a practical resource for Lutheran church musicians

ALCM No. 2, 2015 Rejoice, Give

In this issue of Thanks, and Sing in tempo :

Rejoice, Give Thanks, and Sing 1 The Ostinato of the Soul 5 Through the Church the Song Goes On: Making Chorales a Evangelical Lutheran Living Tradition 6 Composing for Worship By Paul Grime the Church: You Can Do It! 8 by Martin Seltz hen the Lutheran wChurch—Missouri Synod en years ago this summer at Five-Year began in 1997 to explore tthe 2005 Churchwide the development of a new wor - Countdown to Assembly of the Evangelical ship resource, a unique history the 500th 11 Lutheran Church in America was very much at play. Lutheran (ELCA) held in Orlando, Florida, Worship (1982) had at that point Spruce Up Those this deliberative body commend - been in service for only 15 years. Chorale Preludes 12 ed Evangelical for The fact that fully one-third of use in the ELCA. The Evangelical LCMS congregations were still Singing the Lutheran Church in Canada took using the 1941 The Lutheran Church's Song at a similar action that year. Many , and 10 percent were congregations have been using Christmas 14 using , the “new” worship book now for said it all: the LCMS had signifi - In Review: Ein Neues over eight years. So, what’s been cant divisions when it came to the happening—especially from the Lied - A New Song 16 resources for use in worship. standpoint of musicians and Music in Season: singing assemblies? What aspira - Fast-forward nearly a decade to The Christmas tions for new principal worship August 2006. When Lutheran Cycle: My Favorite resources are well underway? Service Book rolled off the presses, What plans have shifted? What Things 18 it wasn’t necessarily clear that it new avenues for renewal have would be able to overcome these Dear St. Cecilia 23 opened? divisions. But if that proved to be ELW continues on page 2 LSB continues on page 3 ELW, continued from page 1

The Song Is tions have enthusiastically Evangelical Lutheran Deep, the embraced ELW’s expanded reper - Worship is marked by Song Is Wide toire of song and are already an expanded repertoire Everyone knows looking for more and more. this: Evangelical Conversely, some congregations of song. Lutheran Worship is marked by an struggle to find even basic music expanded repertoire of song. leadership to help them keep In other ways this vision of an Sheer numbers: over 200 addi - their small but beloved core of unfolding family has shifted. For tional , service music selec - song alive. Some congregations example, the sleeve inside the tions, and compared to its are bringing together various pew edition back cover was predecessor, a 30% increase; two styles of song when gathered in designed to house smaller print new, complete musical settings of worship, while others remain supplements that would emerge Holy Communion plus eight serv - divided into several camps with on a regular basis. A few of these ice music sets. Not only is the well distinctive playlists. And, even have appeared ( Singing Our of song deeper than before, but it with a more diversified repertoire Prayer; Of the Land and Seasons; is wide. In the late ‘90s, Libro de of song, many congregations and the bilingual Santa Liturgia y Cántico and This Far by struggle to reflect the ELCA’s Comunión ). And congregations Faith gathered up significant hope and intention of becoming have found other creative ways to repertoires of song from various a more multicultural church. use that feature, such as to house ethnic and global traditions. Gifts An Unfolding Family welcome cards, stewardship mes - from these sources were among sages, and children’s coloring those carried into ELW, so that One of the hopes noted in the pages. But an ongoing plan to over fifty of its songs include at Introduction to Evangelical create such printed inserts has least one stanza in a second lan - Lutheran Worship was that the largely been set aside. Why a shift guage besides English. assembly edition and main accompaniment editions would like this? This expansion and reshaping of be “the beginning of an unfold - the repertoire of song was one ing family of resources in forms Digital Acceleration response to the need identified in reflecting an evolving variety of ELW was launched just before the September 2000, in the “Next media, intended to respond to most recent acceleration of the Generation of ELCA Worship the developing needs of a church digital revolution: before the Resources” plan prepared by the in mission.” To a certain extent iPhone, before social media. ELCA’s Division for Congrega- this promise has borne fruit. The These phenomena are fundamen - tional Ministries and Publishing family has “unfolded” to include tally changing the ways people House units: “While the addition over 100 supporting resources, access content and express com - of diverse resources that supple - including—for leaders of song— munity. Sundays and Seasons ment LBW has been a gift to the guitar and simplified keyboard online, scheduled for expansion entire ELCA, the growing com - editions, introductions and alter - and improvement in 2015, has plexity and number of separate nate accompaniments for organ become the go-to worship plan - but related materials point to the and piano, vocal descants and ning utility for congregations, need for a new and common choral stanzas, psalm settings and where they access not only pub - approach to primary worship acclamations, and lished resources but also—some - resources that are supportive of liturgy settings for instrumental times in digital form only—fresh the entire ELCA for the next gen - ensembles, and anthem settings and timely worship ideas as well eration.” of newer hymns. Two Music as new liturgy and song content. Sourcebooks have added over 150 Prelude Music Planner expands More Different Than assembly songs to support the sea - this approach into a wider realm Diverse sonal needs of the liturgy from All of digital planning and download - Worshiping communities today Saints through Easter. A ing of choral and instrumental are increasingly marked by broad Mandarin/English bilingual supports. Requests for other e-ver - disparities in their own reper - hymn collection, New Hymns of sions are becoming more fre - toires of song. Just as some of us Praise, appeared in 2011. quent and are being seriously now have over 3000 tracks on our explored. Digital acceleration mobile devices organized into continues to change the land - eclectic mixes, some congrega - scape.

2 ALCM in tempo no. 2, 2015 LSB, continued from page 1

Ongoing Renewal of the case, it would - The continued success of Worship n’t be for lack of the Lutheran Service trying. The Physical resources are of course Builder testifies to the not the whole story of renewal. Commission on The 2005 Churchwide Assembly Worship and the groundbreaking impor - action called for ongoing renewal committees that developed LSB tance of this resource. also in resourcing: equipping had pondered very carefully the church musicians, preparing ros - strengths and weaknesses of each tered leaders, helping congrega - of our . Careful testing, much of it carried out via the But beyond the matters of practi - tions make the best use of their cality and innovation, the success people and other resources, to internet, enabled us to gain a fair - ly accurate sense of what would of Lutheran Service Book lies, in no name a few examples. We’ve seen small part, in the deliberate effort that these efforts can be challeng - be necessary to move the LCMS beyond its hymnal divisions. to assemble a collection of ing to launch and sustain. During resources, especially in the the ELCA Worship Jubilee this The Result hymnody, that unambiguously summer in Atlanta, keeping good proclaims the Gospel that the Concordia Publishing House esti - company with the ALCM Biennial Lutheran Church has always cher - mates that 85% of LCMS congre - Conference, a major part of the ished. While the more than 100 gations are currently using LSB. agenda will be dedicated to spark - new hymns in LSB are drawn While the vast majority use the ing conversation about what from a variety of traditions and print version, there are a number ongoing renewal of worship styles, they are above all else faith - of congregations that make use of means and how we might carry it ful expressions of the grace of LSB exclusively through the elec - forward. I hope you’ll be there to God revealed in his Son Jesus tronic version, Lutheran Service add your “living voice”! Christ. The richness of this Builder. Keeping God’s Mission in expression has been both noticed Mind What accounts for the success of and appreciated. LSB is a combination of several “Through liturgy and song the factors. The Commission attempt - LSB continues on page 4 people of God participate in that ed a “wisdom of Solomon” mission, for here God comes with approach in that it weighed care - good news to save. And through fully the strengths and weaknesses In Tempo is published twice a year by the liturgy and song, God nourishes of the predecessor hymnals and Association of Lutheran Church Musicians, us for that mission and goes with aimed for a “best of both worlds” 810 Freeman St., Valparaiso, IN 46383. us to bear the creative and outcome. To a large degree, it redeeming Word of God, Jesus appears that they were successful, 800.624.2526 G www.alcm.org Christ, to the whole world” (ELW given the fact that many of the [email protected] Introduction). “Renewing wor - concerns raised for years about ship” is never for its own sake or the earlier hymnals simply melted Subscription is included with membership in because we crave something shiny away after LSB made its appear - ALCM. and fresh. The Holy Spirit who ance. From its inception, we “renews the face of the earth” understood that LSB was would Editor: Nancy Raabe (Psalm 104:30) is the same Spirit not be a print resource only. Designer: Kathryn Hillert Brewer we invoke to work in us and to Within months of its release, a renew the face of worship for the fully functional electronic version ALCM Business Manager: Cheryl Dieter life of the world. was ready for use—probably the first hymnal ever to be developed Columns: from the ground up in both for - Through the Church the Song Goes On: Kevin The Rev. Martin A. Seltz is publish - mats. The continued success of Hildebrand er for worship, music, and congre - the Builder, which has assumed gational life at Augsburg Fortress, the role of the chief planning tool In Review: Tom Leeseberg- Lange including the Evangelical for worship in the LCMS, testifies Contributors to this issue: Jean Boehler, Lutheran Worship and Sundays to the groundbreaking impor - James Gladstone, Paul Grime, Tom Gerke, Ken tance of this resource. and Seasons resource families. Kosche, Ron Koch, , Martin Seltz

ALCM in tempo no. 2, 2015 3 While the more than 100 new hymns in LSB are drawn from a variety of traditions and styles, they are above all else faithful expressions of the grace of God revealed in his Son Jesus Christ.

LSB, continued from page 3 ’s spiritual care of his flock. tions in Canada, the book has The usefulness of this volume has also been introduced into Haiti Resources Abound commended itself even beyond and several countries in Africa. A worship resource as compre - our Lutheran circles. Several The second hymnal, Ibada hensive as a denomination hym - years ago CPH released this vol - Takatifu, was prepared for the nal is never produced in isolation. ume both in an eBook format Evangelical Lutheran Church in While the traditional companion and as an app that contains addi - Kenya. Again, though it is far resources were developed for tional resources. Very soon a from a Swahili version of LSB, it LSB, numerous other resources Spanish-language version will be was developed by the ELCK in have sprouted up since 2006. available from CPH. partnership with members of the A guitar chord edition of all the And speaking of eBooks, this past LCMS who participated in the hymns was published shortly after spring CPH issued LSB itself in production of LSB. Like its prede - LSB’s appearance. CPH released both Amazon Kindle and Apple cessor book, it combines the rich - a companion edition of all the iBook formats. As in the case of es of the Lutheran tradition with services as a downloadable Lutheran Service Builder, they local, Kenyan treasures to pro - resource just this past May. proactively worked with all of the claim the Gospel in that setting. copyright holders to ensure that A complete series of organ prel - the entire resource would be With Fresh Eyes udes in twelve volumes on all the available. While no one antici - So what lies in the future for LSB? hymns in LSB is now past the pates the demise of the physical Surely, additional resources will halfway point under the editor - book anytime soon, the appear - be developed. But we’ve reached ship of ALCM member Kevin ance of an e-hymnal can only that point in the life of a hym - Hildebrand. mean that more people will have nal—the same might be true for The Concordia Organist, a 31-CD the opportunity to make use of those using ELW—where it may set of recordings of all hymns and the hymnal as a personal devotion be just as important to step back service settings has proven quite resource. and take a look at it once again popular. While the leadership of a with fresh eyes. What are the Ripple Effects live musician is always preferable, hymns or other resources that I’m the high use that this resource An unanticipated result of the no longer noticing? What treas - has received reminds us of the appearance of LSB was the devel - ure might be lurking just around continuing role the ALCM needs opment of two foreign language the corner that I have yet to dis - to play in encouraging the train - hymnals. The first, Liturgies et cover? In the case of LSB, what I ing of future church musicians. Cantiques Luthériens, was devel - do know is this: those undiscov - oped by the Lutheran Church— ered treasures are just waiting to The Pastoral Care Companion Canada. Though this hymnal is point us to Christ. has attained a level of success that not a purely French version of Paul Grime served as project almost rivals LSB itself. This com - LSB, it shares many features and director for Lutheran Service prehensive resource provides was directly inspired by the hundreds of pages of scriptural appearance of LSB. While the Book. He currently serves on the and hymnic resources on a wide immediate audience was obviously faculty of Concordia Theological range of topics suitable for the for French-speaking congrega - Seminary, Fort Wayne, where he is also the dean of the chapel. 4 ALCM in tempo no. 2, 2015 In the act of listen - The Ostinato ing, the music wrapped itself of the Soul around me as if God’s very arms held and by Cheryl Dieter embraced me. e’ve all experienced it. In wfact, church musicians and may be more sus - ceptible to it than others. You know what I’m talking about. That pesky Taizé refrain that plays over and over in your head, refus - ing to stop even after you impose an enormous mental ritardando at the end. The keyboard piece that dances through your brain until your mental fingers are too tired to practice it any longer. The choral anthem that embeds itself in your head at the end of choir practice and is still wailing away when you return the follow - ing week. I’ve been in the “church music biz” my entire life, and I spent a good portion of that time attempting (mostly unsuc - cessfully) to rid myself of those never-ending musical loops, some of which are there for no discern - ©iStock/MarinaZakharova able reason. ing was both revelation and gift. Sometimes that pesky brain music Several years ago I was at a very The words were from that won - is simply an unwanted intruder in low point in my life—I don’t need derful passage in Isaiah 43: your brain. But then there are to go into the details; you’ve all moments such as the one I expe - When you pass through the experienced that as well—and in rienced when what we are hear - the middle of it all there was a waters, I will be with you; and through the rivers, ing is something else altogether. choral anthem stuck so solidly in they shall not overwhelm you; I’ve come to think of those my brain that there was barely when you walk through fire you moments as the “ostinato of the room for any other thoughts. I shall not be burned, soul,” music that plays over and tried every trick I could think of and the flame shall not consume over again precisely because, in to rid myself of the music, but you. the very depths of our being, we even when it went away for short need to hear what it has to say periods of time, it would return. The text was speaking God’s again and again and again. So, It was almost as if it had a life of words of comfort and encourage - dear friends, before you set out to its own. ment with clarity and assurance. silence the music playing in your The flowing piano accompani - brain, please stop and listen. You I finally gave up trying to rid my- ment soothed as it played may be surprised by what you self of the music that was playing through my head. In the act of lis - hear. in my head and instead stopped tening, the music wrapped itself and listened. It was a choral around me as if God’s very arms Cheryl Dieter is Minister of anthem that I had not sung for held and embraced me. Worship & Music at Trinity some time, and the act of listen - Lutheran Church in Valparaiso, Indiana.

ALCM in tempo no. 2, 2015 5 through the church the song goes on Kevin Hildebrand

Making Chorales a Living Tradition

rom time to time, churches However, there is also good rea - these chorales are unfamiliar to fand religious bodies present son why the Lutheran chorales of your congregation. Worse yet is the results of surveys of the Reformation era are called when pastors, musicians, and church music trends, such as best- Kernlieder, or core hymns, for other worship leaders are unfa - selling songs, top music down - Lutheran congregations. These miliar with them! Why include loads, or commonly used songs. chorales provide a sung confes - these chorales in your congrega - Such an example is a 2011 survey 1 sion of the faith with rugged and tion’s rich repertoire of singing of many mainline Protestant hym - rhythmic melodies, often unri - from all times and places? Once nals purported to show the most valed in other good, right, and again, the answer is in what the commonly used hymns by those salutary hymns. A Christian con - hymns confess: What do they say religious bodies based on how gregation is blessed when it is about God, particularly of Christ often the hymns were included in served by a variety of musically Jesus? What do they say about us respective worship books over the rich and theologically sound and our sinful condition? past century or more. Whether or hymns of every age, including a There is a plethora of topics rep - not the hymns are actually chosen healthy helping of chorales. resented in hymns and songs and sung in congregations is a A definitive collection of chorales from all manner of churches and different question! Nevertheless, was the 1545 publication, the religious bodies. Sometimes they reviewing such surveys often Babst Gesangbuch (so named for its are informed by current events, yields some predictable results, publisher, Valentin Babst). By or are inspired by elements of a particularly the minimal represen - God’s grace, many are still found particular time and place. Good tation of Lutheran chorales in in Lutheran hymnals, including: hymns, including chorales, exhib - such surveys. In the 2011 survey it what hymn composer Stephen only three chorales were repre - Aus tiefer Not R. Johnson calls “Lutheran signa - sented: “A Mighty Fortress,” “Now Christ is erstanden ture items,” timeless topics that Thank We All Our God,” and “O Christ lag in Todesbanden never go out of style and always Sacred Head, Now Wounded.” Ein feste Burg address our sinful condition and Erhalt uns, Herr need for a Savior, such as: The Christian church’s hymn cor - Es ist das Heil pus is never finite; rather, it is an Gott sei gelobet Original sin ever-expanding repertoire. A rich Herr Christ, der einig Gotts Sohn Justification experience of Christian hymnody Jesaiah, dem Propheten Christology is not found in churches that Komm, Gott Schöpfer Sacraments claim to “never sing any old stuff” Komm, Heiliger Geist Theology of the cross vs. nor in those who “never sing any - Mit Fried und Freud the theology of glory thing written after 1750!” God’s Nun bitten wir Law/gospel distinction people of the 21st century are, in Nun freut euch The holy ministry the words of Norman Nagel, Nun komm, der Heiden Heiland The church “heirs of an astonishingly rich tra - Vater unser dition” of liturgy and song, and Verlieh uns Frieden Of course, not every hymn needs Vom Himmel hoch are served well by composers and to incorporate all of these topics, Wir glauben all hymn writers who continue to but we must continue to constant - lend their art and craft to give ly evaluate the choices we are melodies and texts to God’s peo - Timeless truths making for our congregations. ple in every age. Reality may prove that some of

6 ALCM in tempo no. 2, 2015 A hymn that’s in the book but never sung remains An example from and all the blessings that many a treasure waiting to new hymns have been to the Some examples of these “Luth- be uncovered. church, a challenge for congrega - eran signature items” are found tions is how to keep the chorales in Martin Luther’s great exposi - prominent in the musical and seem overwhelming to some tion of the faith, “Dear Christians, liturgical choices in our congrega - singers (or some musicians and One and All, Rejoice.” Here we tions. Even though these chorales pastors). Here the wisdom of the sing about ourselves being may be found in your congrega - Reformation era can inform us trapped in sin. These are words tion’s hymnal, a hymn that’s in again in its practice of singing a that are not easy to sing, and per - the book but never sung remains long hymn in alternation. Those haps we do not sing them often a treasure waiting to be uncov - of us who have experienced hymn enough, but this truth remains ered. Perhaps you should do a festivals have reveled in the rich timeless: survey of your own congregation examples of this as well, when a and see how many of these Kern- Fast bound in Satan’s chains I lay, choirs, or men or women sing a ieder have been actually used in Death brooded fiercely o’er me, particular stanzas. This practice your parish over the past several Sin was my torment night and day; not only reduces singer fatigue years. In sin my mother bore me. but allows the part of the congre - My own good works all came to gation that is not singing to The church sings these chorales naught, reflect on the text that is being not merely to dust off some clas - Free will against God’s judgment sung. No choir? No problem, if sic ideas from time to time, or to fought, you have at least one strong rotate the stock in a liturgical So firmly sin possessed me. singer who can function as a museum. On the contrary, (ELW 594:2) “choir of one” to sing a stanza. hymns—both old and new—are a One further suggestion especially living tradition to which every Luther in his wisdom does not for smaller congregations is to generation of the church lays end the hymn there, for that is assign stanzas to “pulpit side” or claim. Hymns that confess the not the end of the story! The “lectern side” (or right side/left faith help us “fix our eyes on hymn continues with the story of side) instead of men and women. Jesus, the founder and perfecter salvation through Christ: of our faith,” as He brings us life Still another option is to sing part God said to His beloved Son: and salvation through His Word, of a hymn as a processional “It’s time to have compassion. especially the Word proclaimed in hymn, for example, and to sing Then go, bright jewel of my crown, song. May our prayer be that the rest as the . And bring to all salvation. which is found in this chorale of From sin and sorrow set them free; Or a portion of the hymn may be Elizabeth Cruciger: Slay bitter death for them that they sung during the distribution of Oh, time of God appointed, May live with You forever.” the Lord’s Supper, and the final Oh bright and holy morn! (LSB 556:3) stanza or two could be used as a closing hymn. Or a judicious He comes, the King anointed, selection of stanzas may be cho - The Christ, the virgin-born, The Gospel truth, that in Christ Grim death to conquer for us, sen with discernment. When we are set free from sin, death, To open heaven before us dividing a hymn in this manner, and the devil, is set forth with And bring us life again. care must be taken not to be the - clarity in this chorale. Our con - (CW 86:2) gregations are blessed to have ologically abrupt or incomplete. these words in their mouths, on For example, if singing only the their lips, and in their lives. first two stanzas of “Dear 1 Christianity Today, March 2011. Christians, One and All, Rejoice,” More than four stanzas? the last words the congregation Kevin Hildebrand has served in the One common negative percep - sings are “so firmly sin possessed Music Department at Concordia tion of some chorales, including, me.” This is most certainly true— Theological Seminary since 2002, “Dear Christians, One and All, but the gospel has not yet been and currently serves as Kantor. He Rejoice,” is their length. “Dear proclaimed! directs the Seminary Kantorei and Schola Cantorum, plays the organ Christians” has eight stanzas in A living tradition Evangelical Lutheran Worship, and for daily chapel, and instructs stu - ten in both Lutheran Service Book Given the oft-cited “hymn explo - dents in liturgics and church music and Christian Worship. These can sion” of the last several decades courses. ALCM in tempo no. 2, 2015 7 Composing for the Church: You Can Do It! by Kenneth T. Kosche emphasis on the “rules”—and While an interesting har - whose rules are they, might I mony catches the ear, I he words sprang from the lips ask?—dampens imagination and tof my son’s Kindergarten suggests a “cookie cutter” mentali - submit that a composer’s teacher years ago: “I know ty. Contrary to popular belief, first attention should be you’re a composer. But, you’re so most college music theory courses addressed to melody, not … so normal!” Perhaps you share do not satisfactorily prepare musi - the notion that composing music cians to be composers. Analysts, harmony. involves some sort of mystical maybe; creative persons—no. powers, hocus pocus, inspiration in strong enough to stand on its the night, or at minimum a There is so much to be said and own, one cannot make it more degree in composition. Sorry to so little space. Let me lay out effective with 1001 strings. The disappoint you, but normal peo - some ideas and then give some old saying, “Less is more,” applies ple can write music (which sug - suggestions how you may make a here. Which brings me to my next gests other questions I’m not start composing. Most of these point: going to risk). Yes, you can com - comments refer more specifically pose. It is an activity among many to choral music, but you can easi - Melody is the wellspring ly infer a broader context includ - that musicians do regularly, of all music. though it may appear daunting at ing keyboard and instrumental first. music. Can you write a good melody? While an interesting harmony As a young person, I was interest - There is great power in catches the ear, I submit that a ed in the piano. I often impro - simplicity. composer’s first attention should vised when it was practice time, “Simple music need not be simple be addressed to melody, not har - maybe a little too much. It was minded,” said Robert Wetzler mony. My frequent interaction easier to let my fingers wander (former publisher/owner of with Alice Parker always drove than to discipline myself to the AMSI). Too often composers fail this point home. In fact, it is a task at hand. But those musical to resist the urge to “gild the lily.” cornerstone of her teaching. If excursions provided an inside The beauty and simplicity of a you start with an engaging working knowledge of music. It unison choral piece, even an melody, it may suggest its own became obvious to me when unadorned melody sung unac - harmony, but often as counter - something sounded “cool” and companied, can be deeply evoca - point rather than familiar four- when it didn’t. As I became more tive. Yet I have heard from more part hymnal harmony. You might adventurous, and as my keyboard than one director that their find counterpoint far more inter - facility improved, I tried more choirs turn up their collective esting. It’s impossible to precisely ideas. In that way, without having noses at the thought of singing define a “good” tune. However, to bother about things like tonic anything less than four-part har - we can identify some common and dominant chords, progres - mony. “It’s just not choir music characteristics. A good melody sions, cadences, and a host of otherwise.” stays within the range of the other musical terms, I just made singer/instrument. For singers music. Simple music. Pleasing One finds the occasional pub - this usually means an octave with music—at least pleasing to me. lished anthem with a lovely one note additional above and Later at the university the profes - melody accompanied by a virtual below (supertonic and leading sors gave names to those sounds piano concerto. What this tells tone). There is more latitude for which I had already experienced. me is the composer is a pianist instruments and keyboard, but This is the proper way to learn: and used a melody to show off his much keyboard music is written experience (form concepts) first, keyboard skills. The accompani - to accompany voices. The melody attach labels later. Too much ment did not support the melody, should have an interesting begin - it obscured it. If a tune is not ning, a good shape, and a satisfy -

8 ALCM in tempo no. 2, 2015 ing conclusion. It ought to have Have a clear beginning some rhythmic interest. This may idea while being open to amount to only varying the begin - ning and ending rhythms of nuances along the way. phrases, as many Scottish hymn tunes do, or it may be a recurring rhythmic pattern, or even some - thing slightly unexpected. To more clearly see characteristics of a “good” melody, analyze tunes that appeal to you. You might look through your hymnal and note them for yourself.

Many hymn melodies have a gently rising and falling shape (Ex. 1). Others rise gently but cover a wider range (Ex. 2). Still others open much more dramati - cally (Ex. 3).

All are interesting, but in differ - ent ways. Very few hymn tunes end high, but those that do seem to be memorable: ST. A NNE ; FARLEY CASTLE . (Erik Routley sing it back to you in a way you With the 500th anniver - argued for this reason that the didn’t intend, and then you will sary of the Reformation same person may have written know clearly what needs editing. coming in 2017, take a both of those tunes.) Another You can get by with almost any - approach is to compare all the thing on the keyboard but not look at some marvelous hymns in your hymnal for fre - with singing. Practice writing a Luther texts or other quently used poetic meters such melody away from the piano. Reformation period texts as 8787D. ABBOT ’S LEIGH is both Indeed, the more proficient you melodically and rhythmically become, the more you will want that deserve to be sung. interesting to me. On the other to avoid using the piano at all as hand, I find O DU LIEBE MEINER you compose, but that comes with LIEBE deadly in both respects. practice. out the shape or the overall form Many memorable and satisfying of the piece either mentally or on tunes use scale patterns or chord All good writing starts paper before I go too far. True, line melodic movement. Singers, with an idea. sometimes I get into a piece and especially those with little to no The better the idea, the better determine that I made a mistake vocal training, usually find the composition. A good compo - and need to seriously edit. As Yogi melodies that move smoothly easi - sition makes only one or two (at Berra once suggested, “If you er to sing than those that employ most three) ideas very clear. don’t know where you are going, wide or unusual intervals. Aspiring composers (and I’ve you’ll end up someplace else!” taught a bunch of them) tend to Have a clear beginning idea while When you compose your melody, get on their horses and ride off in being open to nuances along the sing it, don’t play it. Sing it to all directions. Think unity rather way. You may not know the result someone else and have them sing than variety. This takes discipline till you get there, but don’t count it back to you (not written down and learning how to develop a on “inspiration” to rescue you if but purely orally). Does it flow music idea. Okay, pause briefly you have no plan. Some classic naturally or are there places you now to listen to Ravel’s “Bolero.” forms include ABA (the begin - forced the melody to go unwill - ning and the end are same/simi - ingly? Note any awkward places Form (structure) is expressive. lar and the middle is different), and make changes. Perhaps While I never can predict the out - or strophic (use the same tune another individual will actually come of a piece, I must sketch for one stanza after the other).

ALCM in tempo no. 2, 2015 9 Very few satisfying pieces are Publishing is the last I’m retired now. My church choir totally free form (through com - question most of us has two men and ten women, and posed). Once again, I suggest that if I wish, sometimes I sing along. you find some appealing music should be asking any - Write for two-part mixed voices. and analyze it. Discover the form way, never the first. For example, give the tune first to or the shape of the piece and the high part, then to the low then try to imitate it. part, then sing in unison, then if you wish to submit your piece write a simple descant for the Writing for your current needs for publication. ending. Trade phrases of the tune lends your composition validity. between the voices. Write a piece Instead of arranging an already Of the hundreds of pieces I have that uses two different melodies existing melody, you may wish to been blessed to have had pub - that can be sung simultaneously, write a short but engaging new lished, I can barely think of a sometimes called “partner songs.” tune for a hymn text that you handful that I wrote abstractly Sing one tune, sing the other, like, which will automatically give without a specific performer or next sing them together. There you a structure. With the 500th group firmly in mind. Most have are all sorts of combinations that anniversary of the Reformation been home-grown compositions, can be pleasing. pieces written for my own groups. coming in 2017, take a look at This also allows for trying out the some marvelous Luther texts or Should I consider music to judge what is successful other Reformation period texts publication? and what needs editing (or dis - that deserve to be sung. Perhaps Maybe—maybe not. I think com - carding). Alice Parker once told the tune to which they are cur - posers should ask: “What does the me that composers need to learn rently wedded is difficult or unap - Church need?” and that answer to “kill your darlings.” In other pealing. There are so many ways really begins with “what does my words, you may be perfectly to begin. church need.” Publishing is the enamored of something you last question most of us should be wrote, but that does not mean the What about harmony? asking anyway, never the first. rest of the world will agree. Your Of course you can set a common What does it matter if your music group may give you the most hon - four-part hymnal harmony under is not published? Quite a bit of est reaction. Occasionally there your tune. Why not consider my music perfectly suits the needs are pieces only your mother or musical ideas found in the tune of my parish and glorifies God. your spouse will commend. Take and think melodically? Is there an For me, that is enough. These that as a sign. interesting motive you can play pieces likely will never be pub - with? Some tunes work beautifully lished. But I keep a file and occa - How do I start? in canon. Select or write one that sionally revisit music I have does and put a few notes under There are many ways to begin. deposited there. Sometimes I the melody at key moments to Perhaps start by arranging an revive, rework, edit, and then support it tonally and rhythmical - already composed tune. submit them, or just deposit them ly, but do not dominate or clog Interestingly, when I submitted back into the file for some other up the hearers’ ears with all those titles to ASCAP some years ago, I occasion. was told that they consider unnecessary chords! Imagine you arranging and composing as the only have three or four different You can write. You have to believe same category. Consider thumb - pitched handbells to ring here it. And, you certainly have to work ing through your hymnal and and there as the vocal parts are at it. selecting an engaging tune to sung. No handbells? Play those arrange. There are many public pitches on the keyboard (or solo So — what are you waiting for? domain tunes available, and so instrument). Begin there and what if you are captivated by one gradually become more elaborate that has already been arranged a without interfering with the tune. Dr. Kenneth T. Kosche is Professor million times? If you are writing of Music Emeritus of Concordia vocal music, you have the addi - My choir cannot sing University Wisconsin. In retire - tional burden of clearing copy - SATB music. ment he remains an active right of the text. You can find this Guess what? Neither can mine! parish musician. Over 400 of information somewhere in the My university choirs could handle his compositions are currently hymnal. This is less complicated eight parts divisi or in two choirs. published by 17 publishers. than you think and applies mostly

10 ALCM in tempo no. 2, 2015 Five-Year Countdown to the 500th Anniversary of the Reformation A series of hymn festivals presented by ALCM Columbus: Cantor Connection

By Tom Gerke

anniversary of ALCM with the festival, “The Hymns of Martin hymn festival “Through the Luther: Preaching the Faith,” Church the Song Goes On.” explored the homiletical qualities of Luther’s hymns. Held at In 2013, Cantor Connection Ascension Lutheran Church, embarked on a “Five-Year Columbus, Ohio, it was planned Countdown to the Reformation,” by Zebulon Highben, Linda joining with others across the Kempke, and Nancy Raabe, with world in looking toward the 500th commentary written by Gracia anniversary of Luther’s nailing of Grindal. the 95 Theses in 1517. The plan was to hold five annual hymn fes - On June 12, 2016 “Called to ince 2009, Cantor tivals to celebrate the gifts of Serve God and our sConnection, the Columbus, Martin Luther to the church, and Neighbor: Men, Women, and Ohio chapter of ALCM, has especially to the music ministry of Martin Luther’s Idea of involved many area Lutheran the church, culminating in 2017. Vocation” will focus on Luther’s understanding of vocation and church musicians throughout the The first in this series of five, the role of women. Joy Schroeder city and state in an annual hymn “Luther’s German Mass: Then of Capital University will provide festival in late spring celebrating and Now,” took place at All commentary and will give a talk major figures or events in the life Saints Lutheran Church, on Katherine von Bora (Luther’s of the church. Worthington, Ohio, in June 2013. spouse), the women of the It explored Luther’s German In addition to praising and thank - Reformation, and Luther’s views Mass in its original context and ing God for the gifts God has about women and their calling. through contemporary interpreta - given to us, these events have tions of those same parts of the “Here I Stand,” helped create community and the fifth and final liturgy. The event was planned by build relationships among hymn festival of the “Five-Year Linda Kempke with commentary Lutheran church musicians Countdown,” is planned for June by Pastor Michael Weaver. throughout the area. 11, 2017, at Prince of Peace Lutheran Church in Dublin, In June 2014 “The Hymns of The first of these in 2009 hon - Ohio. A nationally known theolo - Martin Luther: Teaching the ored Paul Manz around the time gian will present an afternoon Faith” concentrated on the gift of of his 90th birthday. The music of lecture and the hymn festival Luther’s Catechism to the church. Carl Schalk was celebrated in commentary, and will also feature It was planned by Timothy 2010, with many members of a well-known guest organist. Guenther with commentary by Schalk’s family in attendance. In Pastor William Rauch. With the 2011, the hymn festival honored participation of former ELCA Donald Busarow (who also played Kenneth Sauer, it was held For more information on ALCM a hymn and the postlude) for at North Community Lutheran Cantor Connection: Columbus or what turned out to be his last Church, Columbus, Ohio. to receive news about upcoming public appearance before his events, contact Tom Gerke at death a few months later. In 2012 On June 14, 2015, the third hymn [email protected]. the chapter marked the 25th

ALCM in tempo no. 2, 2015 11 Spruce Up Those Chorale Preludes

By James H. Gladstone The goal is to sharpen up stop combinations for the manu - als, and feel free to experiment s a college sophomore, my organ playing skills in a with registrations available. aorgan professor gave me pleasant way… and to permission to enter a young keep eyes and mind alert I have chosen to reference two organist competition in Chicago. common editions that many will Each participant was required to for a new way of reading possess: play “Hymne d’action de grâce music. (Te Deum)” of Jean Langlais, and J. S. Bach, Organ Chorales from the Neumeister Collection. “O Lamm Gottes, unschuldig” of dictator, as I had to play an Vol. 9 of the complete Bach Organ J. S. Bach, the monumental entire book of trio exercises in all Works, First Edition, Bärenreiter chorale prelude that runs about major and minor keys (12 exercis - 5181. 11½ minutes. Things went swim - es for each key). It was a fun chal - mingly with my Langlais interpre - lenge, although I doubt that tation, but one judge raked me 80 Chorale Preludes by German there are many adolescent boys Masters of the 17th and 18th over the “chorale coals” for doing today who would enjoy it as much Centuries, Peters 4448, 1937. what my professor had taught me: as I did. Watching the feet of an Play the cantus firmus (melody) organist fascinates people of all in the second verset with my feet, First, carefully go through the ages, probably because they don’t although the only edition I had at chorale prelude to be learned do much with their own feet— the time was from Joseph with a pencil (I use red) and and when they do, they ordinarily Bonnet’s Historical Organ locate where the composer has have to look down. Recitals, and the cantus firmus placed the cantus firmus. The eas - was written in the alto part. So I So taking music and creating a iest to note are in the soprano played the pedal part with my left pedal part for the cantus firmus is line; sometimes other voices are hand, and forced my brain to a challenge, but one that is well used, and many composers have read the middle part with my big worth the effort it takes. Most alternated the melody with differ - feet. organists have lots of books in ent voices. In the suggested prel - their library, which may have udes volume mentioned below, Needless to say, I didn’t win the been used at one time or perhaps the cantus firmus is easy to spot. competition, but I did give those haven’t been used at all, and It can be helpful to use a high - judges something to discuss after Lutherans tend to have lots of lighter type marker to “draw” the we left. And the experience set Baroque-era chorale preludes. melodic line from note to note. me on a life-long journey of look - Even if one’s parish no longer Figure out what pedaling works ing for other opportunities to sings the beloved chorales, the best for your feet. I lift the mark - play chorale preludes in the way I music can be used for worship, er for rests. had been taught. for weddings, funerals, teaching, Another “trick” to assist in articu - Fast-forward two decades, and I and “brushing up” organ skills. lation, often done in singing, is to was an adjunct organ instructor at This may appeal to many begin - use the red pencil to draw a slash Lake Michigan College. Most of ning organists, who valiantly lead through notes that are tied, then the students who signed up for countless parishes in worship repeated immediately after the instruction were beginners (one across the land, often under diffi - tie. In so doing, the organist will only wanted to learn how to play cult circumstances and with less- be rewarded with several eighth- a song by Elvis Presley for her than-ideal instruments. Fear not: or sixteenth-note “rests.” Before cousin’s wedding!), but those who Most of these settings can be committing marks to expensive progressed beyond the basics played on an organ with modest music, one may want to photo - were given the same opportunity I means, using a 4’ principal or copy a page or two to practice had been given. My high school reed in the pedal for the chorale these ideas, then dispose of them. organ teacher had been a benevo - tune. Choose a variety of colorful

12 ALCM in tempo no. 2, 2015 For the above setting in the music. One will frequently discov - Es ist gewisslich an der Zeit Peters 80 Chorale Preludes , the left er more use of the right foot in (Bach, #28) hand plays the bass clef and the pedaling, which often needs some Herzlich tut mich verlangen right hand plays the treble clef, strengthening exercises anyway. (Walther, #41) which looks like an alto part of a Give it a try as a summer project. In dulci jubilo (Zachau, #44) three-part texture. The soprano Jesu, meine Freude (Walther, #45) part (cantus firmus) with text is Suggestions from Bach played by the feet. Either a full Neumeister (Kaufmann, #66) registration may be used, or a del - Herzliebster Jesu, was hast du icate trio type may be selected. Be verbrochen (pp. 10 – 11) Vom Himmel hoch, da komm ich her (Zachau, #68) sure to put slash marks through Allein zu dir, Herr Jesu Christ all those tied eighth and sixteenth (pp. 24 – 25) As in the example above, Johann Gottfried Walther and many notes that are repeated immedi - Christus, der ist mein Leben ately after the tie. Pedal notes that (pp. 52 – 53) others wrote an abundance of are repeated, such as the first chorale preludes that appear to Herzlich lieb hab’ ich dich, O Herr (pp. three quarter notes (D), should be for manuals only, but often 58 – 59). Start the pedal on beat 3 be articulated as well, with either this method can be effectively of measure 3; after the 2nd ending used to bring out that beloved an eighth or sixteenth rest, on p. 59, the c.f. can be brought in chorale melody, to be enjoyed depending on how reverberant again at m. 28, beat 3 until m. 32 the room is (very resonant from the brain to the feet to the acoustics will probably require ear. Enjoy the challenge! more space between repeated Suggestions from 80 Chorale notes). Take it slowly at first until Preludes confidence and accuracy are Christ lag in Todesbanden James H. Gladstone, a charter mem - achieved, then speed things up. (Zachau, #18) ber of ALCM, resides in Saginaw, MI, Christus, der ist mein Leben where he and his wife, Diane, assist The goal is to sharpen up organ (Walther, #20) with music ministry at Evangelical playing skills in a pleasant way Lutheran Church of St. Lorenz, Ein feste Burg ist unser Gott that doesn’t require taking les - Frankenmuth. In addition he serves (Walther, #24 – highlight changes sons, and to keep eyes and mind with The American Guild of Organists. alert for a new way of reading from treble to bass clef) ALCM in tempo no. 2, 2015 13 Singing the Church’s Song at Christmas By Carl Schalk

reflect the personal predilec - Give them the gift of a ive your congregation a tions of pastor or church musi - gpresent this Christmas. Give new song. cian. It is the hymn of the day, them the gift of a new not the whim of the day. song—which is actually an old Here, then, are suggestions for song, but for many congregations G Through regular use through the hymn of the day for this year’s will in reality be a new song. What the annual cycle of the church celebration of the Nativity. They I have in mind, of course, are the year, these great hymns follow closely historic use among hymns of the day for Christmas become an increasingly impor - Lutherans. Although their degree Eve, Christmas Day, the Sunday tant part of the people’s song. of familiarity may vary from con - after Christmas, and the gregation to congregation, they Circumcision and Name of Jesus all deserve a place in every con - (January 1). gregation’s repertory. While each hymn appears in several current Let’s refresh our memory as to Lutheran books, I am suggesting the role and function of the a simple chant-like tune for the hymn of the day. hymn for the Name of Jesus. G The hymn of the day, as the CHRISTMAS EVE chief hymn in the service, both “From Heaven Above to Earth proclaims the good news of the I Come” gospel and teaches the faith of (ELW 268, LSB 358, CW 38) the church. Martin Luther’s beloved G The hymn of the day functions Christmas hymn deserves to be as part of the proper of the sung in its entirety. The first sev - order of Holy Communion, eral stanzas are the announce - changing from Sunday to ment by the angel Gabriel and Sunday as do the appointed could be sung by a single child’s psalm, the , and the les - voice or a small group of treble sons for the day. singers. G The choice of the hymn of the day has been shaped largely by CHRISTMAS DAY the historic use in the “We Praise You, Jesus, at Your Lutheran church, but its roots Birth” can be found even earlier. Its (LSB 382) texts reflect the great narrative “All Praise to You, Eternal God” of salvation history in the con - (CW 33, LBW 48) text of the particular season and festival. This hymn is in the form of a , each stanza concluding G The hymn of the day is an with some form of “ eleison” important resource, together or sometimes “.” It should with the other propers, in the be part of every congregation’s shaping of the . It is repertoire of Christmas hymns. not, however, a “sermon hymn,” nor should it simply

14 ALCM in tempo no. 2, 2015 CHRISTMAS 1 CIRCUMCISION AND be sung to the chant-like tune “Of the Father’s Love NAME OF JESUS below. Begotten” (January 1) The number of stanzas and the (LBW 42, ELW 295, LSB 384, CW 35) “Jesus, Name of Wondrous exact wording of these hymns This great Latin plainsong, com - Love” may vary according to the hym - posed in the late 4th or early 5th (LSB 900, CW 76) nal. Simple alternation between century by Aurelius Prudentius, choir and congregation or This 19th-century text by William should be sung without accompa - between men and women’s voices Walsham Howe (1823-97) is par - niment whenever possible. Stanza may be the easiest course. ticularly appropriate for the 1 could be sung by the choir, stan - Rehearse the choir carefully and Circumcision and Name of Jesus, za 2 by all the women, stanza 4 by adequately if these hymns are new and has been sung to a variety of all the men, and stanzas 3 and 5 to the congregation. Speak with tunes over the years. It may also by the entire congregation. your choir about the textual con - tent of these hymns and how they are uniquely appropriate for this festival day.

It will be a gift they will look forward to opening anew every Christmas season.

With the annual repetition of these hymns as part of the cele - bration of the Nativity of Our Lord, you will have given your congregation a Christmas present second to none. It will be a gift they will look forward to opening anew every Christmas season.

Carl Schalk is Professor of Church Music Emeritus at Concordia University Chicago.

Music copyright © 1967 by GIA Publications, Inc. 7404 S. Mason Ave., Chicago, IL 60638 www.giamusic.com 800-442-1358. All rights reserved. Used by permission.

ALCM in tempo no. 2, 2015 15 in review Tom Leeseberg-Lange Ein neues Lied A New Song Choral and organ music of Hugo Distler and Jan— Be nder

Organist: David Herman • 2012. The Of the half dozen invitation to become a “house University of Delaware Chorale, Paul recordings I’ve heard of composer” for Concordia D. Head, director. Lloyd Shorter, oboe. Publishing House. From the Available from the artist/producer at this monumental work, 1950s through the early 80s he [email protected] for $12, postage and after re-listening to was invited to teach at numerous and handling included. several, I find this one Lutheran colleges and universities in the United States. the most satisfying Distler’s connection was less Reviewed by Tom Leeseberg- and authoritative. Lange direct. In 1938 he commissioned Paul Ott, uncle of well-regarded his is a fascinating sampler, POW camp. “American” organ builder Martin tattractively designed and Ott, to build a two-manual and including an eight-page book - Both had ties with the United pedal organ for his home in let, of music by two of the most States. Concerning Bender, when Stuttgart. The first four pieces on influential 20th-century German men like Edward Klammer and this recording are from Dreißig Lutheran composers of sacred Heinrich Fleischer (a classmate Spielstücke, a collection of minia - choral and organ music. They from Leipzig days) began notic - tures written for the arrival of were born only eight months ing his work, Bender received an Distler’s house organ. apart—Distler in 1908 Nuremburg and Bender in 1909 Haarlem, The Netherlands (though he matriculated in and lived most of his life in Germany).

Both men studied at the Leipzig Conservatory, founded in 1843 by Felix Mendelssohn. (Interestingly, Bender was born 100 years to the day after Mendelssohn’s birth!) In 1933, Bender became a composi - tion student of Distler. As it turns out, Bender was the sole heir of the slightly older man’s tutelage in his innovative fusion of neo- Baroque style embodied by Heinrich Schütz and Distler’s modern concept of modal harmony.

Both were casualties of WWII— Distler mortally, impelled by a suf - focating set of oppressive person - al circumstances, while Bender lost an eye from a grenade shard and spent a year in an Allied

16 ALCM in tempo no. 2, 2015 That David Herman studied com - longer setting of Gaudeamus Seven of these smaller preludes position with Bender at pariter; and three of four move - are found on this CD and they Wittenberg University in the mid- ments from what is essentially a still sound fresh and inviting. ‘60s and wrote his biography, pub - partita on Ralph Vaughan VALET WILL ICH DIR GEBEN and lished by Chantry, makes this an Williams’ hymn tune DOWN KOMM , H EILIGER GEIST are person - even more attractive recording. AMPNEY . al favorites. If you don’t own these small, oblong-format books, Dating from 1932, Distler’s first One of my very first investments I commend them for your consid - major work, the revelatory in organ literature was the eration, if you are able to locate a “Organ Partita on Nun komm der Bärenreiter three-volume 90 set. Heiden Heiland, ” is splendidly Kleine Choralvorspiele, Op. 2, rec - played by Dr. Herman on the ommended by my teacher, I enthusiastically congratulate Dr. Dobson Op. 74 (2000) at the Michael Held, who had been a Herman on this labor of love. His small but resonant recital hall of student of Bender’s at Concordia- obvious intimacy with and respect the University of Delaware. I love Seward. According to the liner for this music is demonstrated in the sound of these Dobson reeds, notes, these small-scale chorale exquisite performances that authoritative and elegant without settings were written for the many honor his teacher and a body of bluster or bombast. The German organists who returned excellent composition for Chaconne spins out as an exhila - from the war with missing arms, Lutheran worship that already is rating dance on this recording enabling them to perform well- sadly neglected. and the opening and closing crafted preludes with one-hand Toccata unfolds with convincing and feet. David Fienen, who Tom Leeseberg-Lange, a former and well-controlled acceleration. enjoyed a close relationship with administrator for ALCM, has long Of the half dozen recordings I’ve the Bender family for many years, heard of this monumental work, told me that, when Bärenreiter been active as director of music and after re-listening to several, I compiled a chorale prelude series ministry. He has an encyclopedic find this one the most satisfying for the Evangelisches Gesangbuch in knowledge of sacred repertory for and authoritative. the mid ‘90s, more Bender pieces the church, and has given work - were included in this collection shops and written on the selec - A performance of Distler’s time - than by any other composer! tion of choral music for worship. less setting of “Es ist ein Ros entsprungen” (sandwiched between the miniatures and the Partita) gives the University of Delaware Chorale their chance to ALCM Summer 2016 regional conference dates shine along with two later Bender pieces. Their sound is nicely Region 4 enhanced by the marvelous (3 locations/dates!) acoustics of the chapel at August 19 20, 2016 Edmonton, AB Canada Charlestown Retirement Community, Catonsville, MD. Region 4 The rest of the recording is devot - (3 locations/dates!) Region 3 ed to the works of Bender. Region 4 June, 2016 July 26 28, 2016 Unfortunately, any survey can (3 locations/dates!) Denver, CO Chicago (Hyde Region 1 Park), IL only barely skim the surface and July 14 16, 2016 July 6 8, 2016 Sacramento, CA Fort Wayne, IN tease the listener, especially when there is so much to choose from. This means that, on this record - Region 2 June 27 29, 2016 ing, we are presented with only Franklin, TN tantalizing single movements from A Cantata for Baptism Save the Date! (Ritornel) and Wedding Sonata (Voluntary); two works for piano and oboe; the German from Missa Organo, Op. 52; a

ALCM in tempo no. 2, 2015 17 music in season Jean Boehler The Christmas Cycle: My Favorite Things

his list of choral repertoire has cantor/ensemble. The contrast - tpassed my “test of time” over ing middle section is slower in a several decades of music-mak - recitative style that may be sung ing in my small but varied musical by cantor or small ensemble. The world. Over the years, I have had closing refrain includes optional the opportunity to conduct tod - voices in harmony for a maestoso dlers, preschoolers, elementary ending as the full choir and choirs, middle school choirs, high organ plead, “Amen, amen, come school choirs, church choirs of six Lord come!” members, mid-sized mixed choirs of 15-20, choirs with professional D. Pearson. An Advent Processional. section leaders, and college festi - Unison/two-part chorus, congrega - val choirs. The list that follows tion, percussion. includes repertoire that has been Aureole Editions (AE63). selected for groups ranging from The delightful Renaissance tots to octogenarians, and from dance-like refrain, “O come, O non-readers to amateur and pro - come, Emmanuel,” may be fessional musicians. accompanied with any instru - What a joy it is to hear a beauti - Richard Horn. ments you may have on hand fully performed piece that has A Shoot Shall Come Forth. (percussion, Orff instruments, been learned well and offered as SAB, organ. organ, or handbells). The stanzas “a sacrifice of thanksgiving.” It is a MorningStar (MSM-50-0200). may be sung in unison (or two- true art to pick that perfect piece The prophesies of Isaiah are part) by cantor or small or large that will challenge and inspire memorably set in Dorian mode ensembles. While written to be your singers and congregation. I with the simple repeating SAB sung in procession, it may also be hope you will find this list helpful refrain, “Then the lamb shall lie sung as an anthem. down with the leopard,” between in your preparations—or at least G. F. Handel. each of the three stanzas. The two get you digging for what will work And the Glory of the Lord. unison stanzas may be sung by in your setting. God’s richest SATB, keyboard. choir or cantor. The concluding blessings as we all continue to G. Schirmer (50294390). phrase, “the hand of a child shall “make a joyful noise to the Lord!” When the Isaiah 40:5 text is pro - lead them to the peaceable king - claimed on Advent 2, one cannot dom of God,” is sung a cappella ADVENT help but sing this beloved chorus in unison until the final PICARDY Shirley McRae. from The Messiah! A Litany for Advent. third on the organ. Carolyn Jennings. Two part (children or adult), keyboard, Martin How. Climb to the Top of the Highest optional flute or soprano recorder, Advent Message. Mountain. alto glockenspiel. Unison. SATB, optional children’s choir (solo), Choristers Guild (CGA-570). Boosey & Hawkes (M-051-40161-1). Based on the lovely English folk keyboard. This adaptable piece may be sung Curtis Music Press (C8118). melody, O W ALY WALY , this Advent in unison (as scored), or easily prayer ends each of the four stan - The soaring melody in triple time adapted to fit each parish’s needs. proclaims the Isaiah 40 text in zas with a solo voice singing “Oh Written in ABA form, the A sec - come to us, Immanuel,” accompa - unison, canon, and SATB harmo - tion is a refrain in 2/2 time, ny. The fourth-stanza counter - nied with alto glockenspiel. The Dorian mode: “Come Lord Jesus.” third stanza is a canon, and the melody which beautifully comple - The repetitive phrases lend them - ments the text, “He will come in fourth stanza has an optional selves well to antiphonal singing flute descant. power,” may be sung by a chil - between sections or dren’s choir or soloist. Jennings

18 ALCM in tempo no. 2, 2015 sensitively sets the Isaiah text as John Ness Beck. J.S. Bach, arr. Michael Burkhardt. she uses melody, dynamics, and Every Valley. Prepare Thyself, Zion. appropriate accompaniment for SATB, organ or piano. Unison voices, C Instrument, key - each of the five stanzas. Beckenhorst Press (BP1040). board, optional cello. The simple recurring refrain is MorningStar (MSM 50-0415). Come, Thou Long-Expected one you will keep humming. The Michael Burkhardt’s edition of Jesus. repeating Isaiah text is first sung this favorite piece from Bach’s arr. Nancy Raabe. by men, then women, and then Christmas Oratorio sensitively S(A)B, piano, optional finger cymbals. sung in unison together. The weaves together C instrument, Augsburg Fortress piece continues to build with a unison vocal line, and keyboard. (978-1-4514-6231-9). modulation up a whole step, four- The text is provided in both Using the tune JEFFERSON , Raabe part harmony, and a concluding German and English. While there uses austere texture and slightly- “Amen!” may be challenging vocal inter - dissonant harmonies to set a vals, the piece is well worth the Keep Your Lamps! musical landscape of Advent long - effort. ing. Modal touches and finger arr. André Thomas. cymbals add an exotic touch to SATB, with conga drum. Paul Bouman. this piece, which can be effective - Hinshaw Music (HMC577). Rejoice, Rejoice, Believers. ly performed by an ensemble of This traditional African American SATB, organ. any size. spiritual arranged by Thomas has MorningStar (MSM 50-4) become a standard in SATB Bouman sets this Advent bride - Paul Manz. choral repertoire. Thomas’ set - groom text to the familiar tune E’en So, Lord Jesus, Quickly ting with conga drum adds rhyth - HAF TRONES LAMPA FÄRDIG . Each of Come. mic intensity as the text propheti - the four stanzas (1-unison; 2- SATB. cally proclaims, “Be ready!” women/men; 3-SATB a cappella; MorningStar (MSM-50-1). 4-unison/descant) is artfully Lost in the Night. This exquisite a cappella piece is arranged with a fanfare organ arr. Kyle Haugen. a standard in choral repertoire. accompaniment sprinkled SAB, piano, optional solo. Written in homophonic style with throughout the piece. contrapuntal imitation, it utilizes Augsburg Fortress the full range of voices (from a D- (978-0-8006-5924-0). Arthur Jennings. flat 3 bass voice to a B-flat 6 sopra - Haugen sets the pleading text, Springs in the Desert. no voice), blending in beautiful “Will not day come soon?” to a SATB, tenor solo, organ. harmony. simple but profound Finnish folk Alfred (GCMR00580). tune, with arpeggiated piano Jennings is a musical exegete as Becki Slagle Mayo. accompaniment. The two unison he interprets the Isaiah texts Emmanuel Will Come. stanzas may be sung by a section through various voices in recita - Unison/two-part, piano, optional 2 or soloist. tive and fugal form. The dramatic octaves handbells, finger cymbals, vocal lines will be most effective tambourine. Ruth Elaine Schram. accompanied by pipe organ with Choristers Guild (CGA1227). Magnificat. a variety of instrumental colors. “We wait, we hope, we long for Two-part, keyboard, optional flute. the Messiah” is the recurring Augsburg Fortress Don Besig and Nancy Price. refrain as a flowing piano part, (978-0-8006-7668-1). We Want to Be Ready. handbells, and finger cymbal The memorable treble melody SATB, piano. alternate with the second half of soars in this setting of Mary’s song Shawnee Press (A-6814). the refrain, “Open the gates to as recorded in Luke. The vocal This spiritual is in call/response the city!” with syncopated block descant, independent flute line, format with a recurring refrain, chords and tambourine. The mid - and arpeggiated piano accompa - making it easy to learn and fun to dle section introduces a counter - niment add to the simple beauty sing. The bass section or a soloist melody that is combined artfully of the piece. could sing the leader part for this with the refrain melody. Advent piece, encouraging all “…to greet the baby who is com - ing soon.”

ALCM in tempo no. 2, 2015 19 CHRISTMAS Robert Hobby. Giacomio Puccini, arr. Michael Bring a Torch, Jeannette, Burkhardt. Michael W. Smith and Wayne Isabella. Gloria. Kirkpatrick, arr. Ronn Huff. SATB, organ, optional finger cymbals. SATB, brass quartet, organ. All is Well. MorningStar (MSM 50-1955). MorningStar (MSM 50-1600). SATB, keyboard. Hobby sets this French carol in an Michael Burkhardt’s arrangement Word Music (080689360787). easy SATB setting with a playful of this exuberant Gloria from Ronn Huff’s arrangement of this organ trio between stanzas. The Puccini’s Messa di Gloria is fun song originally recorded by transparent accompaniment with for both the performer and listen - Michael W. Smith is one that will finger cymbals contributes to the er. Upper and lower parts first keep your congregation hum - child-like simplicity, capturing the take turns singing the repeating ming as they ponder the mystery first Nativity. motives as Puccini modulates of the Incarnation. The gentle, keys, and then voices join togeth - lilting beauty of this piece is cap - Craig Courtney. er in the original key of C major. tured at the outset with a recom - Carols of the Night. Burkhardt orchestrates the piece mended child’s solo. The suc - SATB choir, keyboard. with fanfare accompaniment for ceeding stanzas build with an SAB Beckenhorst Press (BP1345). organ and brass. stanza and concluding SATB full This lengthy piece (8-plus min - setting of “All is well” with a des - utes) pairs two favorite Christmas Dan Roberts. canting Alleluia. carols, “O Holy Night” and “Silent Gloria in Excelsis. Night.” The entire choir will Unison/two-part with piano, optional enjoy singing these familiar carols claves, maracas, and bongos. in a comfortable range. While the Choristers Guild (CGA1365). optional full or reduced orches - A good introduction to singing in tral score would add much color, Latin, this anthem repeats the the arpeggiated piano arrange - first two lines of text from the ment also works well. Gloria in excelsis several times, combining them with a bouncy Barbara Wallace. 7/4 meter and lively percussion Ding, Dong, Merrily On High. parts. The refrain (“Gloria in SATB, organ. excelsis Deo”) actually splits into St. James Music Press: The Sewanee three parts, added layer by layer Composer’s Project 2006. at the beginning. The verse (“Et When easy and joyful is the pre - in terra hominibus”) is in requisite for Christmas Day, this unison without percussion, pro - piece may fit the bill. The inde - viding a brief contrast. Especially pendent organ accompaniment appropriate for the Christmas or sets the joyful tone as the vocal Epiphany seasons, this anthem lines enjoy predictable harmonies Carl Schalk. could also be sung at other times with many parallel sixths. Before the Marvel of this Night. of the church year, whenever the SATB, organ. Robert J. Batastini. Gloria is part of the liturgy. Augsburg Fortress (0800646037). Gaudete. Michael Bedford. Poet and composer SATB/unison. Hodie Christus Natus Est. Carl Schalk collaborated to make GIA Publications (G-3056). Unison/two-part, keyboard. musical magic outlining the The Renaissance dance-like Choristers Guild (CGA-421). action plan for the angels on refrain scored for SATB voices is This Christmas anthem, using Christmas night. Beginning softly sung in Latin and accompanied both Latin and English, works with unison women’s voices, the with finger cymbals and tam - well antiphonally. Music directors piece builds in the succeeding bourine. The six unison stanzas, will enjoy determining how to use two stanzas with a SATB a cappel - sung in English, alternate with this versatile piece, whether with la stanza and the concluding stan - the refrain and are accompanied alternating ensembles, treble and za with descant, as the angels are by ten handchimes or handbells. directed to sing the message of bass, soloist/ensemble, peace, bliss, and love. choral/instrumental ensemble. Using rondo form, Bedford alter - nates the easy refrain with two English verses. The final refrain is

20 ALCM in tempo no. 2, 2015 The coda extends the final Hector Berlioz, arr. Bob Burroughs. phrase, “Oh that we were The Shepherd’s Farewell. there…” SATB, organ. Carl Fischer (CM 8962). Bob Chilcott. This musical gem from Berlioz’ Mid-Winter. oratorio, L’enfance du Christ, Unison/two-part, piano. Op. 25, is a blessing by the shep - Oxford University Press herds to the Holy Child and his (9780193415232). parents. Each stanza begins gently While scored for either SATB or in unison, building to SATB har - treble voices, this expressive, mony with a seamless harmonic memorable melody would be change, all in peaceful 3/4 meter. appropriate for a soloist after a busy Advent and Christmas sea - Gerald Near. son. Chilcott successfully sets the What is This Lovely Fragrance. sung in canon, with both voices well-known Rossetti text to an SATB or SAB, organ. joining together for the final easy and original melody with Aureole Editions/Paraclete Press “Alleluia!” harp-like accompaniment. (AE6). This simple French carol is set J.P. Sweelinck. with an independent organ Hodie Christus Natus Est. accompaniment befitting the text. SSATB. The first stanza is set for unison Hal Leonard (08596784). treble voices, and the second In his most famous choral compo - exchanging the melody between sition, Sweelinck intricately treble and lower voices with a sim - weaves the vocal lines as he pairs ple countermelody on “ah.” The voices, uses fugal imitation and piece concludes with 3- or 4-part homophonic voicing in this a cap - mixed voices. pella Christmas motet. This sub - stantial work displays virtuosity appropriate for the festival of the nativity. EPIPHANY Martin How. Michael Burkhardt. Arise, Shine for Your Light Has I Am So Glad Each Christmas Come. Eve. Choir (equal or mixed voices), SATB, organ. congregation, organ, optional solo MorningStar (MSM 50-1039). voice. Burkhardt chooses a lilting four- Ionian Arts (CH-1009). Lynn Shaw Bailey and measure interlude to connect the The versatility of this piece will be Becki Slagle Mayo. four stanzas of this familiar appreciated by a conductor who Norwegian carol. The four stanzas Oh Come, Little Children. Unison/two-part with piano, optional has little time to prepare after are sensitively set with the first busy Advent and Christmas sea - and fourths stanzas written for finger cymbals, woodblock, hand drum, and five optional handbells or sons. The recurring, triumphant SATB harmony, the second stanza handchimes. refrain, “Arise, shine, for your for unison men, and the third Chorister’s Guild (CGA 1099). light come” may be sung by con - stanza for unison women. From the very beginning of the gregation (with bulletin page Dietrich Buxtehude. piece, simple ostinato patterns included in the octavo) or by the In Dulci Jubilo. using a hand drum, wood block, choir. The texts from Isaiah 60 SAB, 2 violins, and cello or string bass. finger cymbals, and piano accom - between each of the refrains may Concordia (98-1501). paniment set a joyful tone to this be sung by a cantor, small ensem - This simple, yet elegant SAB set - familiar German carol. Baily and ble, or full choir. The well-crafted ting of this favorite Christmas Mayo overlay a partner song that organ accompaniment played on tune is accompanied by a small could easily be adapted for instru - full organ will set a festive tone string ensemble with interludes ments or another ensemble. for the season of Epiphany. between each of the four stanzas.

ALCM in tempo no. 2, 2015 21 Pepper Choplin. Karen Black. tambourine. This rousing piece Deep Waters. Shine like the Sun. could also work well for com - SATB. SATB, keyboard, violin or C instru - bined choirs. Beckenhorst Press (BP1636-3). ment. This a cappella piece enjoys pre - Augsburg Fortress 97814514858943. Ed Thompson. dictable harmonies and feels like This setting of John Ylvisaker’s We are Walking. an old American folk hymn text set to the Scottish folk song Layered 3 parts with optional you’ve always known. Based on Wild Mountain Thyme incorpo - two-part cantor line. Luke 5:1-11, it tells the story of rates themes of light, of God’s sal - Church Publishing (0898695902). Jesus calling his disciples. After vation, and saints who have gone If you haven’t discovered the the congregation has heard the before us who “shine like the delight of leading ensembles or catchy refrain several times, they sun.” Equally fitting for All Saints assemblies the “paperless way,” it’s may be invited to join for the Day or the Epiphany season, the time! Thompson’s We are final refrain, “Go to deep waters, alternating unison/four-part tex - Walking is a perfect Epiphany deep waters, where only faith will ture, the lush harmonies, and the piece to teach with the text, “We let you go. Go out to deep waters, pentatonic descanting C instru - are walking with the light of deep waters, harvests of faith will ment create warmth and beauty Christ.” There are three parts to overflow.” A reproducible page is in the celebration of Christ’s love this song, which may be taught by provided for the bulletin. demonstrated through the saints rote. When combined, the musi - and continuing in our lives today. cal result is magical (and pain - Charles Stanford. less!). . Knut Nystedt. SATB, organ. This is My Beloved Son. Mark Sedio. Choral Public Domain Library SAB, organ. We Believe that This is Jesus. (http://www.cpdl.org). Concordia (98-1805). SATB, soprano or tenor solo. A well-trained SATB choir accom - Immediately grabbing the atten - Concordia (98-9720). panied with pipe organ will pro - tion of the listener, this piece This versatile African American claim the words of Simeon with begins with an organ chord clus - spiritual in call/response format boldness in the Epiphany season ter followed by a recitative sung begins with the soloist heartily with Stanford’s glorious setting of by a cantor, setting the stage for singing and the SATB choir this canticle. Stanford employs the words of God the Father. responding in harmony, “Come harmonic richness as he accentu - Tranquilly, a unison mixed choir and see.” While the first stanza ates the text. The piece concludes sings the words in long note val - would be appropriate for majestically with the ues, “This is my beloved Son with Transfiguration (“The light of and concluding Amen. whom I am well pleased.” The God lights up His face”), the gen - short piece dramatically con - eral nature of the text would also Felix Mendelssohn. cludes in harmony and growing be appropriate during the There Shall a Star from Jacob volume, “Hear ye Him, hear ye, Epiphany or Easter season Come Forth. hear ye Him.” This piece would recounting the miracles of Jesus. SATB, piano. The final refrain builds excite - Concordia (98-3783). be appropriate for the Baptism of our Lord or Transfiguration. ment as it is sung in four-part This beloved chorus from canon and dramatically concludes Mendelsohn’s Christus is a glori - Mark Patterson. with a fortissimo phrase followed ous anthem for Christmas 2 or This Little Light of Mine. by a phrase sung piano. Epiphany. John Leavitt has Unison/two-part, piano, optional arranged this edition well for the tambourine. pianist, with left hand octaves and Choristers Guild (CGA1108). triplet figures for the right hand The piano accompaniment with Jean Boehler serves as Cantor at that fit the hand position com - its syncopation and bass adds Redeemer Lutheran Church, a fortably without sacrificing the much to this song, which is vibrant and diverse LCMS congre - harmonic structure. scored either for unison/two-part gation in The Bronx, New York. In or SATB (CGA1309). There is 2010 she founded Arts in Mission- opportunity for three soloists NY and continues to serve as its before the full ensemble enters director and head teacher. Jean with “gospel joy” and optional has a DMA in organ performance from the University of Wisconsin- Madison.

22 ALCM in tempo no. 2, 2015 Dear St. Cecilia Ron Koch

“Dear St. Cecilia,” previously published in ALCM’s Grace Notes, is back in print by popular demand. Pastor Ron Koch, the “Dear Abby” of the Lutheran church music world, is the voice behind St. Cecilia, and he welcomes your questions and concerns. You can reach Ron at [email protected] or by snail mail to Good Shepherd Lutheran Church, 1735 Hecker Pass Highway, Gilroy, CA 95020. Phone calls are also welcome at (408) 842-2713. If the writer wishes, his/her identity may remain anonymous.

Oh for a Thousand Tongues to Sing because I need help.” Please be Greetings St. Cecilia, aware that your sense of the musi - I am the organist/choir director for a wonderful congregation. Recently our cal ideal and her sense of it are congregation started an ethnic mission that holds a service in their native likely not the same. And then tongue. One of the members is a pleasant lady who has joined our choir (I plunge into the issue of matching direct the music for the English speaking services only) and sings with us consonants for quality choral when there is not an ethnic worship service at the same time. Due to the lin - sound and appropriate chorus guistic differences she pronounces some consonants in ways that are different blending. Offering to work with than most English speakers. These issues wouldn’t be so challenging if she also the whole choir and/or with a didn’t sing with a very strong voice with, frankly, an unpleasant tone. All of smaller group of the soprano (or these combined cause frustration for me as I try to achieve uniformity in vow - alto) section might be more els (and consonants I guess) and achieve a good choral blend. acceptable to her (and helpful to all). I generally try to tackle issues head on with a positive attitude so problems do not fester, but this one has a unique component. I think she is a fairly new We have a problem sometimes in Christian, and I do not believe her husband comes to church with her. One of the church with being “nice.” We the other choir members has befriended her and brings her to choir rehearsals don’t want to offend; we want to and worship. She has an agreeable, upbeat personality, yet she seems to shy understand. We don’t want to away from eye contact and conversations with me. (Is it because I’m male?) I alienate; we want to empathize have a fear that if I were to take her aside and mention that she should sing with others. This is good, because softer it might turn her away from the church and I clearly don’t want that to sometimes we have been all too happen. The other choir members are friendly to her, but I have heard com - insensitive. AND we also want to ments that show that her voice is causing some negative feelings. What shall I be clear. So you are struggling do? with how to be nice and how to be clear. Many thanks, Trying to be Sensitive I would welcome ALCM choir directors to offer suggestions and Dear Trying, gender gaps to help with this con - help to us all concerning this sen - It looks like you are experiencing versation. It’s not that you don’t sitive issue of choral pronuncia - the “new face” of Christianity and know how to approach this kind tion. Let’s hear it from those who the growing diversity of our socie - of subject under these unique cir - are experienced, please. ty and thus, the Church. Who cumstances, and you need some would have thought there would help. You might start by asking St. Cecilia be these kinds of complications? about her involvement in church While there can be beauty in life: How did she hear about your diversity, there can also be musi - congregation’s ethnic mission? cal challenges. How has she been involved in congregational life before she How to go about it? Your usual came to your church? You might approach of tackling issues head get to the point of your conversa - on with a positive attitude may tion with some kind of self-disclo - work, but this is unique, as you sure. “I’m not sure how best to say. I would suggest that you bring up this issue, so I have might get the help of a woman brought a friend to help me, who could bridge the ethnic and

ALCM in tempo no. 2, 2015 23

Non-Profit Org. U.S. Postage In Tempo PAID Association of Lutheran Church Musicians Valparaiso, IN 810 Freeman St. Permit. No. 105 Valparaiso, IN 46383