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in tempo 0-25-100-0 100-22-22-0 0-80-100-0

a practical resource for Lutheran church musicians

Association of Lutheran 2017, No. 1 Church Musicians l alcm.org

In this issue of In Tempo: Reformation 2017: It’s 2017: It’s Still Still All About Jesus! 1 0-25-100-0 100-22-22-0 0-80-100-0 Reformation 500 All about Jesus! at WELS 3

Freed and Renewed By Jon Vieker For , the real-time in Christ 4 n many and various ways, preaching of the The Church Musician churches, governments, and Gospel of Jesus Christ other institutions around the as Persuader 5 i was the principal world have been planning for Deep Calls to Deep: the 500th anniversary of the spiritual means of Using Simple Refrains Reformation in 2017. , reforming the hearts In Lenten Worship 9 for instance, has been preparing since 2008 with a “Luther and minds of hearers, A Lutheran “Stations Decade” of annual themes and thereby the church. of the Cross” 10 coordinated with a greatly enhanced tourism industry. At with the gospel was ultimately Composing Canons 12 the epicenter, the little town of Christological at its core: the Wittenberg and its historic sites confession and answer of Peter, Working Together: From have been spruced up and the disciples, and every believer “Band” to “Team” 21 restored, anticipating no less since to the age-old question, than 10,000 visitors a day during “Who do you say that I am?” Summer Solos the climactic year of 2017. (Matthew 16:15). for Year A, 2017 24 For Lutherans, the anniversary This Christological lens informs is particularly meaningful as the Lutheran Church–Missouri it marks half a millennium Synod’s Reformation 2017 since nailed his theme: “It’s Still All about Jesus!” Ninety-Five Theses on the Castle The theme and logo locate the Church door, encountered the central teaching of Holy Scrip- New Testament gospel of free ture in Christ and his saving grace, and witnessed subsequent work for humankind—that is, reforms in both doctrine and life “the promise of the forgiveness throughout the Western Church. of sins and justification on And yet, Luther’s encounter account of Christ.” (Apology to the , Article IV; The Book of Concord, , Portrait of ed. Kolb/Wengert, p. 126.) Martin Luther, Veste , 1529. ALCM in tempo 2017, No. 1 1 Vieker, Reformation 2017 continued

In General producers, Boettcher/Trinklein Productions, as they have pains- To publicize and distribute takingly worked to assemble a the Reformation 2017 theme team of Luther scholars to inter- and materials, the LCMS (with view and provide consultation financial support and partner- and oversight at every stage. A ship with its Lutheran Church trailer and additional informa- Extension Fund, Concordia tion on this wonderful project is Publishing House, and Thrivent available at LutheranReformation. Financial) has established a org and elsewhere. dedicated web site at Lutheran- Reformation.org. A number of In Word and Song resources are already posted there, with many more to The Reformation’s reshaping come later this summer. For of the church’s worship life— example, check out its “Faces in both word and song—was of the Reformation” section, an enormous endeavor. Along where one can download free with a modest revision of the and informative Bible studies, Latin handouts, and bulletin inserts Mass, Luther introduced the singing of hymns in the vernac- for such Reformation personae For Luther, the real-time preach- ular with the introduction of a as Martin Luther, Katharina von ing of the Gospel of Jesus Christ modest contribution of some two Bora, Leo X, Philip Melanch- was the principal spiritual means dozen hymns in 1523–24. Tens of thon, and many others. Be sure of reforming the hearts and thousands more would flow from to check back from time to time minds of hearers, and thereby the pens of hymn writers and as additional “faces” are added, the church. In order to “up the musicians during the centuries and don’t hesitate to explore and game” of such Gospel preaching to follow. interact with some of the other among its preachers today, the unique features at LutheranRefor- LCMS has launched its “Preach As the joyful recipients of a mation.org, a “one-stop shop” for the Word” initiative. Under the living and growing heritage of all things Reformation 2017. direction of Randall Golter, this Lutheran hymnody, the LCMS project has brought together a recently sponsored a hymn text team of seminary homileticians competition. The competition and parish practitioners who are generated more than 230 developing a dozen or so topical, entries. All hymn entries were online modules for triad groups blind judged by a panel of In Tempo is published three times a year by of preachers to work through judges according to the follow- the Association of Lutheran Church Musicians, together and improve their craft ing criteria: 810 Freeman St., Valparaiso, IN 46383. of preaching. Utilizing video ■■ 800-624-2526 l www.alcm.org instruction, written components, theological strength (i.e., and interactive peer-review, the grounded in Scripture and [email protected] first three modules will become Christological in focus); Subscription is included with available in January 2017. ■■ technical poetical membership in ALCM. soundness; With funding from Thrivent ■■ freshness of imagery; Editor: Nancy Raabe Financial, a major, two-hour ■■ structural strength (i.e., Designer: Kathryn Hillert Brewer television documentary titled, “Reformation: An Idea that flow of thought within and ALCM Business Manager: Cheryl Dieter Changed the World,” will debut between stanzas); ■■ Contributors to this issue: Liv Larson in the fall of 2017 on PBS. Along aptness for liturgical use Andrews, Jeremy Bakken, Barry Bobb, Susan with the ELCA, WELS, and four and congregational singing; Palo Cherwien, Chad Fothergill, Omaldo other Lutheran church bodies in and Perez, Mark Pinnick, Jon Vieker, John Weit the U.S., the LCMS has provided ■■ centered on themes of the input and assistance to the film’s Lutheran Reformation 2 ALCM in tempo 2017, No. 1 Reformation 500 at WELS Want to know exactly how many days, hours, minutes and seconds remain until the moment of the 500th anniversary of the Ref- ormation? Northwestern Publishing House and the Wisconsin Evangelical Lutheran Synod has that and more available for you at www.nph.net/reformation500.

Visit the web site and explore the variety of Reformation 500 mate- rials available from NPH, including music and worship resources on the hymns of Martin Luther; other Reformation-era chorales and Reformation-themed music; new publications as well as classic books about Luther’s life, teachings, and the legacy of the Lutheran church; recordings of the great music of the Lutheran heritage; devo- © 201 ouse 6 Northwestern Publishing H tionals; Bible studies for congregational use; Reformation 500 gifts and apparel; and more. And don’t miss the distinctive downloadable Reformation 500 logo at https://wels.net/reformation500/resources/, available free of charge in a variety of colors.

Jeremy S. Bakken is Director of Worship and Sacred Music for Northwestern Publishing House.

(e.g., the proclamation of Commemoration of Martin Clark, and others. A number of Christ and His saving work, Luther (Birth)—was ALCM members are contributors. the primacy of Scripture, observed on Sunday, The celebration of Reformation justification by grace alone, November 13, 2016 2017 will be a grand opportunity salvation through faith Commemoration of Martin alone, etc.). for Lutherans around the world Luther (Death)—was to bear witness to the Savior they The winner of this competition observed on Sunday, confess—“before God and all was Dr. Wilfred L. Karsten for February 19, 2017 the world” (Formula of Concord, his hymn, “Though All Our Presentation of the Augsburg Solid Declaration, Article VII; Life Is Like a Scroll.” ALCM Confession—Sunday, Kolb/Wengert, p. 598)—the member Dr. Jeffrey Blersch of Jume 25, 2017 One who is “the way, the truth, Concordia University Nebraska Reformation Day—observed and the life” (John 14:6). Or in was commissioned to compose October 29, 2017 the words of Fred Pratt Green: a sturdy tune to go with it. Both are available at lutheranrefor- Various authors and composers So has the Church, mation.org/resources/worship/ of sermons, service planning in liturgy and song, though-all-our-life-is-like-a-scroll. materials, service music, hymn In faith and love, texts, and hymn tunes include: through centuries of wrong, To assist congregations in Jacob B. Weber, Jonathan Kohrs, Borne witness to the truth commemorating a yearlong James Marriott, Matthew in ev’ry tongue: celebration of the Reformation Machemer, Kelly Klages, David Alleluia! anniversary, the LCMS is W. Rogner, Stephen P. Starke, —“When in Our Music God is Glorified,” developing, in partnership with Stephen R. Johnson, Amanda LSB 796, ELW 850/851 n Concordia Publishing House, Husberg, Lawrence R. Rast, a plethora of service music and Jr., James A. Baneck, Gregory worship resources for four cele- P. Seltz, Matthew C. Harrison, Rev. Jon D. Vieker, Ph.D. is senior bratory cornerstone festivals: Gregory J. Wismar, Larry A. assistant to the president of The Peters, Jeff Alexander, Matthew Lutheran Church—Missouri Synod. [email protected].

ALCM in tempo 2017, No. 1 3 Freed and Renewed in God’s Grace: Commemorating 500 years of The Reformation Weaving Lutheran music and arts into your congregational activities

0-25-100-0 100-22-22-0 By0-80-100-0 John Weit

ith the Reformation anniversary year wunderway, Lutheran congregations and synods across the U.S. and the world are plan- ning and hosting activities that demonstrate the importance of this historic milestone: that God’s grace in Jesus is given freely to all. These unique, deep, and meaningful custom-created opportunities lift up Martin Luther’s message that to trust God’s mercy with a living, daring confidence allows one the freedom to give of oneself generously, loving all of life’s undertakings in everyone they meet.

That is the central theme behind resources to understand, plan, 113). This section makes the Evangelical Lutheran and communicate all aspects of connections to Martin Luther’s Church in America’s (ELCA) the Reformation. Among these, small catechism and encourages anniversary theme: “Freed and there are a few good starting brief studies of selected hymns Renewed in Christ: 500 Years of points. appropriate for any age. Sug- God’s Grace in Action.” gested hymns for the anniversary The “With New Voices” tab year appear beginning on page As Lutheran musicians, we know offers the tools to support ELCA 43. Information on adapting this is an exciting time to weave Presiding Bishop Eaton’s “The Church’s Journey in Art the Reformation into the music invitation to hear the catechism and Song” from the 2015 joint and arts within and throughout from new voices, perhaps from ELCA Worship Jubilee/ALCM congregational worship as those not heard earlier in one’s biennial conference can be well as into everyday activities faith experience. Included is an found in the printed resource that support the Reformation extensive guide that highlights and in the included CD-ROM. anniversary. Resources in many opportunities to use music with forms provide tools to create the catechism study. Although only a foundation for a and collaborate with your Reformation worship, catechism congregational partners to The Reformation 500 Sourcebook study, or a joint ecumenical bring the message alive. (Resources/Worship/Books) service, the resources available published by Augsburg Fortress in both the website and source- Getting Started contains materials needed for all book partner well together. The newly relaunched elca500.org aspects of the celebration, with a website hosts a wide variety of particular focus on music (page continued on Page 5 4 ALCM in tempo 2017, No. 1 Throughout the Year During the course of the year, you can help sustain your congregation’s energy for the Reformation anniversary through the use of music and other resources that connect to the Reformation and its history.

Consider using the ecumenical document Declaration on the Way as part of ecumenical and interreligious gatherings, where it is most appropriate. With the important relationship being forged and healed between many Lutherans around the The Church Musician world and the Roman Catholic church, the Common Prayer as Persuader Liturgy offers a reflection point for common witness and 0-25-100-0By Barry L. Bobb100-22-22-0 0-80-100-0might be a “hard sell.” Corinth commitment. was a very diverse and pluralistic ne of the great blessings we society, a very difficult place Music from throughout the ages enjoy as church musicians for Paul to sow the seeds of the also provides a great perspective, ois that we have the oppor- gospel, to persuade. bringing 500 years of the tunity to hear Holy Scriptures Reformation to the present, read in public probably as often A couple of questions particularly when connected as anyone does. It’s fascinating come to mind. with spoken and written to me that, even after all these Did Paul know rhetoric—the word. This includes incorpo- years and even with the familiar- formal art of discourse? rating the commemorative ity of the lessons, there still are hymn “God Alone Be Praised,” times when a word or a turn of Rhetoric had its beginnings in phrase catches my ear. created in honor of ALCM’s 5th-century bc Greece; Aristotle 30th anniversary year and the That happened recently when I developed it considerably as a Reformation anniversary. heard Acts 18:4: “Every Sabbath discipline. Certainly the Romans of Paul’s day (and he was a Your gifts as a Lutheran music he [St. Paul] reasoned in the Roman citizen) were trained and worship team member can synagogues, trying to persuade in rhetoric. From the apostle’s create a lasting impression that Jews and Greeks.” It was that other writings we surely know lifts up the Reformation among verb “persuade” that got my he had a drive for organizing the hearts of parishioners in attention—not “sharing,” Christian teaching. One your congregation. And for “proclaiming,” or “witnessing,” contemporary Christian writer those outside your church, it but “persuading.” In our culture has envisioned meeting Peter offers the gift of the Holy Spirit of safe zones and trigger warn- and Paul in heaven. Peter has a working through the living, ings, it almost sounds aggressive. fishing pole and invites you to go daring confidence of God’s Actually the Greek verb peitho out on a lake in his boat; Paul, grace. n appears several times in Acts and it always means “trying to on the other hand, has a John Weit is Program Director, change the heart of someone” PowerPoint presentation he Music, Office of the Presiding (not merely the mind). It implies wants to show you. Bishop, Evangelical Lutheran Church in America. a systematic, convincing argu- ment and the use of rhetorical Art: Raphael Sanzio, “Plato walks with Aristole,” central figures (detail) in devices. It suggests further that The School of Athens, Apostolic Palace, the viewpoint being expressed Vatican City, 1509-11. ALCM in tempo 2017, No. 1 5 Bobb, Persuader continued

And as church musicians Hicks pleads for a more emotion- that different from first-century we naturally wonder: if Paul ally persuasive liturgy. He uses Corinth. As Ahlman says, being were trained in rhetoric, did Thomas Cranmer, Archbishop of a church musician is not about he consider song to be one of Canterbury, and Cranmer’s work “showing up to play.” Rather it is his tools? on the Book of Common Prayer as a “call to arms.” his source material. Hicks notes For us, Paul is definitely our “go the influence of Luther and Being a church to” guy in the New Testament. Melanchthon on Cranmer and musician is not about We know the passages by heart: their synthesis of Augustinian “showing up to play.” “Let the word of Christ dwell in thought with humanism and Rather it is a “call to you richly as you teach and ad- , and how he also came arms.” monish one another with all to see justification by faith alone wisdom, and as you sing psalms, as the root of all change in peo- hymns and spiritual songs with ple. (Hicks fails to mention that gratitude in your hearts to God” Cranmer’s second wife was a very Church Music and (Colossians 3:16). important Lutheran—the niece Rhetoric “Speak to one another with of Andreas Osiander—nor does The connection between the art psalms, hymns, and spiritual he muse about what influence songs. Sing and make music in of rhetoric and the art of church pillow talk might have had.) your heart to the Lord” music has been well developed (Ephesians 5:19). But the influence of rhetoric over the ages. In the early “About midnight Paul and Silas on Cranmer is unmistakable in church, when Arius wanted were praying and singing hymns his own revision of the Mass. to spread his heresy as far as to God, and the other prisoners He utilizes flowery, sensory possible, he wrote a hymn called were listening to them” language, emotionally charged “Thalia.” We still have a copy (Acts 16:25). words, and couplets and triplets, today.2 It powerfully lays out We know what happened to their carefully using a succession of Arius’ teaching about Jesus— jailer the next morning: he was words to chip away at the human not co-equal with the Father, baptized along with his entire heart, such as “meet, right, and not co-eternal, not with an family. salutary,” “we have erred and equal glory. But the songs of the strayed,” “pass our time in rest followers of Athanasius proved It’s probably safe to say that Paul and quietness,” and “we acknowl- stronger. We still sing many of was not only an apostle but also edge and bewail … sins and those, especially the ones by St. a persuader, a rhetorician for the wickedness … by thought, word Ambrose, such as “Savior of the gospel. It’s also safe to conclude and deed … provoking thy wrath Nations, Come.” that he knew something of and indignation.” For Cranmer, Interestingly, in the Middle Ages music’s power in that witnessing. persuasive liturgy was about both congregational song and saying the right words, at the It’s also safe to rhetoric faded from favor. But right time, in just the right way. conclude that [Paul] in the Reformation era both knew something Another instance came this sum- made a significant comeback. of music’s power in mer when I was reading Chris In the last 20 years or so, much that witnessing. Ahlman’s essay, “The Church study has been focused on the Musician and the World,” in use of rhetoric by both Martin Public Conversation the Festschrift Charles Ore: An Luther and . American Original.1 He talks For Luther much attention has One of the reasons that verb about the church musician as been focused on his sermons.3 in Acts 18:4 caught my ear was prophet, herald, and persuader. As for music as a rhetorical that “persuade” has also been For him this is not a theoretical tool, however, few of us need showing up in the public conver- or historical question; it’s real to be reminded of Luther’s sation about worship and church life. The culture of promoting of congregational music. One instance was in the today is like most of Europe: song for the purpose of teaching May 2015 issue of the journal fewer than 12 percent of people and persuading. And it was Reformed Worship, where Zac identify as Christians. It’s not all effective: The Jesuits in the

6 ALCM in tempo 2017, No. 1 Counter-Reformation com- The return of Preaching through the plained that “Luther damned congregational song Hymn of the Day more people with his hymns brought interest in Many of us know the name of than all his sermons and books how to best convey combined.” Fr. Michael Joncas, who wrote the word persua- “On Eagles’ Wings” and many But more study has been done sively in song. other important hymns. What on rhetoric and Melanchthon. you might not know is that he Knowing how Melanchthon studied liturgy at Notre Dame carefully set up the Apology of the detail in his book Musica Poetica: (IN) and in Rome; he currently Augsburg Confession, how he used Musical-Rhetorical Figures in teaches at the University of 4 the outline steps—exordium, German Baroque Music. St. Thomas, in St. Paul, MN; at , narratio, propositio, confirmatio The use of fauxbourdon, Notre Dame, and at St. John’s, and doesn’t change peroratio— diminution, silence, quick harsh Collegeville (MN). In the pref- our understanding of the dissonances, ground bass, and ace to his recent collection of Lutheran Confessions them- 6 all those ornaments we struggled his new hymns —Fr. Joncas lays selves, but it does shed much to learn in college were there out a startling proposal, namely, light on how he constructed his not to bring attention to the that the Roman Catholic church argument against the Roman performer but rather to convey develop a hymn of the day for Catholic authorities. the texts more meaningfully, every Sunday and solemnity in the lectionary cycle. In para- More important are Melanch- more persuasively. This linking graph three of his preface he thon’s later education reforms. of church music and rhetoric notes that Edward W. Klammer In the Latin schools, where has continued into our own era. provides his basic definition virtually all church musicians Erik Routley, the great British of the hymn of the day. In the were trained, the art of rhetoric hymnologist and thinker about following paragraph he quotes was taught alongside the art of church music, once mused about Carl Schalk in explaining the music. At this time rhetoric was what happens when theologians purpose of the hymn of the day. moving from the mathematically do not try to engage music and In the concluding pages of the based quadrivium of arithmetic, the arts. preface he shows how a hymn geometry, music, astronomy of the day practice would be to the linguistic trivium of All those ornaments consistent with the principles grammar, logic, rhetoric. (We we struggled to learn of the Constitution on Sacred use the same flow in Christian in college were Liturgy. But more poignant were education today: Bible stories there not to bring Fr. Joncas’ comments about his are grammarChristian attention to the collection at the Association doctrine is logic being able performer but rather of Lutheran Church Musicians to explain and defend the faith to convey the texts national gathering in Atlanta in is rhetoric.) And the return of more meaningfully, the summer of 2015. In his work- congregational song brought shop he explained his rationale interest in how to best convey the more persuasively. for this series of hymns based on word persuasively in song. What might our “new theolo- the lectionary in more fervent All Lutheran church musicians gians” have achieved in our terms. He said, “The truth is that were schooled in rhetoric and generation if they had had an the state of preaching in Roman began applying it to music for artist among them! What may Catholic churches in America the next 200 years, all the way the best of them yet achieve if has gotten so bad, that the hymn into the Baroque era, seeing they can interest a musician in of the day may be our only a full flowering in the com- what they are trying to say? It remaining hope.” positions of Johann Gottfried is hardly too much to say that Like first-century Corinth, Walther and others. if it won’t sing, it isn’t good theology.5 like the times of the Arian Dietrich Bartel, a Mennonite controversy, like the era of the teaching at the University of Reformation, like … well, most Manitoba, lays this out in great of human history, we live in a ALCM in tempo 2017, No. 1 7 Martin Marty noted that The task of both is the essence instruments of Christ’s Spirit— the biggest problem that of rhetoric: to find just the right studying, practicing, rehearsing, the church is now facing is word, placed at just the right listening, teaching, learning not atheism or antagonism time in the liturgy, expressed praying, and recruiting—is an in just the right way. To be sure, awesome and wonderful work, a from the government, it’s it is the Holy Spirit who “calls, holy calling from God. And it has 7 “indifference.” gathers, and enlightens.” As Paul never been more important than it is difficult culture in which to Manz used to say, after enchant- right now. The church is blessed plant the seed of the gospel. ing us with the possibilities of to have you in the classroom, in Even as keen and seasoned an improvisation, “The music will the balcony, on the organ bench, observer as Martin Marty noted woo them, but the Word will win or wherever, as a persuader of in a recent issue of the Journal of them.” the gospel. n Lutheran Ethics that the biggest Only the Holy Spirit creates Barry L. Bobb is director of sanctu- problem that the church is now faith and brings a real change ary music at Cornerstone Lutheran facing is not atheism or antago- of heart, not by guilt and the Church in Carmel, IN, and also nism from the government, it’s serves as director of the Center threat of punishment, not by the “indifference.”7 for Church Music. A version of this promise of reward, not even by paper was delivered at Lectures in What on earth is the Church to do? the art of persuasion, but by the Church Music at Concordia Univer- word of the gospel—the divine sity Chicago in October 2016. A Bond Between Preach- truth of justification by grace ers and Musicians alone through faith alone in Remember that all Christ Jesus. you do as instruments The answer is probably not, as Sally Morgenthaler said already In an episode of the TV show of Christ’s Spirit is an 10 years ago, to “shrink Christian “The Big Bang Theory,” Shel- awesome and wonder- worship down to three sermon don, the theoretical physicist, ful work, a holy calling points and four songs in the desperately wants Howard, from God. key of perpetually happy.”8 The the engineer, to show Stephen And it has never been answer is to do as the church has Hawking his paper. Howard uses more important than it always done: this to extract from Sheldon is right now. numerous onerous tasks. The ■■ rely on the word of God and last one is simple: “Pay me a its unique power; and compliment. Tell me that I’m 1 Ed. by Irene Beethe (Minneapolis: Lutheran ■■ rely on the Holy Spirit and good at what I do.” Sheldon University Press, 2016), 157ff. all the tools with which the replies, “Of course, you’re good 2 Daniel Liderbach, Christ in the Early Chris- tian Hymns (New York: Paulist Press, 1998), Spirit equips us. at what you; in fact you’re great 39–40.

One of those tools and a part of at what you do. It’s just that what 3 Neil R. Leroux, Luther’s Rhetoric: Strate- the answer to our challenges, you do isn’t worth doing.” gies and Style from the Invocavit Sermons (St. Louis: Concordia Academic Press, 2002). at least, lies in the roots of our Perhaps you too occasionally 4 Musica Poetica: Musical-Rhetorical Fig- Lutheran heritage. Martin have doubts about life as a ures in German Baroque Music (Lincoln: Uni- Luther not only rediscovered versity of Nebraska Press, 1997). church musician. You may won- the gospel, but he also—alone 5 Erik Routley, Music Leadership in the der, is this really worth doing? If Church (Carol Stream, IL: Agape, 1984), 112. among the reformers—identi- so, remember that all you do as 6 Michael Joncas, Within Our Hearts Be fied music as a gift from God, Born: The Michael Joncas Hymnary for Ad- rather than a human invention. vent and Christmas (Portland, OR: OCP, 2013). Martin Luther not A second volume, We Contemplate the Mys- He went so far as to describe con- tery: Lent and Triduum (also OCP), appeared gregational song in rhetorical only rediscovered in 2015. terms as a predicatio sonora—“a the gospel, but he 7 James M. Childs, Jr., “A Conversation with Martin Marty about His New Book,” Journal of resounding sermon.” In so doing also identified mu- Lutheran Ethics 16, no. 7 (July/August 2016), Luther forged a strong, endur- sic as a gift from God, www.elca.org/JLE/Articles/1174. ing bond between Lutheran rather than a human 8 Sally Morgenthaler, “A Foreword,” in Dan Kimball, Emerging Worship: Creating Wor- preachers and Lutheran church invention. ship Gatherings for New Generations (El Ca- musicians. jon, CA: EmergentYS, 2004), vi.

8 ALCM in tempo 2017, No. 1 Deep Calls to Deep Using Simple Refrains in Lenten Worship

By Liv Larson Andrews effective at naming that place of 221 and got it way down in their conflicting feelings. When grief marrow, singing it while stand- O God, we call is raw, the singing can lead to ing in the grocery store: O God, we call tears. from deep inside we yearn Blessed be God from deep inside we yearn Of course, emotion and feelings who forgives all our sins, from deep inside we yearn can’t be a rubric for planning who heals all our ills, for you. who crowns us with mercy and 0-25-100-0 100-22-22-0 0-80-100-0worship, as in “this’ll make ‘em sob!” What we seek in using love. or the first time, our small these simple refrains is not A song such as this merits repeat- church tried offering a manipulation but worship that ing. I would love to get good f worship service on the makes a warm, open space for news like this stuck in my head evening of the winter solstice. feelings that are hard to move for six weeks! So rather than As recommended by Sundays through. Repetition can assist capping these short songs at two and Seasons (Augsburg Fortress), us in this task. There is an or three rounds, I suggest we risk we themed the night around old joke about the obnoxious a more unscripted use. Let us let Blue Christmas, striving to repetition of some praise songs: the need of the singing commu- make a meaningful space for “Jesus Jesus Jesus Jesus Jesus, nity guide how many times we everything that was not quiet or copyright 1999.” Unlike those sing through a given song. calm or mild in our community vapid choruses, songs written The reason I will plan to offer during the Christmas season. for prayerful repetitive singing a Blue Christmas worship service The sanctuary was dimly lit by can sound like a drone or a hum, again next year is not that I hope handheld candles and a few wall forming a steady ground of song. people cry in church. I hope, sconces. People sat in pews in With thought and care, repeated and through the Holy Spirit I small groups or by themselves. songs can help a community trust, that the promises of bap- We sang evening hymns and welcome in deeper prayers, be tism will come the people who read from the prophet Isaiah. they groans or praises. gather. This past December, that Then we turned to a more fluid baptismal promise took the form time of prayer and singing. The By now, the tree has come down of love that could hold deep song above, “O God We Call,” and the nativity is stored away grief. Who knows what we will from Singing Our Prayer,1 began for next year. The blue, gold, need God to give us this coming this open time. It was then that I and white paraments are folded Lent, but we do know that God noticed the sound of weeping. and stored; we are ironing the purple. As days lengthen, we will meet us in our need. Short, The people who gathered for turn our attention to worship for prayerful songs can help us stay that Blue Christmas service the Lent/Easter cycle. I suggest connected to the love of God, a needed songs with words that we include these simple, shorter love that never ceases to resound spoke to their grief, “we yearn songs in our worship plans plan throughout creation. Whether for you.” They also needed to for Lent. Lent is a season set toned in Advent blue, Christmas sing them through many times aside for faithful reflection and gold or Lenten purple, let us so that the words could give way baptismal renewal (not six weeks seek to create worship that offers to meditation. Especially when of sadness). As we bury the Alle- this abiding message of good we plan worship that intends luia, we can welcome short songs news. n to address the experience of into worship for the purpose Liv Larson Andrews is pastor of discord, which so many suffer of deepening our baptismal Salem Lutheran Church in at Christmastime, simple may identity. Imagine if the people Spokane, WA. be best. A thoughtful, repeated who gather for worship in your refrain can be surprisingly context learned a song like ELW 1 Comp. and ed. by Tom Witt (Minneapolis: Augsburg Fortress, 2010), ALCM in tempo 2017, No. 1 9 A Lutheran “Stations of the Cross”

The Stations of the Cross is By Mark W. Pinnick procession from station to sta- a local reconstruction of tion. Being fortunate enough to Stations of the Cross: the Via Dolorosa in have a Catholic museum nearby, 0-25-100-0 100-22-22-0 0-80-100-0can we really do that? Jerusalem at your church. I contacted them and asked if hen I was a young boy, they had a set of stations that I remember going to a and suggested we do Stations we could borrow for a day. They wrelative’s Roman Catholic that upcoming Lent. After some informed me that they had many church and walking around hesitation and much discussion, in storage that were donated by looking at the scenes of Christ’s he gave me the go-ahead to closing parishes and would be crucifixion on the walls. I turned research it and present the back- happy to loan them to us. I went to my mother and asked why we ground and service idea to the over to the museum and was able didn’t have those pictures on the worship and music committee to pick out a set that was artistic walls at our church. She replied for approval. but small and easy enough to that we are Lutheran and we transport and set up in the I set to work looking into the don’t do those Catholic things. church. Since our sanctuary practice and spirituality behind But I told her that I thought had moveable seating, I set the Stations. Basically, it is locally they were cool and a neat thing stations up on easels around the reconstructing the Via Dolorosa to have on the walls. It was that room, clearing a space in front in Jerusalem at your church. You first speck of curiosity that made of each station and allowing for can go to Christian Resource me pursue this concept further about 10–15 people to stand in Institute (http://www.crivoice. while I was the director of music front of each station, with room org/stations.html) to get a basic and liturgy at Bethel Lutheran for clergy, crucifier, and two history of the stations of the Church in Grove City, Ohio. torch bearers to stand. cross, and there is a service that Our service was held at noon on Several years ago I ran across an you can use or modify. I based Good Friday. We began with a article on the Stations of Cross my approach on the Episcopal greeting, prayer, and dialogue. that made me remember my “Way of the Cross” and modified We sang a hymn, then processed childhood memory of being in the wording for the Lutheran with singing to each station. that Catholic church. I asked church. This was followed by a Scripture myself, “Why can’t Lutherans My first idea about the structure reading, a reflection about the do the Stations of the Cross and of the service was to model it reading, and some mediation make it part of our Lenten after the Episcopal/Catholic time. Then we processed to the piety?” I approached my pastor service with readings and a next station until we had gone

10 ALCM in tempo 2017, No. 1 As Paul Hoffman notes in Stations of the Cross: Photographs and through all 14 stations. We which explained Meditations (Wipf & Stock, 2011), the typical number of stations closed with a prayer and another what they were about in Roman Catholic practice is 14, mandated by Pope Clement XII hymn. We then invited people to do. It also con- in 1731. However, Hoffman continues, “Protestant congregations to spend as much time as they tained some prayers tend toward ten stations, all of which have would like for meditation. and mediation hints Biblical references in the Gospels, with the exception of for making the expe- Station Three, Jesus Falls, which relies on Psalm 118 to bring scrip- We had a good attendance of rience deeper. tural legitimacy to it” (Hoffman, xii). Other resources for about 40 people for our first planning the Stations of the Cross may be found at Stations of the Cross. People We had the church www.holytrinitychicago.org/worship/stations and really liked the added service for open from noon to www.liturgybytlw.com/Lent/Stations.html. Holy Week and appreciated the 3 p.m. People would journey in a different format. come in and start I am now at a different church, I had asked for feedback from with prayer and meditation, then and I was very happy to see that those who attended and the move from station to station at my “new” church had tried in most frequent complaint was their leisure. Each station had a the past to do the Stations of not having enough time at each sheet with a description of that the Cross, but hadn’t now for station. This gave me a new idea station, a Scripture reading, some time. I suggested that we for the following year. and a meditation and prayer to start that practice up again. The read. This was followed by an pastor was more than happy With the feedback from the first invitation to spend as much time to oblige. However, it is done a year of doing Stations, I decided as needed at each station before bit differently at this location. to totally change the format moving to the next. After going At this setting, it is a modified for the second year. Instead of through all the stations, they public service, not a self-guided having a formal service with were then asked to sit in the nave reflection. a procession, I thought a self- of the church with a follow-up guided Stations might have more sheet of paper, which contained Because we do not have mov- spiritual impact. a concluding prayer. able seating, we follow a more structured service. We place the I set up the stations around the The feedback and response to stations around the church [see church with seating for about 10 this format was very positive. photo on page 10], but instead of people in front of each. Some People appreciated that they moving to each station the con- incense burned in a brassier could move at their own pace gregation remains in their pews. and a CD of monks chanting and have the time to reflect We then project each station onto Gregorian chant played softly in on each station. So, with this a large screen for all to see. The the background. In the narthex, response, we decided to follow altar party, however, moves to people picked up a bulletin, this format in the future. each station. This format works quite well.

I feel that this Lenten observance has truly blessed and deepened the personal piety of many in the congregations that I have served. This observance, once thought of as only Roman Catholic, may now be thought of as a catholic obser- vance and open to all for the deepening of one’s piety during the season of Lent. n

Mark W. Pinnick is the cantor and organist at St. John’s Lutheran Church in Zanesville, Ohio. He is also president of the ALCM Columbus: Cantor Connection.

ALCM in tempo 2017, No. 1 11 Composing Canons

0-25-100-0By Chad Fothergill100-22-22-0 0-80-100-0of gifts in your context. In these Think about musical situations, you might consider n addition to multistanza cho- composing a canon. After all, gestures that match the rales, hymns, and spirituals, there’s only one melody for flow and inflection of the church’s treasury of song i singers to learn; but staggered is filled with shorter, repetitive the words. entrances in two, three, or four pieces useful for processions, parts provide texture, variety, worship outside the sanctuary augmentation, and diminution. and harmonic interest. (Maybe space, or circumstances that But for now, we’ll be guided by some singers in your assembly warrant a simpler approach the helpful adage, “simpler is will even be inspired to think to style, length, and flexible better!” about joining the choir!) In instrumentation. We know many addition, “homegrown” canons of these song types from the Text also allow you to adapt them Taizé and Iona traditions, as well over time, perhaps adding an First you will need a text— as from other exemplary collec- instrumental part, percussion, something short and memora- tions, such as Music Sourcebook: or adjusting the key signature ble, perhaps with clear rhyme All Saints through Transfiguration,1 to suit changes in your choir’s scheme that invites balanced Music Sourcebook for Lent and the balance. musical phrases. Start small. Three Days,2 and Hear Our Prayer: Let’s take a familiar refrain, “let Sung Responses for Chorus and The steps and examples that my prayer rise up as incense” Assembly.3 follow trace two approaches from Psalm 141, a text that could to canonic writing, melodic be used at evening prayer, an At times, though, it can be and harmonic. A composer’s evening meeting, or other devo- hard to find the shorter song or toolkit certainly contains other tional gathering where a longer response that offers just the right methods including specialized hymn may be impractical. fit for the unique combination techniques such as inversion, Music: The Melodic Approach Begin by speaking or singing your text aloud; try some ideas and improvise without writing anything down. Think about musical gestures that match the flow and inflection of the words. For example, when I speak “let my prayer rise up as incense” over and over, I find that the word “up” seems to be the peak. It’s also the place where I make a physical gesture as if conducting the text. Maybe your phrasing will emphasize “prayer” or “rise”

antoro instead. Consider: how might

ohn S that spoken gesture translate into a musical one? hoto by J P 12 ALCM in tempo 2017, No. 1 Once you’re ready to start writing, begin with just a few notes in one part, then copy that idea into the second part. For example:

Example 1

Now, set the next little bit of text in counterpoint with the lower line, like so:

Example 2

Bear in mind that you may have to repeat these steps with a few different options until you find one that works best. Not all of us are Mozart and can get it right on the first try! (And to be honest, Mozart didn’t always get it right the first time, either.) Once you’re satisfied with both the individual lines and resultant harmonies, continue on:

Example 3

Now that we have a basic idea, we should probably apply some standard notational practices by adding a time signature, key signature, and bar lines:

Example 4

ALCM in tempo 2017, No. 1 13 Fothergill, Canons continued

Voilà! Now we have a two-part canon! Of course the process is easier said than done, but hopefully these steps offer useful guideposts for experimenting with your own ideas. Once you have a two-part canon, you can also try repeating the pattern in another voice (without surprising or jarring dissonances) to see if you have a three-part canon:

Example 5

As it turns out, this one works okay as it becomes an alternation between G minor and D minor. In order to make your new three-part canon more assembly friendly, remove the extra staves and mark the different entrances with either letters or numbers. Canons in Evangelical Lutheran Worship (for example, see ELW 171, 211, 236, and 565) use numbers. Here, I’ve opted for letters in order to distinguish entries from measure numbers:

Example 6

You may also find that your canon works well over a drone that “grounds” or “centers” the pitch; this sustained note could be played by a string instrument, organ pedals, or with the “singing bell” technique. If your canon is to be uses as a psalm refrain, perhaps it can be “bookended” by bell tones (and further contrasted with slow, soft, random ringing during the verses).

14 ALCM in tempo 2017, No. 1 Example 7

Save your files (if working on the computer) and make necessary revisions if and when you discover that something didn’t quite work as planned, or if the assembly needs a little help finding that B-flat on the word “up”! Lastly, you might consider teaching your canon as a paperless song à la Music That Makes Community. In addition to ELW and collections from the Taizé and Iona traditions, more canonic examples and teaching strategies can be found in “paperless” resources such as Music By Heart: Paperless Songs for Evening Worship.4

Music: The Harmonic Approach Another way to approach composing canons is to start with an underlying harmonic progression. This is how many of the Taizé canons are constructed. For example, take a look at ELW 236, a Taizé setting that uses the incipit of the Latin Magnificat, or “magnificat anima mea Dominum.” While this looks like an eight-measure melody, each two-measure segment (marked by a double bar line) actually unfolds over the same basic chord progression:

Example 8

ALCM in tempo 2017, No. 1 15 Fothergill, Canons continued

When you add the text in order, you get four short melodies over the same chord progression:

Example 9

Notice how the melody is aligned with the chord changes: all the notes in the harmony are there in various parts of the melody when the chord shifts. In order to write a good harmonic progression, you’ll want to start with your bookends, or the first and last chords. Do you want your canon to be “closed,” as in this example, where we begin and end on the tonic chord (the triad based on scale degree 1)? Or, do you want your canon to be “open” and end on the dominant (the triad based on scale degree 5), the chord that most strongly leads back to tonic? Some canons use shorter progressions and four melodic phrases above this progression. Others use longer harmonic progressions and maybe only two phrases, such as “You Are Holy” (ELW 525).

Developing a harmonic map is not an easy task, as one must balance several guidelines that shape our sense of musical logic. Many of these considerations undergird familiar hymns, songs, and liturgies, though it’s easy to lose track of them as they’ve probably been forgotten since taking music theory. As a general rule of thumb, the root move- ment of common-practice tonality will descend by skips outlining the intervals of thirds and fifths and, conversely, ascend by step (the interval of a second) or by a leap at the interval of a fourth.

Using these rules, here’s an actual “map” of pathways for your harmony to go, based on the root position triads of any scale where scale degrees 1, 4, and 5 form major triads; scale degrees 2, 3, and 6 form minor triads; and scale degree 7 (the leading tone) forms a diminished triad:

16 ALCM in tempo 2017, No. 1 Figure 1

Let’s take a progression of several chords, though one that’s more complex than the Taizé Magnificat (I—IV—V—I), just to show how far one can go on this path. Let’s have a progression that ends after four chord changes at the dominant (V), an “open” ending that needs a “close” on the tonic (I):

Example 10

Remember, too, that the triads and their qualities in the chart above (Figure 1) can be “colored” with added tones such as seconds and sevenths. For example, several seventh scale degrees can be added to the progression of Example 10 in order to yield Example 11:

ALCM in tempo 2017, No. 1 17 Fothergill, Canons continued

Example 11

Now let’s add two phrases of text above this progression, an adaptation of the hymn “God Extends an Invitation” (ELW 486), that could be sung for smaller gatherings or if your assembly practices gathering around one table for the entire distribution (for instance, during the summer months when attendance may be less reliable than Sun- days during the school year). Adding text yields:

Example 12

18 ALCM in tempo 2017, No. 1 Next, add some instrumental parts:

Example 13

ALCM in tempo 2017, No. 1 19 Fothergill, Canons continued

Finally, as before, make a congregational version:

Example 14

As before, save your files and revisit them if something doesn’t seem to be working well, or if the choir and assembly are naturally inclined to breathe in a place you didn’t expect, or perhaps elongate or shorten one of your note values. And, as always, give credit where credit is due: be sure to always include proper copyrights, acknowledg- ments, and permissions. n

Chad Fothergill is a graduate student at Temple University, Philadelphia, PA, where he researches Lutheran church music of the late Renaissance and Baroque—especially the literary, pedagogical, and extra-musical activities of Lutheran cantors throughout the period. Outside of coursework and research, he is active as a substitute church musician in the greater Philadelphia and New York City metropolitan areas.

1 Minneapolis: Augsburg Fortress, 2013.

2 Minneapolis: Augsburg Fortress, 2010.

3 Minneapolis: Augsburg Fortress, 2027.

4 New York: Church Publishing, 2008.

20 ALCM in tempo 2017, No. 1 Working Together: antoro ohn S From “Band” to “Team” hoto by J P

By Omaldo Perez even misleading in that they it is through our interactions “There are two kinds of music. speak to superficial aspects of that we have a chance to worship and do not describe Good music, and the other kind.” model and instill our beliefs —Edward Kennedy “Duke” any fundamental quality in our 0-25-100-0 Ellington100-22-22-0 0-80-100-0corporate relationship with most succinctly. God as an assembly. Ellington’s his short aphorism may strike phrase “Good music and the becomes the arbiter conferring you as an odd and rather other kind” might not be a this official imprimatur of tvague place to begin an essay very helpful taxonomic scheme “goodness”? This large umbrella on the particular challenges of when it comes to cataloging our of a category seems to place “worshipping while with band,” churches’ libraries, but concep- the weight of artistic and moral but it comes to my mind every tually it offers the possibility of judgment on the individual, time I think about this subject. I liberation from the formulaic heightening the relativistic and share it at the outset of this arti- music-making commonly found subjective dimensions of our cle because, for many years now, under the rubric “Contemporary sensitive task. I have perceived both discomfort Christian” music. and ambivalence around the Fortunately, this is not like the language we use to describe As the boundaries between local notorious 1964 U.S. Supreme worship and the music modeled and global music continue to Court definition, “I know it 1 after popular styles of the later shrink and we church musicians when I see it.” I would contend 20th century, particularly the are expected to be knowledge- that we musicians are uniquely soft rock and pop styles of the able about and even fluent in an suited to the task of evaluating 1980s and ’90s. ever-increasing number of musi- the finer points of performance cal dialects, it can be refreshing practice, stylistic and theological The many labels used to and even freeing to think in propriety, and contextuality. describe this modality of worship terms of these antithetical After many years of evaluative reflect this anxiety: we all have categories of good and not-good. and comparative listening, we come across the “Informal,” the Not being bound by commercial are equipped (and blessed) “Casual,” the “Come as you are,” paradigms while in pursuit of with some useful resources the “Contemporary,” or even musical excellence can be most to aid us in making objective the—I am not joking—“Loud” rewarding. However, I am aware critical assessments in musical worship. These labels are all too that Ellington’s dichotomy is matters. Most of us already do one-dimensional and maybe not free of problems either: who this type of evaluative “parsing ALCM in tempo 2017, No. 1 21 Perez, Team continued out” without much ado when we hear popular or classical music, be it Sting or Stravinsky. So the responsibility and the privilege of this “good music” business falls on us because we are the best qualified to distinguish the proverbial chaff from the wheat. does the music-making become stronger and the experience The first stop in the journey of richer but, more importantly, my discernment is to understand openness validates the voices of that there is no difference the individuals in the group and between our means and our it strengthens the bonds within ends. If our goal is to create the ensemble. music of high quality, our sojourn must begin and end Individuals under our care, who with people. Music may be the come to us without an agenda most ephemeral of the arts, but other than to ply their gifts in just as proper posture is the best the context of worship and a and Nurture of the Church Choir way to increase the chances of desire to grow as musicians, (Minneapolis: Augsburg For- supported singing taking place, are a gift and a great resource tress, 2003), presents us with the “good music” is most likely to to any congregation. So I take model for how we, as ministers happen when we foster trust and this seriously: where there is of music, must frame our call. openness. I have encountered openness and vulnerability, Apply the pastoral care model that first context for our task in voices are heard —and when it to every aspect of our practice. the human arena—the people comes to learning, all of us are Promote an environment where who sing and play. to grow together. If we succeed every musician and volunteer in creating such an atmosphere cares for one another. Juvenal’s Over the years I have noticed in our band’s practice time, our dictum comes to mind: mens that it is during rehearsals when people will sense intuitively that sana in corpore sano, “a healthy the team and I really get to “the team” is larger than “the mind in a healthy body.” If we know each other. As ministers of band.” When we all live our roles were to transpose this principle music, we must not forget that it from a ministerial perspective, to our sphere, it would read is through our interactions that everyone benefits. In short, like this: good music happens we have a chance to model and anyone who makes music in in the healthy assembled body instill our beliefs most succinctly. our programs is an assisting of Christ, the people. If we pay To achieve this end, I tend to minister, the drummer as much attention to the interactions visualize the band’s practice as the acolyte, the usher, or the between the individuals as well time as a laboratory where we lector. We must always educate as to their relationship to the collectively explore possibilities our people to keep an attitude of music, we will be successful in within the music. I try to incor- servant leadership in mind. reframing any (and, one hopes, porate into the mix as many of all) detrimental performative the gifts and creative suggestions Complementing this view, dispositions in our ministries, as I can. Vulnerability is essen- Wayne L. Wold, in his book freeing us to focus not on tial, but so is an atmosphere of Preaching to the Choir: The Care ourselves but on inviting others applied skill and craftsmanship: to join in song. However, for us there is a lot of “can we try this Anyone who makes to be effective stewards of our and see what happens?” resources, we will need to do music in our programs some preparatory work. We must It is a bit of a trial-and-error set about collecting lots of data. approach in a process not too is an assisting minister, dissimilar to cooking. A lot of the drummer as much As it turns out, “know thyself” ideas may not work, and this as the acolyte, the usher, is not just the advice dispensed is to be expected. When I am in mythic times by the ancient open to suggestions, not only or the lector. 22 ALCM in tempo 2017, No. 1 well worth the effort. By studying track of the core of the reper- the repertoire of prospective toire, the music we can sing and ensembles, I have been able to play well at a moment’s notice grasp the challenges involved in and without any hesitation. With ministry. If we are to adopt this “safe zones” firmly established, practice in a systematic manner, one is free to push the boundar- sifting through the documents ies with confidence. Why would will help us paint a clearer we want to do this? Because by picture as to where our people establishing safe music lists we are in their faith and their learn how to provide both com- musical journeys—and of where fort and challenge to our people. we stand in relation to them. We But I must introduce a note of will be looking for windows into caution, half in jest and half their technical proficiency and seriously. If we are to embrace Good music is the outcome their hearts. We have to wear this prophetic charge as musi- of deep dialogue, unanimi- many hats to achieve this. In cians (and I hope we all do), let’s addition to musician and pastor, not forget that it is in one’s best ty of intention, preparation, we have to don the headgear of interest to discover our people’s of being fully present, and of sociologist, anthropologist, and comfort-to-challenge ratio as a deep desire to share that ethnomusicologist! soon as possible. I have learned this proportion may be one of which we love. We can never underestimate the indispensable variables shap- the power of lists. Lists have the ing the success of our vocation as Oracle at Delphi but also a very wonderful virtue of casting their church musicians. practical matter of ministry any- helpful shadows both backward time and anywhere. There are and forward in time. In forward These suggestions concerning three concentric circles to this mode, we size up. In backward “good music” remind me of the age-old epistemic command: mode, we can better keep track way theory relates to practice. of our musical excursions. One Theory is the effort to recon- ■■ the first innermost circle is can look at a list and retrospec- struct that which worked or your own; tively take stock of which songs went well in the clash of living ■■ the second, your team need to be kept in repertoire, and doing. Theory happens as (band, group, or ensemble); which ones need a break, and an afterthought. Theory takes ■■ and the third is your which ones, for whatever reason, place when we try to get closer to congregation. need to be cycled out. Careful that which we love. To me, good How flexible are you and how recordkeeping can be exceed- music is the outcome of deep malleable are they? Be aware ingly helpful when seeking dialogue, unanimity of inten- of the edges in your aesthetic supportive suggestions or con- tion, preparation, of being fully parameters, personal and corpo- structive criticism from fellow present, and of a deep desire rate. In other words, know what staff members, worship and to share that which we love. All biases you are working with and music committees, or trusted these dimensions move and against, and take note of them, colleagues. stretch us beyond fidelity to the score, beyond creativity, beyond in writing if necessary; assess As mentioned before, close strengths and weaknesses; dis- skill in execution, and beyond examination of these documents categories. Happy musicking! n cover likes and dislikes; identify will give us invaluable insights. areas of growth. Through a bit of detective work, Omaldo Perez is the music director and organist at Zoar Lutheran Before going into a new call, I we can better understand the piety of the ensembles and the Church in Perrysburg, Ohio. He have made it my professional is also the praise/contemporary habit to request all sorts of rep- history of the congregation (and music contributor for the 2017 ertoire lists that include hymns, vice versa!). However, the most edition of Sundays and Seasons choral, band repertoire, and the useful outcome of this process (Augsburg Fortress). like. Going over the lists care- will be the creation of a “safe” 1 Jacobellis v. Ohio, 378 U.S. 184 (1964). fully can be a lot of work, but it is list. A safe list is where we keep

ALCM in tempo 2017, No. 1 23 Jan van Eyck, Choir of Angels from the Ghent Altarpiece in St. Bavo, Ghent, Belgium, 1432.

this time. First, though, I want to point you in the direction of several good resources to find your own solo material. First, take the plunge and pay ($22) for the subscription to the Inter- national Music Score Library Project (IMSLP: ht t p ://i m slp. org/). They have downloaded much of the now-public-domain volumes of Das Chorwerk, Denk- mäler deutscher Tonkunst, Denk- mäler der Tonkunst in Österreich, and other historical sets, as well as original manuscripts and publications such as oratorios. You’ll need your score-reading and clef-reading skills for some of these. You can search on both IMSLP and Choral Public Domain Library (CPDL: www0. cpdl.org/wiki/index.php/ Main_Page) by instrumentation and genre as well as by composer or title.

Then, I want to remind you that many pieces by Schütz and Schein and others in Summer Solos for that era were flexible in their Year A, 2017 instrumentation, so a piece for choir could be done with one soloist taking the primary lines By Susan Palo Cherwien diligence slide during the sum- and the keyboard filling in the 0-25-100-0 100-22-22-0 0-80-100-0mer months. Sure, some Sundays rest. Instant solo repertoire! are just hard to pull together, You can use the same technique ver these many years, I difficult to find occasional music with many choral works. Check have often been asked to for, but overall there are wonder- through your children’s choir osing for liturgies during ful choices available, especially library also. At least one of the the summer when choirs are with some advance planning and pieces I included in To God Will on hiatus, or a certain cantor I cleverness. I Sing (Minneapolis: Augsburg know will call and say, “Hermi- Fortress, 2001) was originally one Gingold is singing in three Back in 2002 I put together a few published as a children’s choir weeks. Any suggestions on what suggestions for the “Resource” composition. I can have her sing?” Church pages in the former ALCM news- musicians work diligently during letter Grace Notes, suggestions Georg Philipp Telemann wrote the year to weave together for lectionary-based repertoire a cantata using solo voice, one cohesive liturgies tied in with for soloists over the summer instrument, and basso continuo the readings for each Sunday, months, and I will try to offer for every Sunday of the church and there is no reason to let that a fuller range of suggestions year in a collection called Har- monischer Gottesdienst. Both Carus 24 ALCM in tempo 2017, No. 1 and Bärenreiter publish volumes For Sundays that seem to elude Howard Hanson, Psalm 8, Four of these cantatas, with all parts pairing well with solos, you Psalms (baritone) (Carl included. (Listen to a few of could always go with a solo aria Fischer) (Ps) MD these gems performed by Bergen movement from a Mass setting, Henry Purcell, “What Is Man?” Barokk at https://toccataclassics. or, if a communion liturgy, any Harmonia Sacra (bass) com/product/telemann-har- “Agnus Dei” movement or “Ave (International) (Ps, Gen) D monischer-gottes-dienst-4/.) verum corpus” or “O Salutaris K. Lee Scott, Jesus My All hostia,” for example, during (Source #1) (G) M Another method for producing communion. (But do resist a solo work when none exists is the temptation to schedule a K. Lee Scott, “Trinitarian to take an appropriate chorale less-than-fine piece of music Blessings,” in Sing Forth God’s prelude or hymn composition just because it fits one of the Praise (AugburgF) (Gen) E for organ or keyboard and give readings.) J.S. Bach, “Quonium tu solus the soloist the melody whenever sanctus,” Mass in B Minor it enters. “Finally, beloved, whatever is (bass) (Gen) D true, whatever is noble, whatever For this coming summer, is right, whatever is lovely, what- Edward Elgar, “Sanctis fortis,” there is a wonderful opportunity ever is admirable … dwell on Dream of Gerontius (tenor) if you have access to a talented these things” (Philippians 4:8). (Gen) D and trained bass-baritone. In Jean Langlais, “Credo,” Missa addition to one of the Elijah simplicitate (Gen) E arias (“It is enough,” on August Solo Suggestions, Lodovico Viadana, “Credo,” 13), two selections from Carlisle Year of Matthew, Missa dominicalis (Verlag Floyd’s work Pilgrimage (Boosey Summer 2017 Friedrich Pustet Regens- and Hawkes) are appropriate burg) (Gen) E on the 3rd Sunday after Pen- Some Abbreviations: tecost (Proper 7. “Save me, O I - related to or quoting the first God”) and on the 8th Sunday reading 2nd Sunday after after Pentecost (Proper 12, Ps - related to or quoting the Pentecost (Proper 6), “For I am persuaded”). (To assigned psalm June 18, 2017 hear the great bass-baritone II - related to or quoting the Norman Treigle sing “For I am I Ex 19:2–8a second reading persuaded,” go to www.youtube. Ps 100 com/watch?v=2U8AiM8hiQI. G - related to or quoting the II Rom 5:1–8 G Matt 9:35—10:8 (9–23) ) Also, if you have a talented Gospel reading and trained soprano at hand, Gen - general connection Michael Head, Make a Joyful July 9, the 5th Sunday after E(asy), M(edium), D(ifficult) - Noise (high voice) Pentecost (Proper 9), includes difficulty level (Roberton) (Ps) D the Scripture references for both (The various oft-repeated num- “Rejoice Greatly” (first reading) Ned Rorem, A Psalm of Praise bered sources are noted at the and “Come unto him” (gospel (AMP) (Ps) M end of the suggestions list.) reading) from Handel’s Messiah. Heinrich Schütz, “Jubilate deo omnis terra,” Symphoniae The solo suggestions that Sunday of the Holy Sacrae 6 (bass+) (IMSLP) follow are based on the selected (Ps) D (complementary) lectionary Trinity, June 11, 2017 (lectio selectiva) readings, not the I Gen 1:1–2:4a Georg Philipp Telemann, semi-continuous (lectio continua). Ps 8 Jauchzet dem Herren alle Welt (My apologies to those who II 2 Cor 13:11–13 (bass + tr) (Carus) (Ps) D use different first readings and G Matt 28:16–20 Georg Philipp Telemann, Make psalms after Pentecost. Any sug- Me Pure, O Sacred Spirit gestions for second reading- and Ludwig v. Beethoven, “The (Source #4) (Gen) MD gospel-related solos will still be Heavens Sing Praises,” in appropriate for your liturgies.) Sing Forth God’s Praise (AugsburgF) (I) M ALCM in tempo 2017, No. 1 25 Cherwien, Solos continued

3rd Sunday after Pentecost (Proper 7), June 25, 2017 I Jer 20:7–13 Ps 69:8–11 (12–17) II Rom 6:1b–11 G Matt 10:24–39

Eugene Butler, Save Me, O God (Source #5) (Ps) M Carlisle Floyd, “Save Me, O God,” Pilgrimage (bass) (Boosey and Hawkes) (Ps) M Luca della Robbia, detail from 6th Sunday after Lee Dengler, “I Cried Unto the Cantoria, Museo Opera del Lord,” Songs of David (Augs- Duoma, Florence, Italy, 1431-1438. Pentecost (Proper 10), burgF) (similar to Ps) M July 16, 2017 Ned Rorem, Psalm 142, Cycle of I Is 55:10–13 5th Sunday after Holy Songs (Southern) (simi- Ps 65:(1–8), 9–14 lar to Ps) D Pentecost (Proper 9), II Rom 8:1–11 David Diamond, “Let Nothing July 9, 2017 G Matt 13:1–9, 18–23 Disturb Thee” (AMP) (Gen) M I Zech 9:9–12 J.S. Bach, “Du Herr, du krönst,” Ps 145:8–15 Cantata 187 (alto) (Ps) MD 4th Sunday after II Rom 7:15–25a G Matt 11:16–19, 25–30 Maurice Greene, Thou Visitest the Pentecost (Proper 8), Earth (tenor) (CPDL) (Ps) M July 2, 2017 G.F. Handel, “Rejoice Greatly,” J.S. Bach, ”Mein Seelenschatz ist I Jer 28:5–9 Messiah (I) D Gottes Wort,” Cantata 18 (so- Ps 89:1–4, 15–18 Antonin Dvorak, “I Will Sing prano) (I, G) D II * Rom 6:12–23 New Songs of Gladness,” David Cherwien, O Healing River G Matt 10:40–42 Op. 99, No. 5 (high) (Source #4) (Gen/I,Ps,G) E (IMSLP) (Ps) E G.F. Handel, “Blessed Is the Peo- Robert Buckley Farlee, We Are a Richard Hillert, “I Will Praise ple, O Lord,” Chandos Anthems Garden (Source #4) (Gen) E Your Name Forever” (GIA) #4 (CPDL) (Ps) MD (Ps) E Felix Mendelssohn, I Will Sing of 7th Sunday after Heinrich Schütz, “Der Herr ist Thy Great Mercies (Source #2) Pentecost (Proper 11), groß,” Kleine geistliche (Ps) M Konzerte (2 high voices) July 23, 2017 Robert Powell, I Will Sing of the (Carus) (Ps) M I Is 44:6–8 Mercies of the Lord (Source #5) Frank LaForge, “Come unto Me” Ps 86:11–17 (Ps) MD (Carl Fischer) (G) M II Rom 8:12–2 Georg Philipp Telemann, “Ich bin G Matt 13:24–30, 36–43 G.F. Handel, “Come unto Him,” getauft in Christi Tode” Messiah (G) MD (med, fl) (Bärenreiter) (II) M Felix Mendelssohn, “Then Shall Heinrich Schütz, “Venite ad the Righteous Shine Forth,” Susan Palo Cherwien is a freelance me,” Symphoniae Sacrae (ten- Elijah (Source #3) (G) M writer and musician who has com- or, 2 vlns) (CPDL) (G) M posed numerous hymn texts that Felix Mendelssohn, For the Lord Franz Schubert, A Song of Trust appear in denominational hymnals Will Lead (Source #4) in the United States, Canada, and (Source #2) (G) E (similar to Ps) M Europe. She served on the ELCA Weckmann, Matthias, “Kommt Benjamin Britten, “For the Language Consultation, whose her zu mir alle” (bass, str, Flowers,” Rejoice in the Lord work set language guidelines. bc) (IMSLP) (G) M (tenor) (Gen) MD 26 ALCM in tempo 2017, No. 1 8th Sunday after 10th Sunday after Camille Saint-Saens, “Domine, Pentecost (Proper 12), Pentecost (Proper 14), ego credidi,” Christmas Or- atorio (tenor, could be sop) July 30, 2017 August 13, 2017 (IMSLP) (G) M I I Kings 3:5–12 I 1 Kings 19:9–18 Gabriel Fauré, Tu es Petrus (bar. Ps 119:129–136 Ps 85: 8–13 w/out choir) (CPDL) (G) M II Rom 8:26–39 II Rom 10:5–15 Anton Bruckner, Jesus, Redeemer G Matt 13:31–33, 44–52 G Matt 14:22–33 (CF Peters) (Gen/G) M G.F. Handel, “What Though I Felix Mendelssohn, “It Is Trace,” Solomon (alto) Enough,” Elijah (bass-bar) 13th Sunday after (Gen/I) MD (I) MD Pentecost (Proper 17), G.F. Handel, “If God Be for Us,” G. F. Handel, “How Beautiful September 3, 2017 Messiah (soprano) (II) D Are the Feet,” Messiah I Jer 15:15–21 Carlisle Floyd, “For I Am (soprano) (II) M Ps 26:1–8 Persuaded,” Pilgrimage David Cherwien, Give Me Jesus II * Rom 12:9–21 (bass-bar) (Boosey and (Source #4) (Gen/G) E G Matt 16:21–28 Hawkes) (II) M Daniel Pinkham, “Who Shall 11th Sunday after Hugo Distler, “My Dear Breth- Separate Us?” Letters from St. Pentecost (Proper 15), ren [People],” Three Sacred Con- Paul (high voice) certos (CPH) (II) D August 20, 2017 (ECSchirmer) (II) D Orlando di Lasso, Qui vult venire Paul Bouman, O God of Mercy I Is 56:1, 6–8 (tenor, bass unacc) (CPDL) (Source #4) (Gen/II) M Ps 67 (G) M II Rom 11:12a, 29–32 Alec Hovhaness, “As the Wings J.S. Bach,” I Follow Thee Gladly,” G Matt 15:10–20 (21–28) of Doves,” Three Odes of Solo- St. John Passion (soprano) mon (CF Peters) (Gen/II) E (Gen/G) D Lee Dengler, “Sing unto the K. Lee Scott, So Art Thou to Me Lord,” Songs of David J.S. Bach, “Jesus Calling Then (Source #1) (Gen/G) E (AugsburgF) (Gen) MD the Twelve,” Cantata 22 (bass) (G) D Felix Mendelssohn, “O Rest 9th Sunday after in the Lord,” Elijah (alto) J.S. Bach, “My Savior, Take Pentecost (Proper 13), (Gen) M Thou Me,” Cantata 22 (alto) (Gen/G) D August 6, 2017 Camille Saint-Saëns, “Patiently Have I Waited,” Christmas Siegfried Karg-Elert, “Come I Is 55:1–5 Oratorio (Source #2) (med, Follow Me,” Wedding Blessings Ps 145:8, 9, 15–22 orig. alto) (Gen) M (CPH) (G) M II * Rom 9:1–5 G Matt 14:22–33 12th Sunday after Numbered Sources: 1. K. Lee Scott, ed., Rejoice Now J.F. Peter, I Will Make an Everlast- Pentecost (Proper 16), ing Covenant (Boosey and My Spirit (AugsburgF). August 27, 2017 Hawkes) (I) M 2. K. Lee Scott, ed., Sing a Song Robert Buckley Farlee, We Are a I Is 51:1–6 of Joy (AugsburgF). Ps 138 Garden (Source #4) (Gen) E 3. Funerals (AugsburgF). II Rom 12:1–8 Ralph Vaughan Williams, “Love G Matt 16:13–20 4. Susan Palo Cherwien, ed., Bade Me Welcome,” Five To God Will I Sing Mystical Songs (Galaxy) (AugsburgF). (Gen) M Arthur Honegger, Psaume 138, Trois Psaumes (high) 5. The Solo Psalmist (Sacred (Salabert) (Ps) M Music Press). n

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