 abc efghijklmnopqrstuvwxyz

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

a practical resource for Lutheran church musicians

Association of Lutheran 2018, No. 3 Church Musicians l alcm.org

l l In this issue of In Tempo: Hearts Hands Voices: Hearts l Hands l Voices A Faculty Perspective 1 A Faculty Perspective A Newcomer’s View 3 by Jennifer Baker-Trinity 0-25-100-0 100-22-22-0 0-80-100-0 I appreciated what a gift Using Your uly 23–26, 2018, were full and rich it was to welcome church as a Choral Resource 4 as church musicians gathered in musicians, many of whom jValparaiso, IN, for the Hearts l Pew Perspective were attending anything Hands l Voices event on the campus Waiting for Advent 8 of Valparaiso University, a first of its sponsored by ALCM for The Advent and kind event for ALCM. As a presenter the first time. Christmas for this week, I noticed several aspects of 10 that set this ALCM conference apart as a unique and successful one. years, I appreciated what a gift it was The Exegetical Organist to welcome church musicians, many Advent Canticles 14 For instance, the people. I saw many of whom were attending anything attendees in the learning sessions sponsored by ALCM for the first Handbells! They’re not whom I had not previously encoun- time. It is my hope that those of us Just for Christmas ... tered at ALCM events. For those who who attended will continue to be Or Are They? 17 have been attending ALCM events evangelists for the organization and for years, there is the renewal that Organ Maintenance for the benefits it offers its members. comes in visiting with colleagues with Maximizing Your whom you have developed collegial In addition, the format of this event Pipe Organ Tuner’s relationships and lasting friendships allowed for a different kind of Efficiency 20 over time. Yet there is needed the engagement. Plenary session times featured short, ten-to-fifteen-minute Sound Bite 21 opportunity to meet new people, to welcome new church musicians to the presentations on a host of topics, Incorporating gift that is ALCM. As a presenter who allowing for a broad range of learn- Professional Musicians has been to ALCM events for over 20 ing, from working with children’s into Your Church Ensembles 22 Hearts l Hands l Voices ALCM Conference, Valparaiso event 2018.

On Volunteer Management Firing Volunteers 22

Children’s Choir Directors: Shaping Music and Lives 26

Interview with a Church Musician Advocate Dr. William A. Raabe 29 Singing together [with Lutheran Summer Music students] in these settings as choirs and navigating the was entering its fourth and final traditional/contemporary con- week of programming when well as at the Festival of versation to discussions about ALCM attendees arrived on Hymns on Wednesday beauty and the vocation of the campus. Any time conference evening reminded us that church musician. On the other planners embark on such col- hand, the “workshop” times laborations, the complexity of singing hymns does indeed were two hours rather than the the event certainly increases. Yet span the generations. typical 50-minute or 1-hour the partnership yielded much time slot typically allotted for fruit, particularly in the worship such sessions. This extended opportunities ALCM shared time allowed for us as present- with LSM. We were able to ers to delve more deeply into a experience morning prayer with Covenant Society topic. For example, in a session LSM as they began each day, Please consider joining our about festivals that I and then also sing compline Covenant Society—those who have included the Association of co-led with Bob Hobby, those with them at the end of the day. Lutheran Church Musicians in who attended not only could Singing together in these set- their will or other estate plans. learn about the steps involved in tings as well as at the Festival of Linda and Robert E. Kempke crafting a hymn festival but they Hymns on Wednesday evening Pauline and John Kiltinen also had time to have conversa- reminded us that singing hymns tions with fellow attendees, even does indeed span the genera- Gregory Peterson and Ann Sponberg Peterson creating a theme and thinking tions. The choral leadership the about the hymns they might LSM Chapel Choir provided Jim and Stephanie Rindelaub select for a hymn festival for alongside participants in the David S. Thoresen their congregation. ALCM event lifted all gathered that evening in glorious song! A second learning session that I Hearts, hands, and voices were co-led with my colleagues Kevin united in thanksgiving, prayer, Strickland and Martin Seltz and praise. highlighted the many resources the ELCA provides for worship This event—alongside the many In Tempo is published three times a planning; a similar learning local ALCM events held around year by the Association of Lutheran opportunity for LCMS attend- the country in 2018—reminded Church Musicians, 810 Freeman St., ees was led by Paul Grime. This me that these face-to-face events Valparaiso, IN 46383. session allowed for an extended are invaluable resources for 800-624-2526 l www.alcm.org “show and tell,” letting church learning and formation for our [email protected] musicians know about the vocation as church musicians Subscription is included with published resources available and worship leaders. Many membership in ALCM. to help them in their yearly and thanks to John Weit, Cheryl Editor: Allison Schweitzer weekly planning. From my per- Dieter, the planning committee, Editorial Support: Anne-Marie Bogdan spective, it can be assumed that and the many others who made Designer: Kathryn Hillert Brewer folks in congregations know this event a success. ALCM Business Manager: Cheryl Dieter about what the church and its Jennifer Baker- Contributors to this issue: Jennifer publishing house produces; this Trinity, deacon, Baker-Trinity, Cheryl Dieter, Beth Ann session allowed us to see how Edwards, Chad Fothergill, Christian we can continue to get the word serves as program Guebert, Ben Hohenstein, Martin Pazdioch, out. Publications that some have director of Allison Schweitzer, Elizabeth Shepley, Luke been using for 10 years are still resource develop- Tegtmeier, Mark Wangerin, Jennifer Wolf new to many church musicians. ment, a joint call with the ELCA Featured Interview: Dr. William A. Raabe (Office of the Presiding Bishop) and Hymnal Abbreviations: A true highlight of this event Augsburg Fortress. She lives in ELW: Evangelical was its intentional planning Shoreview, MN. LSB: in conjunction with Lutheran CW: Christian Worship Summer Music (LSM), which

2 ALCM in tempo 2018, No. 3 Hearts l Hands l Voices: A Newcomer’s View

0-25-100-0by Martin Pazdioch100-22-22-0 0-80-100-0

ll things in life are gifts from God. The July ALCM agathering in Valparaiso, IN—Hearts • Hands • Voices— was certainly a gift for me. Having just signed a contract to serve for the first time in a Lutheran congregation, I prayed for a crash course in the principles, traditions, and ethos of modern Lutheran church music. So I joined ALCM and registered for the gathering that same day. Wow, were my prayers answered!

The conference was a perfect blend of the practical, the edu- cational, and the inspirational —often combined into one— during each of the many helpful lectures, discussions, liturgies, and group learning sessions. Several of our days began with the inspirational liturgies of morning prayer and ended with the beautiful evening prayer. An especially poignant moment for me, as a teacher, was the Hearts l Hands l Voices ALCM Conference, Valparaiso event 2018. “reminding” experience of hearing the Lutheran Summer on the results of a prior member Finally, the opportunity to Music student musicians, at survey, were tailor-made for meet and network with other the end of a long day during the working church musician. working church musicians was their final week of residency, The four that I attended—on yet another benefit of this infor- fully and sincerely engaged in Lutheran music/worship mative and inspiring gathering. worship during the solemn and resources; arranging; leading Thanks, ALCM, for starting me profound service of Compline. assembly song with piano; and off on my journey to becoming worship-band leadership—were a good Lutheran church musi- Morning speakers and plenary chock-full of helpful tips to cian, just in the nick of time! session talks covered a wide vari- improve efficiency and practical ety of interesting and pertinent solutions to common issues. Martin Pazdioch subjects that both directly cor- Skill-building opportunities is worship & related to and expanded upon within and beyond the sessions music leader the group learning sessions, were all presented by extremely at Gloria Dei which were—for me—the high- knowledgeable and experienced Lutheran Church lights of this summer gathering. faculty in a collaborative and in Northbrook, IL. The topics of the learning ses- empowering setting. sions, which were chosen based ALCM in tempo 2018, No. 3 3 Using Your Hymnal as a Choral Resource

Almost any hymn stanza in any hymnal may be sung by the choir in a variety of melodic and harmonic configurations by simply using what’s already printed in the hymnal.

Choir stanzas add variety to congregational hymn singing, particularly when a hymn has many stanzas. They also offer an opportunity for soloists and 0-25-100-0 100-22-22-0 0-80-100-0 choirs of various ages and voic-

Hearts l Hands l Voices ALCM Conference, Valparaiso event 2018. ings to enrich hymnsinging in a unique way.”1 His basic premise by Cheryl Dieter is that almost any hymn stanza in any hymnal may be sung by have long been a fan of Hal For the Hearts • Hands • Voices the choir in a variety of melodic Hopson’s Creative Church events this year, I wanted to and harmonic configurations iMusician series from Hope, create a take-home booklet for by simply using what’s already which is a real treasure trove attendees that included both printed in the hymnal. of suggestions for using vocal information about ALCM as The first two pages of that four- and instrumental ensembles as well as a variety of practical tips page section deal specifically well as handbells and keyboard on a variety of subjects. Since a with “hymns with an inherent to enhance congregational key focus of these events is the four-part harmonic structure” singing. Some of his suggestions effective leading of assembly and I included those two pages are very subtle, while others song, it seemed appropriate in the event take-home booklet. are quite elaborate. The focus to include something from (They are reprinted on pages of each suggestion—and there Hopson’s series in the ALCM 6-7 with some applicable hymn are hundreds of them in the booklets. tunes found in the three pri- eight-volume series—is always mary North American Lutheran the same: to enhance and In vol. 2 of the series, The .) During the plenary enrich the song of the people Creative Use of Choirs in Worship, sessions at the Valparaiso event, assembled for worship. Hop- Hopson lays out a four-page we sang those hymn tunes using son’s primary sourcebook for section titled “Creating Choir a variety of the voicings laid out these suggestions is the hymnal. Stanzas from the Hymnal.” In by Hopson—and a few other Because his suggestions are the introduction to this section voicing possibilities suggested almost always hymn-tune based, Hopson writes, “A hymn stanza by attendees. It was wonderful they are useable with virtually sung by the choir (alternation) to hear how those simple four- any hymnal. has a long and rich tradition in the Christian Church, especially part hymn settings could be among German Lutherans. enhanced and transformed by 4 ALCM in tempo 2018, No. 3 SAVE THE DATE LEADING THE CHURCH’S SONG Doing Common Things Uncommonly Well ronson

PORTLANDOR y B ann

JUNE   y D hoto b P Trinity Episcopal Cathedral ALCM 2019 Biennial Conference Our theme is “Leading the Church’s Song: Doing Common Things Uncommonly Well”

KEYNOTERS: Save the Date! Join with ALCM members n Susan Briehl gathering together for worship, education, n Robert Buckley Farlee inspiration and fellowship at our next n Samuel Torvend biennial conference. St. Mary’s Cathedral of the Immaculate Conception

simply reassigning the parts to ■■ If this is a completely new just “choir alone” stanzas. On other voices. concept for your choir, stanzas where the congregation introduce it carefully and (or a subset: higher voices, lower As musicians responsible for rehearse one or two con- voices, etc.) sings the melody, leading the church’s song, we figurations until choir have the choir surround their have been entrusted with an members are comfortable singing with one of Hopson’s amazing body of hymnody. If and can confidently sing suggested voicings. It will you already include alternating the stanza(s). enliven and enrich their praise hymn stanzas regularly within ■■ in glorious ways! worship, bravo! If you don’t do it Devote a portion of every choir rehearsal to singing at all or not very regularly, here Cheryl Dieter retired in February stanzas from the hymnal in are a few steps you can follow to 2017 after serving for 27 years as a variety of configurations. get started. minister of worship and music Not only will this help the at Trinity Lutheran Church in ■■ Identify the hymns you choir become more con- Valparaiso, IN. Since 2007, she has will be singing that might fident in their leadership also served as ALCM’s business be enhanced by singing but it will also enrich their stanzas in alternation. appreciation of the hymns manager. ■■ Use Hopson’s descriptions themselves. (high alto part, low tenor With a bit of advance planning Endnote part, etc.) to determine and dedication, your hymnal 1. Hal H. Hopson, The Creative Use of Choirs can become an incredible in Worship (Carol Stream: Hope, 1999), 2–4; which part configuration reprinted in Hopson’s A Practical Guide to would work best with each resource for enhancing congre- Arranging Music for Organ, Choir, Hand- hymn. gational singing. And don’t limit bells, and Other Instruments (Carol Stream: Hope, 2004), 24–27. the suggested configurations to ALCM in tempo 2018, No. 3 5 THE CREATIVE USE OF CHOIRS IN WORSHIP by Hal H. Hopson Creating Choir Stanzas from the Hymnal

A hymn stanza sung by the choir (alternation) has a long and rich tradition in the Christian Church, especially among German Lutherans. Choir stanzas add variety to congregational hymnsinging, partic- ularly when a hymn has many stanzas. They also offer an opportunity for soloists and choirs of various ages and voicings to enrich hymnsinging in a unique way.

The following ideas make use of the inherent textual and musical structure of a given hymn. They are offered with the hope that church musicians will create their own choir stanzas.

In deciding what vocal resources to be incorporated into a choir stanza, it is important to study the hymn carefully with the following consideration:

■■ Its musical and textual period and tradition ■■ Its musical and textual structure ■■ The length of the hymn ■■ The key of the hymn (mode, pentatonic, etc.) ■■ The number of parts (Unison, SATB, etc.) ■■ Seasonal implications ■■ The spirit of the hymn (spirited, slow, meditative, etc.) ■■ Key words (such as children, mother, father, men, women, etc.) ■■ Literary implications as to whether it is first, second, third person, singular or plural

Specific Considerations in Developing Choir Stanzas Hymns with an inherent four-part harmonic structure

Hymns with moderate ranges in all voice parts (Merton – ELW 246, LSB 345, CW 15) ■■ SATB voices, unaccompanied Each of the four voices sings its respective part

■■ SATB voices, a thickening of the vocal texture, phrase by phrase on hymns of four phrases Phrase 1: Sopranos only Phrase 2: Altos join, sing the Alto part Phrase 3: Tenors join, sing the Tenor part Phrase 4: Basses join, sing the Bass part

■■ SATB voices with soloist preferably unaccompanied Soloist: Sing the melody Choir: Hum the four-part harmony in the hymnal, stagger the breaths with no breaks between the phrase throughout

■■ SATB voices with or without accompaniment (This voicing is effective when the soprano and alto parts are unusually sonorous.) Soprano and Alto: Sing the respective soprano and alto parts Tenor and Bass: Hum the respective tenor and bass parts

6 ALCM in tempo 2018, No. 3 Hymns with a high Alto part (Woodworth – ELW 592, LSB 570, CW 397) ■■ Two-part mixed (SA/TB) accompanied Soprano and Alto: Sing the Alto part Tenor and Bass: Sing the melody

Hymns with a low Alto part (Wareham – ELW 729, LSB 866, CW 601) ■■ SATB, (a very brilliant voicing) accompaniment is optional Soprano: Sing the Alto part an octave higher Alto: Sing the melody Tenor: Sing the Tenor part Bass: Sing the Bass part

■■ Unison voices with Soprano descant Soprano: Sing the Alto part an octave higher Alto, Tenor, Bass: Sing the melody

■■ TTBB, preferably unaccompanied Tenor I: Sing the Alto part on the pitches where it is notated Tenor II: Sing the Tenor part Bass I: Sing the melody Bass II: Sing the Bass part

Hymns with a high Tenor part (RegentEGENT SQUq uareARE – ELW 275, LSB 367, CW 80) ■■ SSA, unaccompanied Soprano I: Sing the Soprano part Soprano II: Sing the Alto part Alto: Sing the Tenor part on the pitches where it is noted

■■ Two-part men’s voices (TB), accompanied Tenor: Sing the Tenor part Bass: Sing the melody

Hymns with a low Tenor part (Beach Spring – ELW 712, LSB 848, CW 353) ■■ SATB voices (Fauxbourdon), preferable unaccompanied Soprano: Sing the Tenor part an octave higher Alto: Sing the Alto part Tenor: Sing the melody Bass: Sing the Bass part

■■ Two-part mixed voices (SA/TB), accompanied Soprano and Alto: Sing the Tenor part an octave higher Tenor and Bass: Sing the melody

■■ Unison voices with Soprano countermelody Soprano: Sing the Tenor part an octave higher Alto, Tenor, Bass: Sing the melody

Reprinted from A Practical Guide to Arranging Music for Organ, Choir, Handbells, and Other Instruments by Hal H. Hopson. Copyright © 2004 Hope Publishing Company, Carol Stream, IL 60188. All rights reserved. Reprinted by permission. Hymn tune suggestions (in red) were not included in the original. ALCM in tempo 2018, No. 3 7 pew perspective by Jennifer Wolf 0-25-100-0Waiting for Advent 100-22-22-0 0-80-100-0 0-25-100-0 100-22-22-0 0-80-100-0

e all have our favorite anticipation and expectation Aunt Sybil said. She plays the Christmas hymns. for the arrival of our Savior. But organ at Bethany Lutheran wWhether it’s a hearty why does it feel like everyone is in Manitowoc, WI, where my rendition of “Joy to the World,” okay with singing “O Come, O uncle, Robert Kujawski, is a the lullaby quality of “Silent Come, Emmanuel” once, eating pastor. When I asked them Night,” or the cute factor of a daily piece of chocolate, and about Advent and how it’s kindergarteners singing “Away then jumping into Christmas? I celebrated with music at their in the Manger,” there’s a song repeat, it’s too soon! church, each of them agreed I bet you look forward to every that it can be difficult to keep year. As usual, I have a lot of ques- Christmas out of Advent. One tions from my pew perspective. approach they’ve tried is to Hold on. Did you hear that? I consulted several people provide special services to make Someone started playing “O who are instrumental (pun Advent stand out. “One year Holy Night” before the trick-or- intended) in making music we did a unique service where treat candy was handed out. In decisions during Advent. First, everyone in the congregation the store there are ornaments family was consulted. was encouraged to submit their in the same department as fall favorite Advent hymns, and we items. What is happening? It’s “Singing and playing Christ- talked about the rich and varied too soon! mas music during Advent is almost like seeing Christmas history of the music. It was Isn’t this how we should feel decorations in stores before neat to share that,” my uncle during Advent? This season Thanksgiving. They are remembered. “We’ve also done of the church year is all about separate and unique,” my a service where we

©iStock/Florea Marius Catalin

“With all the commercial emphasis on Christmas, it is easy to forget that Advent is a separate season of the church year. ”

8 ALCM in tempo 2018, No. 3 0-25-100-0 100-22-22-0 0-80-100-0

only used music that would have been available to Luther.”

Next, I talked to my fellow Advent by Candlelight (ABC) committee member Kristi Meyer, a professor at Wisconsin Lutheran College and author of nine ABC programs as well as the supplemental material for the 2015 movie “My Son, My Savior.” If you’re not familiar with ABC, this program is an afternoon designed for women of all ages to gather and ready our hearts for what’s to come through themed vignettes and music. “It takes a strong-willed Much like my aunt and uncle pastor and faithful said, Meyer remarked, “With all church musicians to let the commercial emphasis on Advent be Advent.” Christmas, it is easy to forget that Advent is a separate season hoto of the church year. Therefore, P Advent has its own music, its rigger own Scripture readings, and /T tock S

its own traditions. Advent i should be allowed to stand on © its own and serve as a time of and musicians must be willing I be so amazed? Probably not, preparation and anticipation to observe the Propers for the considering how holiday crazed for Christmas.” Advent Sundays. While the people can be. However, I’m Advent Season is quasi-peniten- definitely going to take these Last, I spoke with James Tiefel, tial (less penitential than Lent), thoughts and apply them to professor of liturgics and hom- musicians can heighten the my daily life more as I help my iletics at Wisconsin Lutheran Advent experience with music own children learn the church Seminary in Mequon, WI. He based on the hymns of the day. year. We don’t just need to wait was very helpful in pointing There are ways to keep Advent for Christmas. We can wait for out the many ways a church and Christmas/Epiphany Advent. can work on keeping Advent, separate, but people have to be Christmas, and Epiphany committed to it and work at it.” Jennifer Wolf is a separate. Everything from how PR specialist who the Altar Guild decorates to After speaking with all these has taught at whether or not a church uses people, and with more on a special midweek services can purely conversational level, I’m Wisconsin enhance and celebrate each. “It amazed at how fierce pastors Lutheran College takes a strong-willed pastor and and musicians may have to be in Milwaukee, WI. She is a layperson faithful church musicians to let to keep a congregation focused in the pew at St. John’s Evangelical Advent be Advent. The pastor during the church year. Should Lutheran Church in Wauwatosa, WI.

ALCM in tempo 2018, No. 3 9 The Advent and Christmas Hymns of Paul Gerhardt

0-25-100-0 100-22-22-0 0-80-100-0by Mark E. Wangerin earth are stated in subsequent stanzas: he German -writer Paul Gerhardt I lay in fetters, groaning; t(1607–1676) contributed You came to set me free. (st. 3) many hymns to the corpus of Lutheran hymnody. Many of Love caused Your incarnation; them have made their way into Love brought You down to me. (st. 4) English-language Lutheran hymnals as well as into the Sin’s debt, that dreadful burden, hymnals of other denomina- Cannot His love erase; tions. Several of these hymns Your guilt the Lord will pardon are appropriate for the Advent And cover by His grace. (st. 5) and Christmas seasons of the church. This article will briefly The last stanza speaks of the discuss six of these hymns and return of the Lord and the comment on their theological hope of eternal life, which is a significance. common theme in the closing stanzas of Gerhardt’s hymns: “Christ is born!” “Oh Lord, How Shall I He comes to judge the nations, their choirs are singing A terror to His foes … Meet You” (ELW 241, Till the air Send forth Your beams so LSB 334, CW 18, 19) Everywhere cheering Now with joy is ringing. “Wie soll ich dich empfangen” And guide me safely home. was first published in Johann (st. 6) The victory of Christ is Crüger’s hymnbook in Berlin The hymn may be sung to the proclaimed in the following 1 in 1653. Gerhardt at the time tune St. Theodulph (Valet will stanzas: was pastor at St. Moritz in ich dir geben) or to the tune of Hear! The Conqueror Mittenwalde, though the hymn the same name as the hymn, has spoken: may have been written earlier written for the text by Crüger, “Now the foe, during the time of the Thirty the Kantor of St. Nicolai in Sin and woe, Years’ War (1618–48). This Berlin. Death and hell are broken!” hymn beautifully summarizes (st. 2) the main themes of the Advent “All My Heart Again season, beginning with the Should we fear our God’s Rejoices” (ELW 273, displeasure, parable of the ten virgins: LSB 360, CW 37) Who to save, Freely gave, O kindle, Lord most holy, “Fröhlich soll mein Herze springen” Your lamp within my breast. His most precious treasure? also appeared in Crüger’s (st. 1)2 (st. 3) 1653 hymnbook. It was paired It also refers to the Palm Sunday with the tune of the same See the Lamb, our sin once procession: name written by Crüger. The taking hymn originally contained To the cross, Your Zion strews before You, Suffering loss, 15 stanzas, and most hymnals Green boughs and fairest palms. Full atonement making. (st. 4) (st. 2) have a cento of the hymn. The The incarnation and purpose first stanza includes the angelic for the Lord’s coming to announcement:

10 ALCM in tempo 2018, No. 3 The next stanza shifts to a quiet invitation from the newborn child of Bethlehem:

Softly from His lowly manger Jesus calls One and all, “You are safe from danger” (st. 5) Again, the final stanza is a confident statement of the hope of eternal life:

We shall live with Him forever There on high In that joy Which will vanish never. (st. 6) This hymn is also the inspira- tion for the beautiful choral anthem “All My Heart This Night Rejoices,” written by Z. Randall Stroope.3

“O Jesus Christ, Thy Manger Is” (LSB 372, CW 40) “O Jesus Christ, dein Kripplein ist” too is from Crüger’s 1653 hymn- book, again paired with a tune by Crüger of the same name. In LSB the hymn has a lovely new tune written by Kenneth Martin Schöngauer, Nativity, 1480 Kosche (In paradisum). The first stanza speaks of the manger as “Come, Your Hearts and our paradise and confesses the For God’s own Child Voices Raising” Incarnation: In mercy mild, (LSB 375, CW 42) Joins thee to Him; how greatly For there, O Lord, God must love thee. (st. 4) “Kommt und lasst uns Christum ehren” first appeared in Johann Doth lie the Word The final stanzas again return Made flesh for us. Ebeling’s hymnal published in to the theme of victory and Berlin in 1667. Ebeling was the The stanzas that follow paradise: remember the creation, the successor to Crüger as Kantor incarnation, the redemption of Remember thou at St. Nicolai, and Gerhardt Christ, and our life in Him: What glory now served with both of them when The Lord prepared thee for all he was third assistant pastor He whom the sea earthly sadness. (st. 5) of St. Nicolai from 1657 to And wind obey, 1667. This familiar Christmas … keep Christ as thy true Doth come to serve the sinner in hymn is sung to the tune of the great meekness. (st. 2) treasure. To Him hold fast Quempas celebration Quem Immanuel, Until at last pastores. It was a favorite carol Thy birth doth quell A crown be thine and honor in sung at children’s Christmas The power of hell and Satan’s full measure. (st. 6) services. This hymn invites us bold deceiving. (st. 3) to praise the Lord for his birth and redemption: ALCM in tempo 2018, No. 3 11 It also rejoices at the birth of Christ:

Now Thou art here, Thou Ever-blest! In lowly manger dost Thou rest Thou, making all things great, art small; So poor art Thou, yet clothest all. Hallelujah! (st. 3)

And again, the hymn closes with the eternal victory:

Thus will I sing Thy praises here With joyful spirit year by year; And when we reckon years no more, May I in heaven Thy name adore! Hallelujah! (st. 8)

“Beside Thy Manger Here I Stand” “Ich steh’ an deiner Krippen hier” is not found in any of the more Adolf Hölzel, Adoration, 1912 “We Sing, Immanuel, recent Lutheran hymnals. But Christ the Lord with gladness Thy Praise” the English text did appear in praising; “Wir singen dir, Immanuel” was the American Lutheran Hymnal Loudly sing his love amazing. first published in 16 stanzas of 1930. This is a popular (st. 1) in Crüger’s 1653 hymnbook Gerhardt hymn in Germany, since Christ, from heav’n to us and then in 20 stanzas (!) in descending Ebeling’s 1667 hymnbook. It is wrote a chorale arrangement 7 And in love our race a text that has not appeared in for it. As such, it can be a fine befriending. (st. 2) recent Lutheran hymnals; it did hymn for use by choir or solo. appear in .4 The hymn can also be sung to Jacob’s star in all its splendor It may be sung to the tune by the tune of the hymn “The Day Beams with comfort sweet and Is Surely Drawing Near” (Es ist tender. (st. 3) Nikolaus Herman, Erschienen gewisslich an der eit ist.5 It can also be sung quite Z ). Since From the bondage that effectively to Luther’s tune the words are not as readily oppressed us … for the hymn “From Heaven available, the full text of three We the captives now are free. Above” (Vom Himmel hoch), stanzas from a translation by (st. 4) leaving off the final Hallelujah William M. Czamanske is of Gerhardt’s verses. The hymn reproduced below: The final stanza is a prayer to speaks of the hope of the Old the Christ Child to lead us (as Beside Thy manger here I stand, Testament believers: Dear Jesus, Lord and Savior, expected) to heaven: A gift of love within my hand For Thee, since first the world To thank Thee for Thy favor. Gracious Child, we pray, was made, O hear us, O take my humble offering; So many hearts have watched My heart, my soul, yea, From your lowly manger and prayed; cheer us, everything The patriarchs’ and prophets’ Is Thine to keep forever. Gently lead us and be near us throng Till we join Your choir above. For Thee have hoped and waited (st. 6) long. (st. 2)6 12 ALCM in tempo 2018, No. 3 Edward Burne-Jones, Adoration of the Magi, 1861 These Advent and Christmas hymns written by Paul Gerhardt have played an important role in the worship of the Lutheran church. Their continued use will be a blessing in the years to come. Endnotes 1. Biographical and publishing information on the author, composer, and hymns from W. G. Polack, The Handbook to the Lutheran Hymnal, 3rd and rev. ed. (St. Louis: With joy I gaze upon Thy face; These Advent and Christmas Concordia, 1958). Thy glory and Thy splendor hymns written by Paul Gerhardt 2. Hymn quotations unless otherwise noted Is greater than my heart can have played an important role are from Lutheran Service Book (St. Louis: praise Concordia, 2006). in the worship of the Lutheran And songs can fitly render. church. Their continued use 3. A search for this title on YouTube will re- O that my mind might truly be sult in many examples of this choral anthem. As boundless as the deepest will be a blessing in the years to come. 4. The Lutheran Hymnal (St. Louis: sea,— Concordia, 1941), #108. ‘Twould still be lost in wonder. Mark E. Wangerin 5. The tune and first stanzas may be found at youtube.com/watch?v=1lHPOk4VDr4. O grant me this abundant grace, is associate pastor And let it be Thy pleasure for pastoral care 6. Hymn text throughout this paragraph is quoted from The Lutheran Hymnal. That I may be Thy at Mount Olive dwelling-place, 7. youtube.com/watch?v=W3FI1LULIEY. Lutheran Church Dear Savior, Sweetest Treasure! in Milwaukee, WI. 8. Text quoted from https://hymnary.org O let me be Thy manger-bed, /text/beside_thy_manger_here_i_stand_ Then shall I lift my lowly head czamanske. With joy beyond all measure.8

ALCM in tempo 2018, No. 3 13 the exegetical organist by Chad Fothergill 0-25-100-0Advent Canticles 100-22-22-0 0-80-100-0

0-25-100-0 100-22-22-0 0-80-100-0 It is fitting to consider n Sunday, December as strophic hymns, look in your two of Luke’s beloved 2, 2018, congregations organ library for settings of canticles as a basis for owill begin the season their tunes to use as service of Advent. For those using music during Advent. Advent service music. a three-year lectionary, the new liturgical year (Year C) Benedictus: Ich heb mein Augen sehnlich begins with a cycle of readings Den signede Dag (LSB 936) centered around the gospel auf (ELW 573) according to Luke. Accordingly, Ellacombe (CW 275) In dir ist Freude (LSB 933) it is fitting to consider two of Forest Green (ELW 250) Luke’s beloved canticles as a Kingsfold (ELW 251) basis for Advent service music: Merle’s Tune (ELW 552) the Benedictus, or Song of Star of County Down Zechariah (Luke 1:68–79), Magnificat: (ELW 723) and the Magnificat, or Song of Angelus (CW 274) Wo Gott zum Haus (LSB 934) Mary (Luke 1:46–55). Their Latin titles are borrowed from Gospel Magnificat (ELW 882) Woodlands (LSB 935) the first word of their respective translations: “Benedictus Dominus Deus Israel” (“Blessed be the Lord, the God of Israel”) and “Magnificat anima mea Dominum” (“My soul proclaims the great- ness of the Lord”).1

For centuries, both canticles . have been staples in patterns of daily prayer: the Benedictus as the customary gospel canticle for morning prayer (matins) and the Magnificat as the same for evening prayer (vespers). Consequently, Lutheran hymnals contain many settings of these two texts, both in through-composed and strophic forms. If your assembly is accus- tomed to singing these canticles

The case doors for the world’s oldest playable organ from ca. 1390 depict an Annunciation scene by Freiburg painter Peter Maggenberg made between ca. 1434 and 1437. The one-manual instrument is located at the Église Notre-Dame-de-Valère

in Sion, Switzerland. Image courtesy of Orgelverzeichnis Schweiz, http://peter-fasler.magix.net/public/Orgelverzeichnis/index.htm 14 ALCM in tempo 2018, No. 3 0-25-100-0 100-22-22-0 0-80-100-0

In addition, many composers have crafted solo pieces for organ that may serve as useful preludes, offertories, and postludes during Advent. Two options to consider for the Benedictus are those by Max Reger and Alec Rowley. Though neither composer specifically cites the Lukan text, both of their approaches resonate with seasonal themes of anticipation and arrival, of “stirring up” and coming near: a quiet opening gradually crescendos to a strong middle section, then subsides. Beyond Advent, both settings could serve as appropriate the middle of the fifteenth Domenico Ghirlandaio (1449–1494), preludes for the Sunday of century until the turn of the Zacharias Writes Down the Name of his the Passion (Palm Sunday) Son (detail), ca. 1486 and 1490, fresco seventeenth century. The in the Tornabuoni Chapel, Florence. wherein the processional gospel canticle also has a special asso- announces, “Blessed is the one ciation with the organ: a scene who comes in the name of the from the Annunciation—when performance wherein an 2 Lord.” Mary responded to the angel organist plays solo verses in The Magnificat, unique to Gabriel’s announcement with alternation with verses chanted Luke’s gospel, offers many more the Magnificat—appears on the by a soloist or choir. Examples options for the exegetically case doors of the world’s oldest of alternatim-style Magnificat minded organist. Because of its playable organ. Luke’s account settings are plentiful and can be importance for Marian services of the Annunciation is, in fact, found in the works of, among in the Roman Catholic tradition appointed for the fourth Sun- others, Antonio de Cabezón, and for musically rich vespers day of Advent among the Year Jehan Titelouze, Girolamo services that developed in the C lectionaries prepared by the Frescobaldi, Samuel Scheidt, first centuries of , ELCA, LCMS, and WELS. Thus, , the Magnificat was the text the Magnificat is an especially Melchior Schildt, Matthias most often set by composers of appropriate choice for this day. Weckmann, Nicolas Lebègue, polyphonic vocal music from Jean Adam Guilain, and Marcel Organ pieces based on Dupré. verses of the Magnificat first appeared during the fifteenth Other composers have penned The Magnificat, unique century, though many more many wonderful through-com- to Luke’s gospel, offers were composed during the posed Magnificat settings sixteenth century and beyond. that are not incumbent upon many more options for These settings often utilized alternatim performance, such as the exegetically minded a widespread practice known ’s 95 Magnifi- as alternatim, a method of organist. cat fugues (which likely served ALCM in tempo 2018, No. 3 15 The opening measures of Ned Rorem’s Magnificat from Organbook II © 1990 Boosey & Hawkes. as intonations for chanting); Select Editions Alec Rowley, “Benedictus,” in three settings by Dietrich Bux- Augsburg Organ Library: Advent. Some of the pieces and collections tehude, BuxWV 203–205; and Augsburg Fortress (978-0-8006- mentioned above are listed with closer to our own time, a fresh 5895-7), 2000. publication information. Note and lively interpretation by Ned that some may now be available Rorem. The two organ Magnifi- Jehan Titelouze, Oeuvres com- in reprints under new publishers, cat settings by J. S. Bach—BWV plètes d’Orgue. Schott (Edition while others may be out of print. 648 from the Schübler chorales Schott 1869), 1967. and the Fuga sopra il Magnificat, Marcel Dupré, Fifteen Pieces for BWV 733—are both based on Organ Founded on Antiphons Chad Fothergill is the tonus peregrinus, or “strange (Vêpres du Commun), op. 18. H. a doctoral student tone,” that Lutherans have tra- W. Gray (GB 188), 1948. in musicology at ditionally used for chanting the Temple University Magnificat in German.3 Girolamo Frescobaldi, Three settings (nos. 23–25) in in Philadelphia, As always, attentive service Toccate e partite d’intavolatura, PA, researching the office of Kantor leaders should carefully balance Book 2. Bärenreiter (BA 8414), in the late Renaissance and theological, pedagogical, and 1949. Baroque periods. aesthetic concerns in deciding when, where, why, and how to Johann Pachelbel, The Fugues on Endnotes sing (or play) one or both of the Magnificat for Organ or 1. Translations from International Consul- these treasured canticles during Keyboard. Dover (0486250377), tation on English Texts, Prayers We Have in 1986. Common, 2nd rev. ed. (Philadelphia: Fortress Advent. May our choices and Press, 1975), 20, 25. The Benedictus cited here should not be confused with other li- leadership echo the praises Max Reger, Benedictus, op. 59, voiced by Zechariah and Mary, turgical texts that begin similarly, including no. 9, in Sämtliche Orgelwerke, “Benedictus qui venit in nomine Domine” of hope in the promises made Band 3—Freie Orgelstücke I. (“Blessed is he who comes in the name to Abraham and all generations of the Lord”) or “Benedictus es, Domine” Breitkopf & Härtel (Edition (“Blessed are you, Lord”). that are fulfilled in the incarna- Breitkopf 8493), 1987. tion of Jesus Christ. 2. See Matthew 21:9, Mark 11:9, Luke 19:38, and John 12:13 (NRSV). Ned Rorem, “Magnificat,” in 3. ELW 234 combines the tonus peregrinus Organbook II. Boosey & Hawkes with an English translation. (ONB 434), 1990. 16 ALCM in tempo 2018, No. 3 photo©iStock/jonathan austin daniels Handbells! They’re Not Just for Christmas … Or Are They?

0-25-100-0by Beth Ann 100-22-22-0Edwards 0-80-100-0Since a great many can bring new attention to listeners equate the order of worship. Several everal years ago a group years ago, we rang the call to of handbell musicians handbell music with worship during each Sunday in scampaigned diligently Christmas, ringers and Advent. We stood in front of the to move handbells out of the chancel and rang from memory “Christmas only” mindset of directors should take the melody of “Let All Mortal the uninformed. However, the the seasonal Flesh Keep Silence,” the Picardy musicians eventually gave up opportunity to hymn tune. This was before the campaign and came to the singing bells were in vogue, and conclusion that since a great showcase handbells. an open fifth of singing bells on many listeners equate handbell the bottom of the melody would choose a piece that goes well music with Christmas, ringers be a nice addition and add a bit with the theme. Many churches and directors should take the of mystery to the presentation. do not include Christmas music seasonal opportunity to show- The melody is contained in 8 during Advent, so be sure to case handbells. notes, so as few as 4 ringers (or program for the season and 2, if they play four-in-hand) Well-written, worship-appropriate double-check any medleys you or as many as 10 ringers can handbell music for the season might be considering, so that participate. is abundant; the difficulty lies a Christmas-themed tune isn’t in deciding which pieces to included. If candles on an Advent wreath program for worship and other are lighted each week, add bells Consider including handbells performances. When program- as the candles are lit. Choose in service music during each ming for worship, music must one verse of a hymn or write week of Advent. Random support and complement the a simple chord progression. ringing during a call to worship, Scripture readings for the day. Another option would be to a psalm reading, or chanting If your church implements ring a processional ostinato. themed Sundays during Advent, or other parts of the liturgy

ALCM in tempo 2018, No. 3 17 A Service of Lessons and Choose a variety of familiar hymn tunes from a Carols provides an opportunity number of traditions and then add one or two for handbells. If a separate handbell anthem is not a good pieces that might be unfamiliar to most of the option, consider adding hand- listeners and ringers. bells to a hymn. On a stanza or two, add chords on beat 1 or on beats 1 and 3. Consider ringing Returning college students, level, reproducibility, collection, one verse as an interlude or as vocal choir members, family or other criterion. A couple of the congregation silently reads and friends of ringers, and results that popped up are listed the words. children and youth can join the below: handbell choir on Christmas ■■ Twelve Bell Series (Hope) Most publishers have a book of Eve. ■■ reproducible hymn arrange- Short-Handed Christmas ments and accompaniments, I generally ease up on difficulty Pieces for 5 to 10 by Rudy Ro- and some include only Advent level on Christmas Eve. Sched- driquez (AGEHR AG34014) and Christmas music. A few of ules are filled with holiday ■■ Chime In—Advent and Christ- my favorites are: activity, and ringers and guests mas (1 and 2) by John A. are happy to come in and ring Behnke (AGEHR AG23034 ■■ Hymns for Handbells by pieces that are a bit easier and AG23043) Michael Burkhardt (Morn- and ring them well. They will On Christmas Eve, the adult ing Star MSM-30-135) appreciate that feeling of suc- handbell choir at St. John’s provides both accompani- cess when ringing less difficult presents about 15 minutes ments and settings, as well music. as combinations of voice, of music before the worship handbells, and additional Consider Level 1 or 2 music service and then provides two instruments. that is “chordally” structured, anthems during the service. The congregation and visitors ■■ Short & Sweet Hymns of Joy and have the melody played on like to hear familiar melodies by Susan Geschke (Agape a wind or string instrument. on Christmas Eve. However, 2567) includes Advent and Some other options are to I have never programmed an Christmas music, plus play the melody on handbells arrangement of Silent Night, additional music for and the accompaniment on since the service concludes with throughout the church hand chimes or to have the this hymn and the lighting of year. melody malleted on bell trees or suspended bells while the rest candles. I generally choose a ■■ Glad Tidings Ring of the choir rings handbells or variety of familiar hymn tunes (Choristers Guild CGB968) hand chimes. Don’t be afraid from a number of traditions and provides Christmas hymn to mark or color-code music for then add one or two pieces that arrangements by six any who might be able to attend might be unfamiliar to most of composers. only one or two rehearsals. the listeners and ringers. Each ■■ Hymn Accompaniments year we learn one piece that for Handbells: Advent and If you have exhausted all requires more rehearsal time. Christmas arr. Lee J. Afdahl avenues for including guest The balance of programmed (Augsburg Fortress 978-0- ringers, look for two- or music is Level 1 or 2 or music 8066-9807-6) includes 12 three-octave music that can we’ve learned in previous years. seasonal titles. be played by fewer ringers. A Some of our favorite pieces are Christmas Eve services can pres- strong selection of Level 1 and listed below: 2 Christmas music is available ent challenges if ringers travel ■■ What Child Is This? by for any number of handbells during the holidays, so pro- Alex Guebert (AGEHR used. Visit the Jeffers website active planning is always good! AG35356) Ask now for ringers who will be (handbellworld.com) or any ■■ Change Ring Prelude on available to ring on Christmas music publisher and search for Divinum Mysterium by Eve. If numbers are down, the number of octaves/ringers you have available, difficulty Fred Gramann (Lorenz invite others to ring with you. 201239L) 18 ALCM in tempo 2018, No. 3 ALCM 2018-2019 Thursday Series While handbell music Webinar is rung year-round, a All live webinars begin at 2 pm easternspecial (1 pm listening central) transformation takes place during the Advent October 18, 2018 Developing and Leadingand a Christmas seasons. Children’s Music Camp – Connie Millberg

February 7, 2019 Tips for Leading a Worship (Praise) Band – Kip Fox

May 16, 2019 Basic Principles of Worship and Music in the Lutheran Tradition –

Visit alcm.org for more information.

■■ The First Noel by Cathy Mok- While handbell music piece for this choir and start lebust (Jeffers JHS9480) is rung year-round, a rehearsing it in October. ■■ A la Nanita Nana by Sondra special listening trans- Bring on the additional music, K. Tucker (Morning Star rehearsals, and services! We MSM-30-125) formation takes place church musicians do it all ■■ Fantasia on Forest Green by during the Advent and and we make it look easy. Lloyd Larson (Beckenhorst Christmas seasons. While handbell music is rung HB184) year-round, a special listening ■■ Christmas Rejoicing by transformation takes place Douglas E. Wagner (Lorenz are waning. I generally have during the Advent and Christ- MLCSHB68) (this piece is on hand a flute or clarinet mas seasons. Enjoy the music, also included in the collec- musician who can come in and the musicians, and the listeners. tion The Bells of Christmas play the melody while the young It is truly a time of wonder. [Lorenz MLC201238L]) ringers do their best to stay ■■ on task. A couple of years ago Good Christian Men Rejoice, Beth Ann by Kimberlee Strepka I renamed their bell piece to Edwards is (From the Top Music include the words “Meditation director of arts, 20327HB) On …” because both the mel- ody and harmony were left a bit handbells, and Programming children’s bell up to their own interpretation. youth choirs at choirs on Christmas Eve can Their random ringing and St. John’s Lutheran Church in be tricky. Our elementary age chord accompaniments for Des Moines, IA. children provide choral and hymns were, however, quite handbell music at the 5 p.m. earnest. Each year—and 2018 is family Christmas Eve service. no different—I am determined Excitement and enthusiasm run to find the perfect Christmas high, but focus and musicality ALCM in tempo 2018, No. 3 19 Organ Maintenance: Maximizing Your Pipe Organ Tuner’s Efficiency

0-25-100-0 100-22-22-0 0-80-100-0by Luke Tegtmeier aving recently completed my summer tuning hrounds, I want to share some ways that you can get the most out of your organ tuner’s visit.

Be ready: organ console and all necessary doors should be unlocked. Last Christmas I

waited an hour for a key to the egtmeier padlock on the organ chamber ke T door. Sadly, we had to charge y Lu hoto b

them for the hour that I was P waiting. If there is a ladder An organ technician’s little black bag involved, try to have it in place. If you can do some contains an assortment of tools, but if Otherwise your church may be detective work, you you have a special need, share it with your technician so the right tools can billed for the time spent haul- can save your techni- ing a ladder from the church be added. basement. cian time and save your church money. We’re tuning for the organ “sounds funny?” Was it out of to be at its peak on Sunday tune? Loud? Soft? Warbling? morning. So try to make the the same cipher happen every Overblowing? Scratchy? Be church space as similar to winter? Does the same pipe on specific! the Gedeckt always go sharp? Sunday morning conditions as The more detailed you can be Recurring problems can point possible, especially tempera- about mechanical problems, the to underlying issues that need ture. Remember that flue pipes better. Remember: “dead notes” to be addressed. move by about 2 cents with each do not play at all; “ciphers” play degree of temperature differ- But don’t just write your without stopping. If you can do ence. Lighting, ceiling fans, problems in the notebook: if some detective work, you can and other fine points should be you have mechanical problems, save your technician time and discussed with your technician. share them with your technician save your church money. Is the Keep a notebook of mechan- before a visit so that special cipher in the Swell? (Hint: try ical and tuning issues. This can tools or parts can be packed, closing the shades to see if it be helpful to the technician to and time can be allowed to changes in volume.) Is the dead see all related problems. Does address them. note dead on all ranks? Which rank is it in? Which note? Be specific about the problem. Ed. Note: As one of the biggest (Sometimes this can be chal- investments a church can make, I once found a note left by a lenging to determine.) Again, the pipe organ requires careful well-meaning organist that said, be as specific as possible. attention to ensure its longevity. “F# sounds funny. Must be a In this series of articles, Luke Democrat!” Politics aside, it was Recently I did a thorough Tegtmeier will help bridge the a frustrating note. Which F# tuning of an organ that was gap between organist and was she talking about? Which new to our care. The last stop to organ builder. division? What did she mean by tune was the 16' Pedal Principal, 20 ALCM in tempo 2018, No. 3 Sound Bite

by Ben Hohenstein natural, the sound system is where I found two dead notes. How can musicians in transparent to “Oh yes,” the organist said when traditional worship spaces the listener, and I asked him about it. “That’s they are not “taken out” of the been a problem for a while.” make use of sound experience. Push the volume Unfortunately, my schedule equipment/amplifiers in too much and our brains tell us meant that I had to move on a way that won’t detract it’s not “real.” Sometimes that’s to the next church. Had the OK, but those sensitive to the organist told me about the dead from the setting? issue would be unhappy. Also, notes before I came, I could this doesn’t really work with have fixed them and then tuned A sound system can be singers who don’t project: since as time allowed. “obtrusive” in two ways. they’re so much quieter, you One is visually. To cut down on have less room to amplify them On the other hand, please don’t before it sounds unnatural. be too specific. One organist that, a custom-designed system went through her 90-rank organ that is professionally installed would be the best choice. It Ben Hohenstein and listed every note that she works as a thought was out of tune. But could be matched to the color freelance audio what was she comparing each and architecture of the build- engineer in note to? It might have been the ing. Installing multiple speakers southeastern tuning rank that was slightly out around the room allows for Wisconsin. Through his business, of tune, rather than the note each speaker to be smaller, MKESoundMachine.com, he assists she referenced. A memo listing since they’re responsible for a the few pipes that were making smaller area of the space. churches, bands, theaters, and many others in sounding their her crazy would have been more The second is aurally. There’s a best. At his home church, Grace helpful than a list of 100 pipes sweet spot where the amplified Lutheran in Milwaukee, Ben sings to tune. volume pairs naturally with the in numerous choirs and accompa- acoustic sound of the singer or Luke Tegtmeier nies worship on tenor saxophone. instrument, so that the listener holds degrees in can’t really tell if the singer’s church music from voice is carrying well or if they Do you have a sound or Valparaiso Univer- are actually being amplified. technology question for sity and Luther I often try to hit that sweet Ben? Send it to intempo@ Seminary. For 10 years he was a spot when I’m working with alcm.org. Please use the church musician in Minnesota. theater groups. Since it sounds subject line “Sound Bite.” Since 2015 he has worked for It may appear anonymously Muller Pipe Organ Company near with an answer in an Columbus, OH. He welcomes your upcoming issue. questions or comments: [email protected].

ALCM in tempo 2018, No. 3 21 Incorporating Professional Musicians 0-80-100-0 0-25-100-0 100-22-22-0into Your Church Ensembles

by Christian Guebert However, if we carefully place Professional and them where their skills will highly skilled amateur t’s happened: you’ve turn to an advantage, they can inherited a great vocalist, integrate immediately. musicians are a great instrumentalist, or key- i blessing to a congrega- boardist from elsewhere in the Use their gifts tion in their trained community or church, but this (respectfully). musician is a self-identifying capacity, but how can “untrained singer,” or knows While it’s clear that the profes- nothing about handbells, or sional trombonist in your own you use them if they is generally uncomfortable congregation could fill the want to “join the choir”? with the thought of joining first trombone part at and other festival services, if your amateur ensembles. skilled amateur trombonist, it they’re not already committed Professional and highly skilled may be best to seat this musician to your church then we should amateur musicians are a great (on Trombone 2) next to a approach the topic with tact. blessing to a congregation hired pro on Easter morning. First of all, offer to pay your in their trained capacity, but This mixture of levels may seem pros when you use them for how can you use them if they unwieldy, but from it can blos- their vocational skill. If they want to “join the choir”? Just som even more ministry ideas object and see their work as because our friends are trained such as a church brass choir service to the church, that’s musicians doesn’t mean they or instrumental ensemble. If a fine too. If it’s instead a highly will make a seamless transition. trained singer lurks away from the church choir, try approach- ing this singer and offering a small remuneration to be the temporary section leader for the five-week hymn festival/ Holy Week/Christmas schedule. (They might stay longer!)

Place musicians out of their zone, not out of their skill. So, your incoming musician truly does want to join one of your amateur music ministries. What inherent strengths of the musician can be turned to advantage? What inherent lacks in their specialty area will result in stumbling when they start choir/handbells/praise

t Lux team/instrumental group? /S Let’s explore and apply simple tock S i

© examples (see chart at the top of page 23). photo 22 ALCM in tempo 2018, No. 3 This musician: will excel in this role: flutist (and other linear, melismatic singing with full breath; ledger lines in handbells G6 woodwinds) and above (not bass clef); expression, articulation.

cellist (and any clef, style of expression, and tone color; work on precise orchestral strings) ensemble attacks.

worship guitarist choral articulation, rhythm; possibly adjust for and work on sight- reading skills.

percussionist ideal handbell recruit; precision of interlocking rhythm, counting; work on musicality of phrase in singing.

solo male singer musicality, color, stage presence; probably comfortable in both clefs (if tenor: praise band harmonies); work on tightness of rhythm and rhythm reading skills (handbells are great for this).

concert pianist reading octaves quickly (larger handbell groups, C6 and above), both clefs; expressive independence; work on staying with a group and following a director, looking up, breathing together.

Find the local students. Warm them up for the first need will be for stable, unchanging vowels and unison Younger and college-age new activity. breathing on the preparatory singers can be a gateway for When you as the director select beat. With your hand or baton you and your music ministry to warm-ups and drills for an alone, try simple preparatory form a relationship with a local ensemble that now contains gestures in various tempos and college or university. If you do musicians out of their main dynamics so the choir/hand- not already have choristers in field, especially if the ensemble bells/instruments truly breathe this age range, consider foster- is mostly made up of this type together. ing this relationship yourself. of recruit, look for drills (and (Some of my most meaningful music) geared toward technique After even their first rehearsal collaborations with singers for the ensemble rather than basic holding or breathing a new and instrumentalists have musicianship. The handbell instrument, you have taken the formed from the link between ensemble made up of violinists first musical step of bringing my parish and area university does not need the exercise book them together. Now the congre- students.) Consider offering to teaching quarter and eighth gation can experience a music host a music-related event for notes; it needs the book teach- ministry heightened by the new another religious institution, ing how to damp, execute fast use of its potential. and keep track of area talent bell changes, pluck, and hold this way, too. things properly. And the choir Christian Guebert of former praise band singers is director of music ministries at Look for drills (and who are preparing baroque and early sacred repertoire? Their Immanuel music) geared toward Lutheran Church technique for the in Orange, CA. ensemble rather than basic musicianship. ALCM in tempo 2018, No. 3 23 on volunteer management by Allison M. Schweitzer 0-25-100-0Firing Volunteers 100-22-22-0 0-80-100-0 0-25-100-0 100-22-22-0 0-80-100-0 he word “fire” is such a strong word, for any number tof reasons. The action of firing an employee, or being the one fired, is harsh. It feels that much more terrible to consider the term when talking about volunteers. But in order to maintain an effective ensemble, on rare occasions it may be orgio

necessary. G hris We all have been around /C tock S people who may talk out of i © rt

turn, cannot get along well with A others, persistently show up late Example #1: An organization The action of firing an to (or leave early from) events, I worked for refused to fire consistently do not show up at employee, or being the volunteers. If they encountered all, do not follow-through with a volunteer who wasn’t quite one fired, is harsh. It commitments, and so on. It’s working out, typically they one thing to casually be around feels that much more would attempt to find a differ- those people; it is quite another terrible to consider ent outlet through which said when they are members of your volunteer could still contribute the term when talking ensemble. time and spirit. If the volunteer about volunteers. On top of that, as church music was not working well with directors we have standards others, tasks of a more inde- Example #2: A large organi- regarding rhythm knowledge, pendent nature were assigned. zation for which I was once pitch matching, music reading, The organization was willing a volunteer had a thorough blending, and the like. to put up with volunteers being training program (which is a late or leaving early; however, fantastic way to weed people This has always been a fasci- incentives were offered to those out right away—only allowing nating topic to me because who followed through with those who complete a partic- every nonprofit organization commitments. There were also ular training to proceed with I’ve been around seems to have some volunteer tasks considered volunteer work on their behalf). different methods for dealing better than others, and those At the end of the training with troublesome volunteers. volunteers who weren’t reliable program, I met one-on-one or personable (or both) were with the volunteer coordinator. not offered the “fun stuff.” She discussed how I might best Generally speaking, the types Every nonprofit fit in as a volunteer but also of people who make unreliable outlined procedures on what organization I’ve been volunteers eventually phase might happen should things not themselves out from voluntary around seems to have work out. There was a warning commitments, as they realize system in place that could different methods for their actions—and sometimes ultimately lead to being “fired” dealing with trouble- inactions—have consequences. as a volunteer. I was shocked! some volunteers. However, this is not always the In this case, though, it was easy case. to give someone the boot, so to speak: volunteers were given key 24 ALCM in tempo 2018, No. 3 In many cases singing 0-25-100-0 100-22-22-0 0-80-100-0or ringing is a part of cards, and key cards could be she didn’t realize that she might their identity. To tell deactivated, thus denying access be coming off as irreverent (this them it’s not working to difficult volunteers. should have been step one). out to be in the choir is In church work, it is not so We talked. She admitted that beyond heartbreaking. simple. barbershop motions were second nature to her and that Example #3: In my first role she’d try to tone it down. This as a staff church musician, I did not really happen—and What have you done when you led music for contemporary as is often the case with aging worship. The band played from have had problematic volun- singers, hearing, voice quality, teers in your ensemble? the front of the sanctuary. It was blending, and pitch matching a fantastic group of musicians, got worse and worse, combined Is there something, in hind- with the exception of a lovely with forgetting about the sight, you wish you would have older woman whose voice was conversations we had had about done when encountering a aging, who had sung with Sweet fewer or no gestures. Ultimately, tough person to work with? Adelines (barbershop) for a with the help of pastoral staff, Would you fire a volunteer long time many years back, and we had some difficult talks. from your ensemble? Why or who had great zeal for assisting We found other church groups why not? with contemporary worship. for her to take part in, to find She could not help but sing with community among. It was a very Send your answers or sugges- some ingrained barbershop long and tough road. tions to [email protected]. quartet choreography and They will be shared anony- expressions. In our work, volunteers in music mously in our next In Tempo want to be just that: volunteers issue. Please use the subject line I was young and didn’t handle in music. In many cases singing “Volunteer Management.” the situation as well as I could or ringing is a part of their iden- have. Step one: her amplifica- tity. To tell them it’s not working Allison Schweitzer tion levels were turned down. out to be in the choir is beyond is assistant Step two: she was moved as far heartbreaking. to the side as possible, so ideally director of church fewer people would notice her I do not claim to be an expert in and school music actions. Step three: I talked with volunteer management, despite at Mt. Olive our pastor about how to work observing a lot. At this point in Lutheran Church and School with her. He did ultimately sug- the article, I would like to open in Milwaukee, WI. gest speaking with her: maybe it up to readers: tock zz S e /T tock S i © rt A

ALCM in tempo 2018, No. 3 25 Children’s Choir Directors: Shaping Music and Lives

by Elizabeth Shepley

A good teacher affects eternity; us to sing proudly and with such if we are to be a positive he can never tell where his joy it makes me chuckle just to influence in the lives of influence stops. recall my lingering warm feel- ings about the whole situation. our students, we must —Henry Adams 0-25-100-0 100-22-22-0 0-80-100-0He also encouraged us to take begin by developing ... responsibility for making sure uccessful youth choir our parents were “up and at it” “positive, productive directors develop a wide Sunday mornings to get us to attitudes!” svariety of competencies church in time for warm-ups. and personal qualities before I remember him suggesting and throughout their careers. something about getting out all It’s fair to say I’m thankful for Certainly they are proficient the pots and pans and a couple Mrs. N nearly every day of my musically. Sincere love and of wooden spoons to aid in the adult life. She was my amazing genuine concern for their wake-up call. There was lots community choir director for students are obvious, as are of little-kid laughter in those several formative years in upper organizational skills and the happy rehearsals. elementary, junior high, and ability to use language effec- high school. Tough, demand- My list of subsequent super tively in speaking and writing. ing, passionate, and tender all teachers includes Mrs. M of 4th Also important—probably most at once, working hard under her grade, whose love for all of us important—is the teacher’s direction was scary, fun, and and passion for teaching made attitude. There are plenty of satisfying. A successful adult me eager to find my place in conductors and teachers with choir director in a large her classroom each morning. technical knowledge and fine Minneapolis congregation for Mr. H was firm, creative, and skills who struggle with their most of her professional life, entertaining. I don’t recall inability to make a positive she became keenly interested in exactly why he blasted Three connection with their choristers developing a children’s group Dog Night’s version of “Joy to and colleagues. that could match the level of the World” in class one day, but musicianship of children’s it may have had something to Who were your great choirs she had heard in Europe. teachers? do with celebrating the fact that we were on our way to 7th grade Mrs. N lived on a farm with If you’re fortunate, you’ve had a and the junior high school. horses and a brand-new colt. few. Perhaps you are where you Mr. H had every confidence we We were invited to contribute are, doing what you’re doing, were well prepared and would names for consideration for because of them. Your teaching excel in our new environment. that beautiful new member of style may be modeled after Another Mr. C had me sitting her family, which I thought was them. on the edge of my chair in a pretty cool. We’d visit her place, My list of the greats comes to subject I didn’t even like— play baseball in her field, and mind easily, beginning with— algebra! I’m not sure how he did eat potluck meals with all the surprise—my very first choir it—maybe some kind of mathe- choir kids and their families director. Mr. C was the fearless matical pixie dust he sprinkled from time to time. Mostly, leader of the church Cherub around his room—but I loved though, she impressed me with Choir, about 80 1st, 2nd, and his class, and I came to dig the her never-quit work ethic, her 3rd grade boys and girls. To subject. He was friendly and passion for sharing the art of the best of my recollection, he communicated clearly, made choral music, and her beliefs was easily capable of holding problem-solving fun, and gave that children are capable of per- the attention of this wiggly, me extra challenges to do at forming music expressively and energetic crew, and he taught home! Now that’s some magic. that they derive tremendous

26 ALCM in tempo 2018, No. 3 Lutheran Music Programs/Nina Tadic Lutheran Summer Music students rehearse under the direction of Dr. Brandon Dean emotional and intellectual ben- Positive attitude and from Gustavus Adolphus College. efit from opportunities to sing effective leadership and become musically literate. Tim Lautzenheiser, a renowned They always had time for me. Mrs. N lives on in my daily music teacher, author, and memory (her picture is right clinician in the field of positive They had a good sense of in front of me on my desk as I attitude and effective leadership humor. write this!). What I remember training, considers what makes They could communicate well. vividly—besides how wonderful great educators particularly it felt to sing, play, explore, and gifted in shaping and directing They enjoyed their work. create with the friends I made our lives. He explains that in They showed personal in her group—are those incred- our educational world we have discipline. ible moments in a piece of two basic areas of emphasis: music where I was transported cognitive (skills, facts, measur- They were fair. to a place I can only describe able information) and affective as rapturous. I try to imagine (attitudes, feelings, conceptual They demonstrated persistence. how she would interpret a piece, thinking). If we could make a They respected me as a person. how she might creatively help list of the attributes of one or the group navigate a difficult two of our finest teachers, he (and the list goes on and passage, or what she might says, it may look something like on…).1 advise about an important life this: decision. The author then divides this They were caring. list into two categories, atti- tudes and skills, to determine They showed tremendous inherent characteristics of the dedication. ALCM in tempo 2018, No. 3 27 “Simply by recognizing those traits as desirable ... and by committing ourselves to working on those areas, we can become more approachable.” adic T ina extraordinary teacher. He con- /N cludes that each of the above rograms traits falls into the attitudes P category, and that if we are to sic Mu be a positive influence in the lives of our students, we must theran Lu begin by developing these qual- ities “which are the trademarks Experessions on the faces of Lutheran Summer Music students show their enjoyment of making music under the direction of Dr. Brandon Dean. of the Master Teacher: positive, productive attitudes!”2 as desirable, by acknowledging As the saying goes, nothing Author Rob Jenkins has a that we don’t possess them to is quite as beautiful to people similar list in his article “What the degree we would like, and as hearing their name in their 3 Makes a Good Teacher,” based by committing ourselves to native language. Be sure to use on his experiences as a student, working on those areas, we can their name when communicat- professor, and administrator: become more approachable, ing with them. creative, and, yes, funnier than They are good-natured. Blessings to you as you we would be otherwise.”5 share your gifts with your They are professional without choristers. There is no telling being aloof. Mentors which of them will be forever Mentors in my life have taught They have a good sense of changed because they were me a number of things that humor. lucky enough to sing with you. have helped make my teaching They seem to enjoy what they career rewarding. Here are Elizabeth Shepley do. some favorites: is director of children’s choirs They are demanding without Show a sincere interest in emeritus at Bethel being unkind. other people. Encourage them Lutheran Church to talk about themselves and in Northfield, MN. They seem comfortable in their listen carefully. own skin. Smile when greeting or Endnotes They are tremendously creative. speaking with people. Scien- 1. Tim Lautzenheiser, The Art of Successful tists have found that smiling not Teaching: A Blend of Content and Context They make teaching look easy.4 (Chicago: GIA, 1992), 20. only can help people feel better 2. Lautzenheiser, The Art of Successful Jenkins believes we can work to but it can lead one to feel actual Teaching, 23. develop the above qualities in happiness, joy, or amusement 3. Rob Jenkins, “What Makes a Good ourselves: “we may never be as and can change brain chemis- Teacher,” The Chronicle of Higher Educa- funny, approachable, or creative try. It is a simple way to bring tion (May 31, 2016), chronicle.com/article/ as our favorite teachers. But sim- about immediate, positive, What-Makes-a-Good-Teacher-/236657. ply by recognizing those traits human communication. 4. Jenkins, “What Makes a Good Teacher.” 5. Jenkins, “What Makes a Good Teacher.” 28 ALCM in tempo 2018, No. 3 interview with a church musician advocate 0-25-100-0Dr. William A. Raabe100-22-22-0 0-80-100-0 Interviewed by Allison Schweitzer, August 2018

Bill and Nancy Raabe have been IT: How do you decide which longtime advocates of new works will be commissioned? Lutheran church music, through BR: Sometimes it’s just, “Oh, I commissioning works for use in wish I had a piece by composer worship and through the X.” Or, “I think we’re really ALCM’s Raabe Prize for Excel- missing a good concertato on lence in Sacred Composition. hymn X.” Or, “There are not enough good choral pieces for In Tempo: How did you begin Epiphany.” The results come your commissioning of church from Nancy and me brain- music works? storming—there’s a hole in the literature that maybe we can Bill Raabe: Nancy had been a help fill. music critic for the The Boston Globe, the Milwaukee Sentinel, As we started doing this, in and The Birmingham News. As the early ‘90s, concertatos and a music writer, she got a letter organ suites were hot. Now, We try to anticipate what each year from the Pulitzer concertatos are not, and SATB Prize for Music asking whether is less attractive to publishers the publisher wants, so we’ll she had any nominations. than two- or three-voice pieces. speak with them and find out For two years in a row she We try to anticipate what the what they’re looking for. nominated pieces by ALCM publisher wants, so we’ll speak composers. They didn’t get very with them and find out what far, because religious pieces they’re looking for. the colleges and universities, were not desired. We wondered churches with all sizes of choirs. what we could do about it. One publisher said, “Here’s Maybe that’s asking too much. what we really want: a collection While not everything that has We began commissioning of pieces for an organist to play come through has been what music in the early 1990s. We at a funeral. Maybe 10 pieces. we had in mind, far more often had attended ALCM meetings Enough to fill time at the than not someone produces and gotten to know most of the service.” It was an open-ended something that is just fabulous. composers, at least by reputa- thing. We contacted Bob Hobby, tion if not personally. As ALCM asked him what he’d think When I was board chair for members, we got to rub elbows about doing this, and he said, the Lutheran high schools in with more and more musicians, “Of course.” There have now Milwaukee in the late ‘90s, I and they would answer our been three series of books put had them commission a “school calls and letters. Once the ball out, varying in hymnody and hymn” for use at graduations started rolling, we were com- levels of difficulty, entitledFor and similar reasons. The result missioning two or three pieces a All the Saints. That was a great was “How Good It Is to Praise year; after a couple years maybe idea which was actually the the Lord,” with music by Carl more than that. Now, about 25 publisher’s, originally. Schalk and text by Gracia years later, we’re at close to 80 Grindal. The board also com- commissioned works. It’s been a We are looking for music that missioned settings of the hymn fruitful thing. will benefit the church at large: for different groups (e.g., band, the biggest to the smallest, ALCM in tempo 2018, No. 3 29 These examples are pieces commissioned by the Raabes that have been publsihed.

IT: Have you seen any of the younger composers you supported go on to prosper? BR: Some of them, yes. I’m not organ) and for different uses The analogy I like to going to claim any credit for that, but yes: we got to some of (e.g., fanfare celebration) from make is that these were Kenneth Kosche, John Behnke, them early in their careers, and and Jonathan Kohrs. Advising like the research grants some of them greatly stepped up their pace. the board was Paul Grime, that I had worked with now dean of chapel at Fort Wayne seminary. Last I heard, in my academic career: IT: The next Raabe Prize will be the schools were still using the we were paying them awarded next summer, correct? hymn. to have the time to BR: Yes, it’s usually the year of compose. the ALCM biennial conference. IT: Do you keep up with any of Then if ALCM can, it’s featured the composers? What have they in one of the services. gone on to do? to have the time to compose or to hire a scribe to put music IT: What are your hopes for BR: When we started, compos- into Finale, however they would Raabe Prize winners to come? ers we knew and had met at want to use the money—which ALCM meetings were already resembled, in my mind, a grant BR: I will say this: sometimes the established and big names. We to free up their efforts to do piece that the Prize goes to is were adding to their portfolios, something specific. exactly what we thought we were asking them to do something endowing, sometimes it’s not, on this or that. For some we We decided we didn’t know and sometimes it’s exactly the were passing along a text we had all the young people out there opposite. But we are hands-off, commissioned and were looking and as a result put together and we want the Raabe Prize to for a tune and arrangement on the Raabe Prize—an award be used by ALCM to encourage said text. for composition that would composers to write pieces that include people we hadn’t asked can be used in Sunday worship. As we went on further, into the for commissioned pieces. The mid to late ‘90s, we started to prize thus was an outgrowth of encourage younger composers the commissioning project. We or maybe someone who was the crafted the prize with excellent organist at the eucharist at an input from David Cherwien, ALCM meeting. We’d say, “Why Mark Bangert, and Tom don’t you write this one up?” Leeseburg-Lange. We are hands-off, and or “Is there something we can we want the Raabe Prize help you with?” That’s when We gave an endowment to to be used by ALCM we started working with new ALCM, as a gift for the Raabe composers. The analogy I like Prize, and we doubled the to encourage compos- to make is that these were like endowment as part of the ers to write pieces that the research grants that I had ALCM 30th anniversary cele- worked with in my academic bration. We do not influence can be used in Sunday career: we were paying them how the prizes are awarded. worship.

30 ALCM in tempo 2018, No. 3 Nancy and Bill Raabe were married in 1989. When I met Nancy, IT: How did you two meet? a great text and tune deserving of broad exposure. He featured she came in as the BR: We were set up on a blind the French horn (Nancy’s main real musician. We date, not long after she had instrument) and a baritone solo moved to Milwaukee in about were kind of tough to (my voice range). We looked at 1988 to take a job with the it as kind of being written for us. stop at that point. Milwaukee Sentinel. One of the people from the Mastersingers For more information on the Raabe set us up. In 1989 we were Prize for Excellence in Sacred IT: What is your own back- married. Music Composition, visit https:// ground in the Lutheran church? alcm.org/news-events/raabe-prize. IT: Your commissionings started BR: I attended Mt. Calvary in the early ’90s, so you’ve been Lutheran School in Milwaukee supporting new church music Lectures in Church Music to and Milwaukee Lutheran High essentially since the two of you feature Raabe commissions School. Music was taken very have been together? seriously. We had big choirs, did Concordia University Chicago (River Forest, all the concertatos, had Paul BR: Pretty much! A little IL) will include a Sunday evening festival Manz visit—we were very tuned anecdote: for our wedding, concert and hymn sing on the first day of in to what became the new we together wrote a couple the Vi Messerli Memorial Lectures in Church traditional orthodoxy of hymn instrumental pieces to go along Music (October 21–23). All pieces featured in settings, chorale preludes, and with the hymns that were played the hymn festival are from the catalog of so on. I sang in choirs at church (Nancy had been getting into music commissioned by the Raabes. and school and sang as an adult composition even before we with the Lutheran A Capella were married). We wrote a Visit www.cuchicago.edu/academics Choir, Mastersingers of Milwau- descant for our processional, /colleges/college-of-arts/music/lectures kee, and the Symphony Chorus which was based on the hymn for more information. in Milwaukee (this is while I tune Truro. Nancy wrote an was a professor at the University obligato English horn verse for of Wisconsin–Milwaukee). “The King of Love My Shepherd Additional Resources: Lutheran choral music was Is,” which was the main hymn For a full listing of pieces that have a big part of my life. When I for our ceremony. She’s the originated through the Raabe’s met Nancy, she came in as the composer, but I kicked in a few generous support, visit https:// real musician. We were kind of thoughts—being the longtime tinyurl.com/raabecommissions. tough to stop at that point. Lutheran. For Nancy’s remarks about the One of our first commissions, Raabes’ commissioning project at which is still one of our favor- the Good Shepherd Institute, visit ites, was by Don Busarow: “Jesus https://tinyurl.com/nancyfortwayne. Has Come and Brings Pleasure,” ALCM in tempo 2018, No. 3 31  abc efghijklmnopqrstuvwxyz

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

Non-Profit Org. U.S. Postage PAID Milford, IN Association of Lutheran Church Musicians Permit No. 2 810 Freeman St. Valparaiso, IN 46383

32 ALCM in tempo 2018, No. 3