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"I started playing guitar when I was 14 on a genuine Sears (I'm not kidding!) guitar that
my folks got me for Christmas. It was at youth group that I saw all these "cool" dudes
playing during praise time-and I started hanging out with them. When I started playing I
didn't know the difference between a rock star wannabe and a musical servant. As it
turned out, one of the guys pulled me aside early-on and gave me a much needed
brotherly lecture on what it meant to play guitar for Jesus."
Greg has led worship in various settings for over 16 years. "Each setting has been such a great
learning experience", remarks Greg. "Probably my favorite time was four years working in
campus ministry. We worked pretty hard to respect and incorporate liturgical elements and
hymns. The result was a body of musical work that became part of the DNA of our
congregation. It also fueled a tremendously poignant time of spiritual renewal among our
students. Looking back, I see that the avenue by which God creates and recreates his church
is his word of truth. Our first value was not to create a 'worship experience', but to lift up the
crucified and resurrected Christ who serves us as our reason and source for worship. I think it
may be worship leader Mark Altrogge who refers to this as 'rotating the diamond...'"
Greg's musical style is drawn from several sources. Studying for three years with a player from
the Berklee School of Music, he was exposed to the complex finger picking pieces by Doc
Watson and Chet Atkins, and delved into the work of James Taylor. In two years studying of
classical guitar he discovered the beautiful exercises composed by Fernando Sor and the
baroque harmonies of Bach and Handel. Ten more years of private lessons were cause for
exploring jazz, folk, and modern fingerstyle techniques. "I took what I learned about
harmonies and chord progressions and began applying them to worship music. Soon after, I
discovered alternate tunings and the potential for a guitar to sound almost like a harp. I have
great respect for guys like Phil Keaggy, Pierre Bensusan, Ed Gerhard and Alex DeGrassi who
helped develop this warm, harmonically rich sound from the acoustic guitar. To me the sound
is heavenly, and I try hard to blend it into my worship music."
During the past five years Greg has transcribed and arranged dozens of hymns from the 17th
to 20th century for guitar. "The melodies and message of these hymns are beautiful and
timeless. I really enjoy playing the bass clef written for the pipe organ. As always, I enjoy
people's surprise that all of this is coming out of a guitar." Two of these hymns are featured on
Greg's new CD "Speaks a Better Word".
In terms of his vision for worship, Greg is hopeful. "I think we're getting past the novelty of
live bands and the reaction against what some refer to as 'rote worship'. I hope we can
return with new freedom to liturgical worship - both what we have, and using our rich
heritage as a template for writing new liturgies for this generation. I am definitely biased,
but I believe that non-traditional instrumentation (like guitar!) in worship is a very good
thing. Hopefully all of us can approach our work with humility and work toward God's
goal for true worship that comes out of both the mouth and the heart."
Greg plays acoustic guitars built by James Goodall, and Bill Wise of Charis Guitars.
my folks got me for Christmas. It was at youth group that I saw all these "cool" dudes
playing during praise time-and I started hanging out with them. When I started playing I
didn't know the difference between a rock star wannabe and a musical servant. As it
turned out, one of the guys pulled me aside early-on and gave me a much needed
brotherly lecture on what it meant to play guitar for Jesus."
Greg has led worship in various settings for over 16 years. "Each setting has been such a great
learning experience", remarks Greg. "Probably my favorite time was four years working in
campus ministry. We worked pretty hard to respect and incorporate liturgical elements and
hymns. The result was a body of musical work that became part of the DNA of our
congregation. It also fueled a tremendously poignant time of spiritual renewal among our
students. Looking back, I see that the avenue by which God creates and recreates his church
is his word of truth. Our first value was not to create a 'worship experience', but to lift up the
crucified and resurrected Christ who serves us as our reason and source for worship. I think it
may be worship leader Mark Altrogge who refers to this as 'rotating the diamond...'"
Greg's musical style is drawn from several sources. Studying for three years with a player from
the Berklee School of Music, he was exposed to the complex finger picking pieces by Doc
Watson and Chet Atkins, and delved into the work of James Taylor. In two years studying of
classical guitar he discovered the beautiful exercises composed by Fernando Sor and the
baroque harmonies of Bach and Handel. Ten more years of private lessons were cause for
exploring jazz, folk, and modern fingerstyle techniques. "I took what I learned about
harmonies and chord progressions and began applying them to worship music. Soon after, I
discovered alternate tunings and the potential for a guitar to sound almost like a harp. I have
great respect for guys like Phil Keaggy, Pierre Bensusan, Ed Gerhard and Alex DeGrassi who
helped develop this warm, harmonically rich sound from the acoustic guitar. To me the sound
is heavenly, and I try hard to blend it into my worship music."
During the past five years Greg has transcribed and arranged dozens of hymns from the 17th
to 20th century for guitar. "The melodies and message of these hymns are beautiful and
timeless. I really enjoy playing the bass clef written for the pipe organ. As always, I enjoy
people's surprise that all of this is coming out of a guitar." Two of these hymns are featured on
Greg's new CD "Speaks a Better Word".
In terms of his vision for worship, Greg is hopeful. "I think we're getting past the novelty of
live bands and the reaction against what some refer to as 'rote worship'. I hope we can
return with new freedom to liturgical worship - both what we have, and using our rich
heritage as a template for writing new liturgies for this generation. I am definitely biased,
but I believe that non-traditional instrumentation (like guitar!) in worship is a very good
thing. Hopefully all of us can approach our work with humility and work toward God's
goal for true worship that comes out of both the mouth and the heart."
Greg plays acoustic guitars built by James Goodall, and Bill Wise of Charis Guitars.
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