What are the Ground Rules to Run an Effective Worship Rehearsal?
Once you’ve established the plan for WHEN you will rehearse, you can begin to implement the
plan for HOW you will rehearse. I highly recommend beginning each worship rehearsal by first
gathering the team for some type of spiritual-growth activity. Following this, you’ll want to keep
everyone circled up briefly to communicate—or reiterate—the plan for the rehearsal itself.
Make sure to provide an opportunity for the team to ask questions, and then release them to their
stations to rehearse. Above all, make sure you’re clear and concise. People typically respond
with greater confidence when they know what to expect in a rehearsal. Of course, you should
always aim to start right on time, and I typically ask my team to finish set-up and line check
before rehearsal begins. For example, if our rehearsal spans 7:00 to 8:30 p.m., those who need to
arrive and set up early should plan accordingly.
As always, make sure you strike a healthy balance between work and fun. It is detrimental to the
team when we operate from either extreme.
Here are eight ground rules for the best way to run a rehearsal:
1. Start with the least-known song
2. Rehearse the extras
3. Run the whole set from top to bottom
4. Revisit any additional trouble spots
5. End on time
6. Circle up one last time
7. Talk through the entire service
8. Pray together
1. Start with the least-known song
Of course, you’ll regularly incorporate new or lesser-known songs into the set (though I
wouldn’t introduce more than one every three to four weeks). Rehearsing your newest song at
the beginning of the rehearsal— rather than simply starting with the first song in the set—
guarantees you’ll give it the attention it needs, plus you won’t risk running out of time by
overemphasizing songs the team already knows.
2. Rehearse the extras
Work through your entire list of “what to rehearse” items. Clarify the plan for the transitions and
then run through each of them. Consider any possible spontaneous moments, the known trouble
spots, the dynamics, the potential off-script arrangements, and the altar-response song(s) right
away. This will keep you from forgetting to rehearse important elements until the rehearsal is
almost over.
3. Run the whole set from top to bottom
Now that you’ve touched on all the extras, answering the team’s questions and working
creatively together, it’s time to hit the entire set (assuming everyone has worked through the
songs on their own before coming to rehearsal). Don’t forget to simulate the service countdown
(if your church uses one) as well as the speaking moments; a welcome, a Scripture passage, a
prayer, or a teaching moment.
Hopefully you’ve thought through these items before your final rehearsal so you can simply say
something like, “Talking, talking, talking,” or “Praying, praying, praying” in order to keep the
rehearsal moving. Of course, if your church asks that everything be perfectly timed, you’ll need
to speak each word as planned. Then, as you work through the set, hit important “fix it” spots as
needed, but do your best to keep things moving.
4. Revisit any additional trouble spots
If there’s still time, make sure you touch on any lingering issues. If not, you can talk through
these things (especially your transitions) in your second rehearsal or backstage (if this is your
only rehearsal).
If you have extra time, I recommend playing through the individual transitions one more time.
This can be done quickly by playing the first eight to sixteen bars of the first song, then stopping
to jump to the last eight to sixteen bars of the same song. Play the specified transition together
with the first eight to sixteen bars of the next song and so forth. You should be able to play all
three to five transitions in a matter of three to five minutes, boosting everyone’s confidence as
you lean toward excellence.
5. End on time
It’s highly important for you to establish a culture of honor where you begin and end on time.
Take it from me. This can be difficult, especially if this is your midweek rehearsal. (Oh, how I
struggle with ending on time!). Even so, you must remember that you still have another rehearsal
to touch on your missed elements. Just trust the process and leave some things for later. (If this is
your Sunday rehearsal, you won’t have much choice, because the countdown won’t wait.)
6. Circle up one last time
If this is your first of two rehearsals for the week, make sure you gather everyone together at the
end of your rehearsal to point out what they can and should be working on before Sunday. You
should end with a word of sincere encouragement and thanks and then ask one of your team
members to close in prayer. (If this is your Sunday morning rehearsal, make sure to gather
everyone backstage for your pre-service walk-through.)
7. Talk through the entire service
Our church does a six- to seven- minute “all-volunteer huddle” forty minutes prior to service.
This marks the drop-dead ending time for our rehearsal and provides the perfect space for
energizing everyone.
Following this, our entire creative team meets together to quickly talk through the full order of
service with our service producer. This keeps us all on the same page with the details and allows
for any last-minute questions or clarifications.
8. Pray together
With the five to ten remaining minutes, we gather to refocus our hearts on the Lord one final
time before the service begins. This helps to settle our nerves, cultivate unity, and keep from
forgetting why we’re doing what we’re doing. I often take this opportunity to cast vision, quote a
scripture, or invite several individual team members to lead us in prayer. This can also be a good
moment for a short devotional teaching, depending on the time. Remember: Always encourage
the culture of excellence in your rehearsals, not perfection. (I am a recovering perfectionist
myself.). Be sure to remind everyone to be ready to go with all their gear and music. Encourage
team members with similar musical roles to communicate with each other outside rehearsal so
they know who’s playing or singing what part.
Above all, foster unity and spiritual growth at every turn. Encourage each person to remember
that their individual role is vital to the Kingdom but also to the team. For perspective on how to
steer clear of pride and insecurity, I often remind my teams that our gifts and songs are much like
the little boy’s lunch (see John 6:9). They are insignificant yet still precious and useful in the
Master’s hands.
Smooth Transitions Between Worship Songs
Beyond a shadow of a doubt, the most overlooked rehearsal component for every worship team
is transitions. You know, those often-so-awkward spaces between the songs, loaded with key
changes, tempo changes, patch changes, pedal changes, and wardrobe changes—wait, no.
Scratch that last one.
Let me set the stage. We’re cruising along brilliantly through one of our most beloved Elevation
tunes when out of nowhere the end approaches. Oh no. The song itself has flowed flawlessly—
we even hit that dramatic stop before the last chorus. But in the rush of rehearsing each song in
the set, we suddenly realize—with three bars left in the outro—that we forgot to work out the
particulars of how to move from this song into the newly arranged—and quite spectacular, I
might add—version of that new Mav City tune.
Gulp. Hope the band knows sign language.
Sometimes a transition is like two opposite sides of the Grand Canyon trying to join together
seamlessly. We take a running leap off the edge of one song and desperately try to hang glide,
parachute, high-wire walk, or even cannonball to the next one. Unfortunately, many times, if
we’re honest, we forget to secure the high wire or pack the chute properly. We get so caught up
with the intricacies of each individual song that we figure we can just wing the transitions.
Then the end draws near. Eyes dart between band members. The pad fades out too early. The
drummer nervously scrolls to the next song and accidentally starts—and then stops—the wrong
tempo. The worship leader says something canned to fill the space. The congregation looks down
and pretends not to be there. Everyone on stage closes their eyes hoping to time-travel 120
seconds into the future. Crickets start chirping. Pins begin dropping. Microphones start
squealing. Then, after what seems like thirty-seven minutes, the next song begins, and praises
arise—mostly out of relief that the moment has passed. All is fine. All is good. All is forgiven.
All is forgotten. Disaster is avoided. Sort of. Right then and there we make a mental note to
never let this happen again.
1. Practice your transitions
This may seem painfully obvious, but the ultimate goal here is to make our transitions seamless.
Seamless to the point where no one in the congregation notices them or is distracted by them.
Not so we can be “awesome,” but to maintain the flow. Flow helps everyone stay focused on
God. Flow is a good thing. Flow helps each song blend neatly into the next one like one stream
merging with another. This takes practice.
2. Be confident with your transitions
If we’re uneasy about our transitions, the congregation will be too. This of course happens when
we’re not properly prepared and may create unnecessary turbulence when flying at high worship
altitudes.
Our feelings of apprehension are typically transferred to our passengers through small hesitations
or indecision that can be as untimely as those seatbelt announcements right in the middle of a
37,000-foot nap. They pull people out of a deepening connection with God by creating a
preventable disturbance. Of course, nobody has sinned here, but we all agree: less turbulence is
better for maintaining favorable worship cruising altitudes.
3. Don’t underestimate your transitions
Songs in the same key with minor tempo shifts can fit together nicely. Yet, these simple
transitions are often the ones that sneak up on us. We overlook them because they seem
rudimentary, yet without proper communication, we can easily drop the ball here too. Working
out the smallest nuances of the simplest transitions will go a long way toward cultivating team
unity, even while preserving true communion in God’s presence.
4. Use words or singing to smooth your transitions
Oftentimes, instrumental music alone can make for a perfect transition. But sometimes,
interjecting a prayer, a Scripture passage, or an exhortation can help massage problematic tempo
and key changes. Be careful, though. Many leaders misstep in this area, using churchified clichés
and empty hallelujahs (discussed in the next point) in an attempt to distract or “hype” the
congregation.
Our main desire is to keep the congregation’s focus on God and away from tricky musical
transitions. The mistake many worship leaders make is waiting until the next song starts—
essentially AFTER the transition—to sing or say something, when, clearly, the best approach is
for them to talk, sing, or read Scripture just before one song ends (during a crash-out or final
chord).
The leader should continue over top the musical transition all the way past the intro of the next
song in order to help meld the two songs together. I ask; “If we’re going to talk between songs,
why wait until after an awkward musical transition instead of doing so over the entire
transition?” Our aim should be to layer our exhortations over our transitions, and this will keep
our congregations focused on the Creator rather than on the intricacies of our musical transitions.
5. Be authentic in your transitions
We certainly don’t need to speak between every song. In fact, I would encourage you to prepare
a greater number of thought-out instrumental transitions, especially between up-tempo tunes.
Then, when we do speak, it must not be manufactured, but concise, anointed, and heartfelt.
We’ve all heard those robotic-like exhortations between songs that inevitably do the exact
opposite of their intention. Attract and distract.
Remember to pray ahead of time to ask what the Spirit would have you say and then let it flow
out sincerely. (I know some worship leaders who find it helpful to write out exactly what they
want to say and memorize it so they don’t ramble on and on incoherently.) Sometimes I will
simply pause for a split second and let the music at the end of the song carry the first part of the
transition.
Then, relying on the Spirit’s leading, I step boldly and humbly into the moment, speaking to the
people (or to the Lord) with all my heart. Of course, please steer clear of “Christianese”—
common Christian verbiage—and always seek to draw from your times alone with God in the
secret place.
6. Teach the congregation to worship through the transitions
This is big. Part of the challenge we face as worship leaders is establishing a culture where
people realize they don’t have to stop worshiping when the band changes songs. Few
churchgoers understand the concept of gliding right through the yellow caution light—to
continually engage with their Creator—regardless of what the band is doing between songs, even
if the transition is a complete disaster.
Thing is, we must teach these concepts to our spiritual family if we expect them to understand.
Why make things difficult when we can easily encourage our congregants to resist slipping into
spectator mode between songs by inviting them to sing or pray spontaneously with their own
words and melodies during the musical transitions and instrumental sections? As a result, they’ll
be able to neatly avoid lurching in and out of God’s presence with each change in the song.
7. Be creative with your transitions
God made us in His image. He is highly creative, which means we should be highly creative too.
In response, you should let the Holy Spirit amplify your transition’s creativity, incorporating
fresh melodies, rhythms, and swells to help you navigate the tempo, key, and feel changes.
Check out these super-practical ideas designed to help you with even the trickiest of transitions.
7a When you have an odd key change
(Like C to B), you can sing the chorus of the first song a cappella a couple times. This is
powerful and encourages the congregation to sing out. From here, as the last word of the a
cappella chorus ends, pause sensitively and fade in the pad/keys in the new key. Voila!
Removing the chordal instruments distracts the congregation from the key change and allows the
band to move astutely to the next song. Another creative technique to help smooth odd key
changes is starting the next song with a drums-only groove. For example, if you end a song on
the 1 chord in the key of A (and your next song is in Bb), try swelling on the A, and then, before
fading out, click off the tempo of the next song and have the drummer play a creative four-bar
groove that leads directly into the intro of the next song.
The band should wait to fade out the key of A until somewhere around the third or fourth bar of
the drum groove so as to leave a little empty tonal space between the two songs. The drum
groove serves as an inspirational distraction for the listener, allowing them to stay in the flow.
7b When moving between songs of different keys that share a chord or two
Try ending on the chord both songs share—often the 4 or 5 chord. This helps establish a new 1
chord—a new tonal center—for the new key. For example, when going from C to F, try ending
on the 4 chord in the key of C (which is F) and swelling on it just long enough to establish it as
the new tonal center for the key of F. Even if you’re moving from C to G, you can sometimes
end on the 5 chord (G), thus establishing it as the new 1 chord for the new key of G.
Intentionality is important.
7c When moving from a mid-tempo song to a slower song
Even from one slow song to the next, it really helps to create a definitive “ending.” Use subtle
instrumental swells to communicate to the congregation that the song is coming to a close.
Realize the congregation is constantly searching for cues without realizing it. They wonder
(subconsciously) whether we’re singing the chorus again or going back to the bridge.
By swelling softly and even retarding slightly, we tell them that things are changing. This means,
even if everyone except the keyboardist has stopped playing, others should swell in delicately on
the final chord together—cymbals, guitar, bass, etc.
7d When going from one fast song to another in a different key
It works best to leave no dead space between songs (unless the space is very intentional). Why
not just crash out boldly at the end of song one and then do a hard key change right into the next
song? Follow the drummer’s lead as he starts the click for song two and counts it off BEFORE
the crash-out from song one ends.
In other words, don’t fade out the crash ending completely until right as the next song begins
(after the actual count-off). As always, definitely playing the downbeat of song two exudes
confidence and assures continuity. In this way, we can get away with just about any key or
tempo change.
7e When moving from a fun, up-tempo song to a slower song
Always avoid switching songs too abruptly. One effective technique is to sing the chorus of the
up-tempo song at a slower tempo, one or two more times, with keys and guitar swells only. This
helps lower the intensity of the up-tempo song while foreshadowing the mood change that is
about to take place.
In this way, we utilize something from the song we just sang (lyrics) in order to blend it with
something from the song we are about to sing (musical mood). This makes for a mucho
grandioso transition-o.
Fun Story: I remember suggesting this type of transition to my NCU Worship Live team back in
September 2019. They were attempting to flow between “Alive” and “It Is Well,” but since one
song ends super big and the other begins super soft, it created an awkward moment. I encouraged
them to change the intro of “It Is Well” and start with a full-band, anthemic instrumental (the 7/4
part). After the intro, they could simply drop into the first verse as usual. They tried it and loved
it! I challenged them to stop thinking of each song individually and to start seeing the entire set
as a whole.
We should always look to discern what creative musical modifications need to be made between
songs in order to keep the flow. This approach keeps us from jerking people around in God’s
presence and helps us revive older songs (or overly used songs) by making them less predictable.
7f When ending an up-tempo song
I highly recommend utilizing longer crash-out endings. I’m convinced people are longing to
respond passionately to our exciting declarative songs, yet often they aren’t given much of an
opportunity to do so when we crash out for three seconds and abruptly move to another song.
Playing a longer crash-out ending also helps us practically by giving the band more time to
adjust pedals or add a capo, etc. Even more importantly, it provides the congregation the chance
to celebrate more freely without worrying about getting caught singing or shouting loudly as the
band dies down. Awkward!
If we allow these endings to extend just a few seconds longer—maybe even fifteen to twenty
seconds total—people will learn that it’s “safe” to let go and praise God a little longer and a little
louder. And that is a very good thing!
Anointing and Authenticity vs. Form and Function?
Some may read my extensive exposé on the importance of transitions and become concerned that
by emphasizing these areas, we’ll miss the organic and raw presence of God. Honestly, it’s just
the opposite.
True. People will survive if things aren’t “just so” in the transition department. Making musical
mistakes or botching things between songs won’t prove to be the end of the Church as we know
it. Unquestionably, we never want to crash and burn on anointing and authenticity while flying
high on form and function. Yet, there isn’t any reason we can’t have both. There isn’t any reason
we can’t strive for all of the above.
Why else would God design us with such amazing creative musical abilities if not to serve His
people lovingly and exceptionally, genuinely, and extraordinarily? Much like a believer who
builds a home, pilots a plane, or performs surgery with a passion to do his or her work with
tender loving care and great attention to detail, smoothing the transitions between the songs
increases the likelihood that our congregants will engage in the process without finding
themselves overly concerned with potential mechanical failures.
This, too, is spiritual! It is a beautiful thing when servant artists concern themselves with
skillfully and carefully operating the craft so others can sit back and enjoy the ride, unhindered,
in the presence of the Lord.
