24/7 in your own massive studio space? What does success look like to you? Spell it out in detail.

        4. Make a list of all your favorite products, hobbies, restaurants, social spots, etc. Brand extensions and/or partnerships can become part of your brand identity. Not only this, but brand partnerships can become a source of income for you as well as a way to extend your reach. If you have a hobby of skateboarding or yoga or kickboxing or knitting or have a love of Hallmark movies, include this in your list. You will be able to connect with people with similar interests who may not have otherwise come across you and your music. This approach can also prop you up into the visual space of the brands you use and love.

        5. Write your story. The contents of your story can later be shaped into an artist bio for your website, press kit, and other sites. What parts of your story make you special and unique? Why do you feel called to be a public figure? What was the defining moment in your childhood when something spoke to your soul and clearly stated that music is what you are destined to do with your life?

        6. Make a Brand Binder. This is for you and your team and not for fans or the public. It should include:

        • Personality traits you narrowed down in the above exercise
        • Phrases, thoughts, statements, and quotes that you find inspiring and represent who you are and what matters to you
        • Mission Statement and Elevator Pitch
        • Vision
        • Brand Elements – Colors, fonts, pictures, Logo (variations, colors), Look and feel (mood/aesthetic) using pictures, off-stage wardrobe using pictures

        Remember, you are not obligated to share every detail of your true personality with the world, only those parts you want them to see. Even if you are enhancing some qualities or hiding others, you are in control of what influences your brand. If you don’t want people to know that you personally have an obsession with collecting mini tea sets, then pull all photos of that down from your social media and pray that doesn’t get out. Or, you could embrace it and make that part of what you share. It’s up to you.

        I like the idea of having a physical binder for this, but you could also use something like Pinterest or Trello to organize it.

        Using Your Brand

        Honestly, I think creating and using your brand is really fun. Who doesn’t like talking about all the things they love? Use your binder to guide every decision you make about what photos are best, what album cover looks best, what you should post on social media, etc. Be patient. Building brand awareness is a marathon and not a sprint. Stay on brand. Create consistently. Contribute always.

        A headshot of Becky Willard

        Becky Willard

        Becky Willard’s music career spans nearly three decades working in nearly every corner of the music industry. Her passion is in finding and working with the most determined artists who are ready to take control of their artistic career.

        She’s coached, mentored, and developed a number of artists who’ve been featured on The Voice, American Idol, America’s Got Talent, The X-Factor, and more. You can learn about her here.

          Nine Ways to Prep for a Vocal Recording Session

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          A great vocal performance on a record does not happen by accident. Many factors contribute to making a recording session successful. After thirty years of coaching singers and fifteen years of recording them, I’ve gathered some tips that should help your next recording session go smoothly, giving you the result you are looking for—a killer record!

          Before Scheduling the Session

          Memorize the song

          It’s true that you can hold lyrics in front of you while recording and no one would know, but after all these years of working with singers and being a professional vocalist myself, I know something magical can happen once you cross over from the “on-book” to “off-book” phase. You can focus more on the emotion, the subtle use of air and vibrato, scoops, straight tone, falls, attacks and releases, articulation, riffs, runs, and so much more. If you have the time, get off-book so the song is really inside you.

          Practice

          Maybe this should be an obvious one, but I’ve definitely had vocal sessions where the singer was still figuring things out—timing, phrasing, notes, etc. If you have the time, putting in the same effort as if you were going to be performing the song live without lyrics in front of you will elevate your performance dramatically.

          Verify key and tempo

          Before putting in the time to rehearse the song, make sure that you are singing in a good, healthy key for your voice and a tempo that feels right. If you are using a karaoke/instrumental track, then obviously you are tied to the key and tempo of the track. While a karaoke track can be altered, the quality of the track will diminish ever so slightly the farther away from the original recording you go. If you are creating your own instrumental with a producer, take the time to find the right key and tempo before the producer starts working on it, if possible.

          That being said, it’s really easy to change the key and tempo of programmed instruments before anything is recorded.  Don’t just sing through it once and call it good. Sing through it a few times in a row to make sure your voice doesn’t tire after a few run-throughs. Double-check that you aren’t rushing or dragging as you sing along, which could be a sign that the tempo isn’t quite right or that you need to work on your timing.

          If you are rehearsing the song and feel like the tempo or key needs to change, let the producer know right away so they have enough time to make a new track and you have enough time to rehearse with it before the session. 

          Record yourself and listen critically

          The benefits of listening to yourself are enormous. Simulate the actual recording session at home, even if you are just recording into your phone using an app. Going through the process of actually recording should highlight spots that need a bit more work or help you plan your session better. Do you need to record the low, soft verses first before the big, belty choruses? Or vice versa? Do you struggle with phlegm because you ate a cheese sandwich an hour before? Did you notice the overall emotional delivery falls a little flat and could use more thought? Invite a music buddy to listen back and provide feedback on this “scratch track” version.

          Work with a coach

          Even if it’s just one session with a coach prior to the recording session, this is a much safer, efficient, and cost-effective way to record a song. Getting feedback after the recording session can be very discouraging. Forking out more money to re-record vocals was most likely not figured into your budget. Be sure to include funds in your budget for at least one coaching session prior and if possible, during the session. It can relieve so much pressure to have a team member with you who is listening only to your vocal delivery, who knows your voice and your goal for the song. It’s totally worth the extra dough to have someone in your corner at the session.

          Day Before/Day of the Session

          Be well rested

          Get a good night’s sleep the night before your session. Make sure it’s not scheduled for ten a.m. the day after a late-night gig or at the end of a long work day. Be as rested as you can.

          Hydrate

          Do your best to stay hydrated in the hours before the session in addition to drinking water during the session. Bring plenty of water with you.  

          Warm or room temperature will keep your vocal folds and all other tissues involved in singing nice and pliable.

          Be mentally “right”

          Arrange your schedule so you’re not running late or in a hurry to finish. Take some time before the session to unwind, meditate, calm down—whatever you need to do to get your mind focused and clear.

          Know your body and your voice

          There are hundreds of lists out there of what foods and beverages to avoid. For the majority of people, these lists are pretty accurate, but there are exceptions. Be sure to know your body and your voice and how they might react to certain foods, either positively or negatively. Keep a journal that connects what you eat, when you eat, and when you sing with how your voice feels. You will start to see correlations between certain foods and how your voice performs. 

          I hope this has given you some tips that will help you rock your next record!

          A headshot of Becky Willard

          Becky Willard

          Becky Willard’s music career spans nearly three decades working in nearly every corner of the music industry. Her passion is in finding and working with the most determined artists who are ready to take control of their artistic career.

          She’s coached, mentored, and developed a number of artists who’ve been featured on The Voice, American Idol, America’s Got Talent, The X-Factor, and more. You can learn about her here.

            What’s in a Melody? Eight Tips to Getting It Right

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            Crafting the perfect melody for your lyrics can be tricky. On one hand, you want the music to sound original and fresh. On the other, the melody must be memorable and catchy enough to stick in the listener’s mind. There are many factors to consider when composing a melody from the limited number of notes on the scale. Let’s consider a few strategies necessary to write an unforgettable song.

            Stress Less 

            There’s a good chance that your initial attempts to write a song will resemble something already written by you or someone else. That’s okay. You can use various techniques to set your work apart, but first consider how well the music fits the lyrics. Next, reflect on the mood you want to create and the emotions you wish to evoke.

            Words First vs. Music First

            Every songwriter faces the fundamental question, “Words first or music first?” The good news is that there is no single answer to this question. Pre-written words might spark ideas for new compositions, or existing music could be the springboard for creative lyrics. Play around and discover what method works best for you. 

            Try New Things

            Experiment with your melody! Try playing various versions to find a new and interesting arrangement. Switch up the scale or mode to give your melody a different flavor. Change the rhythms in the song. Do something unexpected! Add variety to your melody to catch the listener’s ear.  Try your melody on different instruments, whether standard or digital. Listening to different timbres of instruments may help you think of new compositional possibilities. Play around with dynamics and make sure there’s enough contrast throughout your song. Variations in dynamics can make the difference between a good melody and a great one.

            Syllable Stress 

            Carefully consider the syllabic stresses of your text and how your melody emphasizes certain words. For example, the word “father” is spoken with a stressed first syllable, “FA,” and an unstressed second syllable, “ther.” Different time signatures naturally place stress on particular beats. For instance, a song written in three-quarter time creates a stressed first beat, followed by two unstressed beats. Ideally, the stressed syllables or words should fall on the stressed beats in the music. In the above example, the first syllable of “father” should fall on the first beat of the measure so it’s given special emphasis while the second syllable remains unstressed.

            Making melodic decisions can be a bit like piecing together a puzzle, but focusing on rhythmic patterns will help your song flow naturally. 

            Jumps and Skips

            Keep the performer in mind when writing a melody. If you are writing a vocal solo, know what range of notes each voice part can sing. Using a wider range of notes makes singing a piece more difficult.

            Also, remember that it’s much easier to sing notes that are next to each other on the staff than those that skip around in large jumps and intervals. Make sure the range and position of the notes match the skill level of your intended performer. 

            A Musical Canvas 

            Take opportunities to “paint the text” with the accompanying music. For example, songs often use sixteenth notes to mimic the effect of flowing water. A text about fire might use staccato notes to sound like crackling sparks. These effects might not work for every text, but when appropriate, painting the text with music can exemplify the meaning of the piece. 

            A Catchy Tune

            What makes a tune get irrevocably stuck in your head? No one method guarantees your melody will be “sticky,” but catchy tunes have two things in common.

            First, many popular songs repeat words or parts of the tune. Just think of how easy it is to get The Beatles’ “She Loves You” stuck in your head with its catchy refrain of “Yeah, yeah, yeah!” The repetition is effective without being annoying.

            Second, a catchy melody is often simple. If a tune is too complex, it will be hard to remember, and you probably won’t find yourself humming it later. This rule also applies to the lyrics. To make your song relatable and memorable, avoid uncommon words that your audience probably wouldn’t know. When in doubt, sing or play your tune for someone else–if they start humming along with the second verse, that’s a surefire sign you’ve written a winner. 

            Your Laboratory 

            Sometimes, lightning will strike, and you’ll come up with the perfect combination of melody and words in a flash of brilliant inspiration. More often, the process will require experimentation, fine-tuning, and endurance to get it just right. You don’t have to settle on the first idea that comes to mind. If you give yourself time to mull the song over, you will come upon creative revisions you hadn’t considered at first. Just like in a real laboratory, sometimes your creations will blow up in your face, and you’ll have to start over. But occasionally, you’ll find the perfect combination of elements right away and produce a spectacular reaction.

            A headshot of Michael Young.

            Michael D. Young

            Though Michael grew up traveling the world with his military father, he now lives in Utah with his wife, Jen, and their three children. He played for several years with the handbell choir Bells on Temple Square and is now a member of the Tabernacle Choir at Temple Square. He is the author of the novels in The Canticle Kingdom Series, The Last Archangel Series, the Chess Quest Series and the Penultimate Dawn Cycle (The Hunger), as well as several non-fiction works, including An Advent Carols Countdown, The Song of the Righteous and As Saints We Sing. Visit his website here.

              Creating Hymns from Scriptures

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              By Michael D. Young

              Some of the greatest hymns are closely linked to passages of scripture. For example, the song “Press Forward, Saints” in the current hymnbook is based directly on a passage from 2 Nephi 31:20. In this case, the author took the message and even some of the exact wording from the scripture and created a hymn that has been sung in sacrament meeting and general conference. In fact, it was specifically written because there were not enough hymns based on passages from the Book of Mormon.

              Adapting a passage of scripture, however, presents its own unique challenges. There is a delicate balancing act between maintaining the message and themes of the original scripture while still creating a text that conforms to the conventions of rhyme and meter. Every adaptation is going to look a little different, but there are several guidelines that could help you craft your gospel masterpiece.

              Looking for Themes

              Before you start writing, take the time to read the scripture carefully, pray, and ponder the meaning of the passage. Listen to the promptings of the Spirit and see what parts of the passage stand out the most. With this guidance, look for key phrases or words that could serve as the basis for the song’s lyrics or chorus. These phrases will help tie the song to the scripture and make it more memorable. Often, an entire song idea can grow from a single important word or phrase. For example, if you read Amos 3:7, you could take the phrase “His servants, the prophets” and write a text based on that phrase.

              Using Exact Wording vs. Paraphrasing

              You will want to consider how much of the scripture you want to use word-for-word and how much you want to paraphrase. Both of these methods can be successful.

              Consider Handel’s timeless work Messiah. The majority of this oratorio adapts the scriptures exactly. For example, Handel builds an entire chorus on this well-known scripture: “Behold the Lamb of God that taketh away the sin of the world” (See John 1:29). He uses all of the words exactly. Then again, many composers have created songs based on the 23rd Psalm, where they paraphrase the words but keep all of the ideas intact. A good example of this is called “Brother James’s Air.” Listen to it here.

              Thinking about Perspective

              If you decide to paraphrase, consider the point of view. Are you writing from a first-person perspective? This puts you in the shoes of the speaker, whether it is a prophet or another scriptural character. Some texts are written from the perspective of the Savior. This can result in personal, insightful texts, but you also need to be careful to write these respectfully. You can also write from your own perspective or as a third-person observer. Sometimes it makes sense to try your texts from different perspectives to see which you like best.

              Using Repetition for Emphasis

              Repetition is a powerful tool in songwriting and can be used to reinforce the key theme of the passage. Consider repeating certain phrases or words throughout the song to help drive home the message. One good example of this is the hymn “Holy, Holy, Holy.” Even the title repeats the main theme. The hymn uses the refrain “holy, holy, holy” when talking about God throughout the hymn, which ties the whole text together. Listen to this hymn here.

              Considering the Audience

              When writing the song, consider the intended audience. Will the song be used in a worship setting or for personal reflection? This will help guide the tone and style of the song. Is it something you see being presented in sacrament meeting, or would it fit better in a fireside or on a youth album? When in doubt, read the text to others and ask them if it is appropriate for the intended setting.

              You also want to make sure the language is at the level of your audience. Sometimes scriptural language can be confusing because it uses words that are not common today. When adapting the scriptures for a younger audience, ensure that you use clear, simple language that children will understand.

              Using Attributions

              Whenever you paraphrase a scripture or quote from it directly, you should attribute it on your sheet music. Most of the time, it is enough to say “based on” or “inspired by” and then give the scripture reference. Looking up the reference can help the listener understand the text better and gain a deeper understanding of the original passage.

              Bringing Listeners Nearer to God

              President Spencer W. Kimball once said, “Some of the greatest sermons that have ever been preached were preached by the singing of a song.” (Hymns, ix.) When adapting the scriptures into songs, you are accessing a powerful delivery system that can help the doctrines of Christ reach deep into people’s hearts. Well-crafted songs have the power to inspire and change lives, and there is no better foundation for these songs than the scriptures.

              A headshot of Michael Young.

              Michael D. Young

              Though Michael grew up traveling the world with his military father, he now lives in Utah with his wife, Jen, and their three children. He played for several years with the handbell choir Bells on Temple Square and is now a member of the Tabernacle Choir at Temple Square. He is the author of the novels in The Canticle Kingdom Series, The Last Archangel Series, the Chess Quest Series, and the Penultimate Dawn Cycle (The Hunger), as well as several non-fiction works, including An Advent Carols Countdown, The Song of the Righteous and As Saints We Sing.  Visit his website to learn more.

                God Prepares a Way: 5 Lessons from a BYU Student’s Opera about 1 Nephi

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                CJ Madsen leads the orchestra in the premiere performance of He Shall Prepare a Way

                He Shall Prepare a Way, an opera premiered in Provo in 2022, dramatizes the story of Lehi’s family procuring the Brass Plates and departing into the wilderness. All three performances of the new opera were met with at-capacity crowds and standing ovations.

                On paper, however, the opera should not have happened at all.

                The show was hosted not in a top-notch performance venue, but on a tiny stage in a church cultural hall. The funds came not from ticket sales nor grant money, but from dozens of personal donations. And the composer should not even have had the time to write it.

                The story of the making of He Shall Prepare a Way teaches us 5 powerful lessons about launching creative projects in the Lord’s way.

                Lesson 1: Go and do what the Lord commands—even when it seems “a hard thing”

                Lehi and Sariah ponder the tender mercies of the Lord as they process the implications of Lehi’s prophetic call

                In early 2018, CJ Madsen, a music major at BYU, was in the thick of orchestrating and directing rehearsals for a work based on 3 Nephi named One Fold, One Shepherd. His wife had just had their second child. It was then that a BYU opera professor approached CJ and said, “You know what would be cool? If you wrote an opera about Nephi getting the Brass Plates.”

                Audibly, CJ responded, “Oh, yeah, cool idea!”

                Inwardly, he was thinking, “AAAAAAAA!!! Composing another massive musical work is the last thing I want to think about right now.”

                But God had other plans.

                The idea kept weighing on CJ’s mind. A couple months later, CJ saw the Church’s film Days of Harmony, about Joseph Smith and the translation of the Book of Mormon. CJ recalls, “As I saw Joseph muster the faith to put in the time and energy to translate the Book of Mormon—in the midst of farm work, a growing family, building a home, and opposition—the Spirit rocked my soul, and I knew I needed to do this opera.”

                Lesson 2: If God tells you His timing, follow it

                Lehi rebukes Laman and Lemuel for their murmuring

                Over the next year, CJ intermittently wrote a third of the opera. Then in July 2019, he and his wife felt strongly impressed that he needed to finish the remaining 14 songs by the first day of school—in 4 weeks. Through many early-morning composing sessions, he did it.

                With the score completed, CJ assembled a cast of 40 singers to perform a concert reading (singing only, without acting or props). Some numbers were only rehearsed once or twice before the performance, a remarkable feat considering the opera is packed with sudden key changes, non-Western scales, and 7/4 time signatures.

                The cast performed to a full BYU recital hall in October 2019. The concert reading test-ran the opera and gathered invaluable feedback for refining the score and libretto.

                Six months later, Covid-19 shut down every performance venue for 2020 and 2021. Had CJ ignored God’s timing and delayed the composition process, the pandemic would have set the opera back by several years. 

                Lesson 3: Harness the power of personal connections

                Nephi, dressed in Laban’s robes and carrying his sword, obtains the plates of brass

                By the summer of 2021, CJ had revised the opera and was ready to finally put on a fully staged production. To do so, he would need to assemble a cast of 26 highly skilled opera singers, 14 chorus members, and 26 orchestra players, in addition to a team of techies, ushers, seamstresses, and videographers. All would need to be experts in their role and willing to give dozens of hours of volunteer time.

                CJ gathered his team purely on the power of personal connections.

                “If you’ve done anything with music at BYU, then you know CJ,” a close friend explains. “In his eight years at BYU, he has accompanied, sung in, or directed every choir at BYU. He’s accompanied dozens of instrumental recitals and opera rehearsals. But more than that, he knows your name. He remembers who you are. And he’s always excited to see you, even if you were just somebody in that one class that one semester.”

                When it came time to assemble the cast, CJ sent dozens of personal emails, inviting friends and connections to fill specific parts. His team included BYU students, alumni, friends, family, ward members, friends-of-friends, and even a couple strangers that he met on BYU campus and invited on the spot to join him.

                Lesson 4: Share your vision and invite people to support you

                Nephi restrains Zoram outside the walls of Jerusalem

                As CJ and his wife, Samm, faced the daunting goal of producing a staged opera, they decided they needed to fundraise all the money needed before production started.

                How would they raise the money? Rather than grants or an online Kickstarter campaign, CJ turned to his strength in piano performance. He planned a series of 20 piano concerts in the homes of friends and acquaintances, where he would take requests, play classical and pop favorites, share some of his opera, and ask for donations. The home concerts would serve the added purpose of raising awareness and excitement for the opera. And because each host would invite their circle of friends and neighbors to attend, CJ could reach people he never would have reached otherwise.

                The home concert series faced initial setbacks, but word began to spread. Donations began to come in, and miracles continued. CJ recounts: “One woman, not even a member of the Church, asked to meet with Samm and me privately after a home concert. She explained she had received a large inheritance and wanted to give us $7,000 dollars.”

                Between this and hundreds of other donations, CJ eventually fundraised over $30,000 for the opera.

                Lesson 5: God will prepare miracles to overcome setbacks

                Laman threatens to slay Nephi in the wilderness, when one of the daughters of Ishmael intervenes

                “The title He Shall Prepare a Way is perfect for this opera,” CJ’s wife, Samm, reflects. “Whenever we would face an obstacle, we would just take a step back and say, ‘God will prepare a way.’ And He would.”

                Below are just two of the many obstacles and corresponding miracles in the production process:

                • Orchestrating the opera: CJ’s only available time to orchestrate the 2-hour work was in the early mornings of fall 2021. But with three kids in their two-bedroom student apartment, a sleeping family member occupied almost every room in the apartment. “Most of my writing came at 4 am, in our bathroom,” CJ recalls. “Most of the time I never touched the piano as I orchestrated. I count it as another miracle that I was able to make any of that orchestration work without piano help.”
                • Finding a venue: “We scoured Utah Valley looking for ideal locations,” CJ recalls. Every place they contacted was either not available or too expensive. They started looking into church buildings but had trouble getting permission to take over a cultural hall for several weeks. “The thought came to do it at OUR meetinghouse. At first, we laughed. Our meetinghouse? It was half the size of normal church stages, there was hardly any lighting, and there wasn’t any backstage. How in the world could we do that? But the Spirit insisted.” Thanks to CJ’s (you guessed it!) personal connections with stake leadership, he procured the needed permission, and the building ended up meeting their needs in many unexpected ways.

                After miracle after miracle, the opera premiered on April 7–9, 2022. Because all the expenses had been covered by fundraising, the opera was made available for free. Tickets for all three nights “sold” out, with dozens of people waiting in standby lines to get in. 

                After the opera each night, the projected subtitles displayed a three-word phrase: Soli Deo Gloria. This was an expression used by composers such as Bach and Handel to signify that a work was produced for the sake of praising God: “Glory to God Alone.”

                Conclusion: God will prepare a way to do what He commands

                Lehi’s and Ishmael’s families celebrate the marriage of Lehi’s sons to Ishmael’s daughters

                During the writing, revision, orchestration, and production of He Shall Prepare a Way, CJ and Samm Madsen learned the same principle that Lehi and his family learned 2623 years ago:

                The Lord giveth no commandment unto the children of men, save he shall prepare a way for them that they may accomplish the thing which he commandeth them.

                When we are willing to do what the Lord commands—even when it is hard—and we are willing to do it in His timing, then He will give us the relationships, the support, and the miracles to overcome every setback to make it happen.

                He will prepare a way!

                CJ and Samm give the glory to God at the conclusion of the opera. Samm, who stage directed the opera, gave birth to their fourth child three days after the opera concluded.

                The opera is available in the following formats:

                About the contributor

                Jeremy Madsen is a fantasy writer, freelance editor, and biblical scholar. He is also CJ Madsen’s brother and had the privilege of playing “False Prophet #3” in the 2019 concert reading of He Shall Prepare a Way. With CJ and their two other siblings, he runs the website Atrium of Light, a repository for scripture memory songs and other uplifting media. Jeremy currently lives in Columbus, Ohio, with his wife and two young kids. He is also the operations manager for LDSPMA.