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a practical resource for Lutheran church musicians

Association of Lutheran 2019, No. 2 Church Musicians l alcm.org

In this issue of In Tempo:

Treat Yourself to Continuing Education 1

Better Communication through Conducting, Part 1 5

Love Your People, Part 2 Connecting the Bench and the Pew 7

The “Hours Per Week” Misconception 11 0-25-100-0 100-22-22-0Treat0-80-100-0 Yourself to Orgelkids USA Tours Philadelphia Area 13 Continuing Education Hymn Notes “O Holy Spirit, Enter In” 15 by Jim Rindelaub

lan to include continuing Sometimes it is because I am Understanding reminded of something I forgot Pipe Organ Lingo, Part 1 17 education in your summer pschedule. Here are a few rea- long ago. Pew Perspective sons that I, as a church musician, go ■■ I will stumble upon some piece of Vacation Bible School to a conference or two each summer: music I want to use at my church Rocks! 20 that I would never have found on ■■ I am amazed by the corporate my own. Again, it might be some- Interview with a singing that happens when we thing I had forgotten about. Church Musician are together. I look forward to ■■ It makes me more creative. In the Dr. Norma Aamodt-Nelson 22 hearing it. I hope the confer- 12 months since the last conference will be in a room with great ence I have fallen into a rut. I’m acoustics, and I hope the worship not that creative. At the confer- leaders let us sing a cappella on a ence something happens that hymn stanza from time to time. generates an idea for something ■■ I am always surprised by the new at my church. It’s encour- things I don’t know or don’t aged that I take ideas from the remember. Inevitably I get some conference, and my lack of great useful information to use creativity continues to go in my church music program. unnoticed at home. Part of my calling as a Lutheran church musician is to be connected to the greater church.

■■ It’s a nice change of scenery ■■ Drawings: Three lucky Covenant Society to experience a new place conference attendees will Please consider joining our and typically some stun- receive $1,500 each to fund Covenant Society—those who ning worship spaces I would a one-week sabbatical of have included the Association of Lutheran Church Musicians in never otherwise enter. their choosing. (Sponsored their will or other estate plans. ■■ It provides a reconnection by LutheranArts.) Julie and David Grindle to the people I only see ■■ Sunday, June 23: All Linda and Robert E. Kempke once a year who know my those arriving on Sunday life because they are doing are welcome to attend an Pauline and John Kiltinen the same thing in their evening Bruce Neswick Gregory Peterson and churches. hymn festival at beautiful Ann Sponberg Peterson ■■ It helps me stay up to date Trinity Cathedral with its Jim and Stephanie on what is happening. I am 87-rank Rosales pipe organ. Rindelaub always the last to know the ■■ Monday, June 24: Three David S. Thoresen latest news, and if I am not special preconference at the conference there are workshops (Finale Music things I might never find Notation training, train- out. ing to host an ALCM local ■■ I feel that part of my calling workshop, and The Church as a Lutheran church mu- Music Institute’s Planning In Tempo is published three times a sician is to be connected to through the Church Year), year by the Association of Lutheran the greater church and to vendor fair, publisher Church Musicians, 810 Freeman St., be there when my Lutheran reading sessions, and Valparaiso, IN 46383. musician colleagues are opening worship. Copyright © 2019 Association of meeting. ■■ Tuesday, June 25: Even- Lutheran Church Musicians The ALCM conferences accom- song at Trinity Cathedral 800-624-2526 l www.alcm.org plish all these things for me. with the Cathedral [email protected] This year I hope all Lutheran Chamber Singers. Subscription is included with musicians will be at the Port- ■■ Wednesday, June 26: membership in ALCM. land Biennial Conference June Trips to the wonderful Editor: Allison Schweitzer 24–27. It will make our year of worship spaces at Zion church music programming Editorial Support: Anne-Marie Bogdan Lutheran Church, St. better and it will keep us Mary’s Cathedral of the Designer: Kathryn Hillert Brewer connected. Immaculate Conception, ALCM Business Manager: Cheryl Dieter Congregation Beth Israel, Contributors to this issue: Rebecca L. Here are the things I am and The Grotto, including Abbott, Alexa Doebele, Fran Morton, especially looking forward organ and choral John R. Paradowski, Jim Rindelaub, Vincent presentations. M. Ryan, Luke Tegtmeier, Jennifer Wolf to in Portland, OR: ■■ Thursday, June 27: Featured Interview: ■■ The glorious sound: as Closing eucharist at Dr. Norma Aamodt-Nelson mentioned above, church music leaders singing to- St. Michael’s Lutheran Hymnal Abbreviations: Church and an optional ELW: Evangelical Lutheran Worship gether is magnificent! LSB: Lutheran Service Book afternoon winery tour. CW: Christian Worship

2 ALCM in tempo 2019, No. 2 Concordia University, Portland, is the home base for the conference. Portland Biennial Conference June 24–27

Susan Briehl

Robert Buckley Farlee

The Grotto is one of the many places ■■ Rest and relaxation: to explore in the Portland area. The Pacific northwest is a beautiful place to explore before or after the confer- fine city. Your Lutheran music Samuel Torvend ence. Bring your family so colleagues need your voice they can vacation while you in the song. Please don’t miss attend the conference. out—it’s two long years to the ■■ Presentations and next biennial conference! workshops: Keynotes Call a church music colleague today and let that person know by Susan Briehl, Robert Jim Rindelaub is the two of you should come Buckley Farlee, and Samuel executive director to Portland. There is still time Torvend, and 20 practical of ALCM and is the to register. Information is workshops on worship and music director at at https://alcm.org/2019 music. Ascension -portland/. It may be your only chance to hear the song of Lutheran Church, Indian Harbour God’s people in the stunningly Beach (FL). beautiful worship spaces of this

ALCM in tempo 2019, No. 2 3 Called to Be a Living Voice “Called to Be a Living Voice” was adopted in October 2016 by vote of the ALCM membership. Lutheran church musicians lead the church’s song. In the Lutheran tradition we are often known as cantors. This includes the roles of choir directors, organists, instrumental leaders, praise band leaders, song leaders, composers, arrangers, and worship planners. Since its founding in 1985 the Association of Lutheran Church Musicians (ALCM) has served its members by providing the support, learning, networking, grounding, inspiration and celebration to carry us into the future. Lutheran church musicians proclaim. We proclaim God’s Word, Jesus Christ, in worship, through music. We are shaped by the Lutheran tradition as a confessing movement in the church catholic, and are rooted and guided by the western catholic musical and liturgical tradition. We are also responsive to our local contexts and cultures. We simultaneously care for our congregations’ local musical heritage and tradition while being bridge builders to the ever-emerging songs of the church. We delight in the riches from our past, as well as the gems in our new songs. We incorporate global music, the music of many nations and cultures, into worship. In short, we have a love of the past, a passion for the present, and excitement for the future. Lutheran church musicians lead. While some of us are employed in full-time positions, most are employed part-time. Some are called as volunteers, often in churches that cannot afford to hire a musician. We lead the church’s songs and hymns, we plan and perform choral and instrumental music, and use our talents to lead and grow the congregation’s voice. We are all called to excellence in the music that we lead. Lutheran church musicians celebrate. We celebrate the fact that the Lutheran church is a singing church, and we work to keep and expand this singing tradition. We recognize that the gathered assembly is the primary musical voice in our worship. Lutheran music is built on the foundation of congregational hymns, songs, liturgical, and other music. Thus, we form choirs, handbell ensembles and various instrumental groups that enrich the music in our worship. Lutheran church musicians challenge. We respond to cultural changes by finding ways to engage people of all ages and backgrounds in the church’s music. We creatively develop new ways to involve children, youth and adults in choirs and instrumental ensembles as integral leaders. Lutheran church musicians grow and change. We foster creativity in all its forms, but especially in new musical expres- sions for the church. We are part of a dynamic, evolving vocation. As the song of the church changes, we remain committed to the joyful task of bringing the church’s song into our assemblies to proclaim God’s Word and celebrate God’s sacramental presence in our midst.

4 ALCM in tempo 2019, No. 2 Better Communication through Conducting, Part 1

by Alexa Doebele As human beings, we are If we say one thing but hard-wired for nonverbal com- show something else, Q: How many conductors munication. Body language can does it take to screw in a speak volumes, even if one is not that might account for light bulb? speaking using words. Increas- the inconsistency in the ingly, studies are showing the A: No one knows. No one is importance of body language choir’s response. ever watching. in confirming—or contradict- 0-25-100-0 100-22-22-0 0-80-100-0ing—what one says, and on the tended to open their mouths whole, people are more likely more while holding the larger his joke is funny because, to believe the message depicted object than while holding the although it may indeed through body language than a smaller object.2 We may joke t seem that our choir verbal message. At its very core, about singers not following a members never watch us, they conducting is body language. conductor’s gesture, but we watch us more than we give Conducting patterns are rela- are predisposed to following them credit for doing. More tively arbitrary, but everything gestural communication and often than not, we blame the else a conductor shows is tied to responding accordingly. choir if they are not following basic gestural communication. our musical intent, but perhaps In his video What They See instead we conductors are Humans respond to each Is What You Get, Rodney not showing what we intend. other’s gestures because of Eichenberger demonstrates the If we say one thing but show the mirror neuron system. For ramifications of mirror neurons something else, that might example, if I were to face a in situations where a conductor account for the inconsistency group of people, tell them to is leading a choir.3 Without in the choir’s response. When raise their right hands, and I intending to do so, singers imi- things go wrong, we conductors myself raise my right hand, at tated the torso, head, and neck tend to flail about in a vain least a few would raise their alignment modeled by the con- attempt to get the choir’s left to mirror my right or have ductor. Musical items such as attention. By doing so, our to fight the urge to mirror me. pitch, intonation, stressed and message may become muddled, This is because the neurons unstressed beats, and dynamics making it that much harder in the premotor cortex of the performed by the choir were for the choir to follow us. brain will fire when performing all affected by the conductor’s Maybe the choir is indeed not an action, but they will also gesture, even without the watching, but if we conductors fire when merely observing conductor having to explain gave them something worth someone performing the same to the choir what to change. watching—i.e., if our conduct- action. In other words, the The video shows numerous ing gesture conveyed specific neurons do not distinguish examples of this with different meaning—our choir members between observing an action conductors and different types would be more likely to watch and doing the action.1 Mirror of ensembles—teens, graduate us. Conducting gesture is not neurons have even more students in music, and adult necessarily “good” or “bad,” far-reaching implications for community and/or church but it certainly can be labeled human behavior than simply choir members—all in response as “effective” or “ineffective” mimicking movement. A study to subtle (or, in some cases, not for conveying the conductor’s measured the degree of mouth so subtle) changes in gesture. musical interpretation. opening while subjects held either a small object or a larger This then begs the question: object and found that subjects if conducting really is body ALCM in tempo 2019, No. 2 5 language, what does your and the pitch will tend to from the console and away conducting say? And what does be flat. from the console, however, 0-80-100-0 your conducting say in relation ■■ Are you holding tension in monitor your head and 0-25-100-0 100-22-22-0 to your verbal instructions? Are parts of your body while neck movement, as you may your verbal and nonverbal cues you conduct? If your sing- find the “survival mode” in sync with one another, or are ers’ bodies look tense, then of conducting from the you sending mixed messages? you may be creating some console creeping into your As Pietiläinen-Caffrey points of that tension by how you conducting when you are out, “Verbal communication appear to the choir. able to be away from the must match the nonverbal com- console. Breathing munication observed via mirror ■■ What are you doing with neurons. Verbal instructions, if ■■ Are you breathing with your mouth while you con- inaccurate or wrong, will create your choir, especially at duct? Looking at a closed confusion and possibly even major entrances or struc- mouth is not as “singer tension or irritation in the sing- tural points in the music? friendly” for your choir, and 4 ers.” Too often conductors ask The choir will still undoubt- if your lips are too tightly their choirs to “do as I say, not edly breathe if they have pressed, that can also cause as I show,” but this is an inef- to come in, but they may some tension in your sing- fectual approach. Joseph Kevin breathe late (thereby mak- ers. Breathing with your Ford observes, “The conductor ing their entrance late) or mouth open and keeping who uses gestures that are at breathe with a quick, shal- your lips slightly parted odds (nonverbally) with his or low breath. If the conductor as a general rule will help her musical desire must spend a breathes—and, more to induce relaxation for your great deal of time talking to the the point, breathes with singers. choir and convincing them to the desired timing, length, Look for additional ideas about ignore the nonverbal cues they and quality of breath—the better communication through are seeing while performing the choir will be more likely to conducting the the fall issue of conductor’s musical intent.”5 breathe accordingly. In Tempo. Conductors should be ■■ Are you breathing “low and Alexa Doebele is mindful of the messages they slow,” or are you model- director of choral are sending through some ing clavicular breathing activities and specific components of their (raising your shoulders as conducting: you inhale) and/or shal- associate profes- low breaths? Think about sor of music at Alignment/Posture expanding from the bottom Concordia University Wisconsin. of the ribcage in a relaxed, ■■ Are you modeling the controlled manner, and posture you would like Endnotes make sure that you are from your singers? Are 1. Riikka Pietiläinen-Caffrey,“ Monkey See, not raising your shoulders you slouching without Monkey Do: The Choral Conductor and the and upper chest when you Mirror Neuron System,” Choral Journal 55, realizing it? Eichenberger inhale. no. 9 (April 2015): 20. demonstrates in his video ■■ Do you raise your head and 2. Pietiläinen-Caffrey,“ Monkey See, to great effect how the Monkey Do,” 21. neck when you inhale? If conductor’s posture influ- 3. Rodney Eichenberger, What They See ences the posture—as well you are conducting from Is What You Get!, DVD (Chapel Hill, NC: as the sound—of the choir.6 the keyboard, you will Hinshaw Music, 2007). Regardless of whether likely have no choice but 4. Pietiläinen-Caffrey,“ Monkey See, Monkey we stand or sit when we to do this, since you will Do,” 22. conduct, we need to model probably not have your 5. Joseph Kevin Ford, “Implications for arms available much for Non-Verbal Communication and Conducting the posture we desire from Gesture,” Choral Journal 42, no. 1 (August our choir members, or the conducting. If you find 2001): 20–21. yourself frequently switch- sound will not be energized 6. Eichenberger, What They See Is What You ing between conducting Get. 6 ALCM in tempo 2019, No. 2 love your people 0-25-100-0Connecting the100-22-22-0 Bench and the Pew,0-80-100-0 Part 2

by0-25-100-0 John R. Paradowski100-22-22-0 0-80-100-0By loving the people, something that the listener can be drawn to immediately. any years ago, when I you will involve them first started playing the in such a way that they General understanding of the mtexts of the hymns as text is needed: well as the notes, we were sing- will take notice and be ing “This Is My Father’s World” connected to the deep- ■■ are there mood changes within the hymn text? (ELW 824). We arrived at stanza er meaning of the text. 3 and I played a B-major chord ■■ is the text asking, praising, (instead of a B-minor chord) lamenting, telling a story? on the word “ring” (see fig. 1). I a way that they will take notice ■■ does the text involve held it just a bit longer: “Let the and be connected to the deeper dialogue? If so, who is heavens R-I-N-G.” I know, very meaning of the text. In this speaking? daring. Later that week one of article we will look at specific ■■ who is being addressed in the members came up to me illustrations of bridging the the text? wanting to talk. I worried, “Oh gap between bench and pew ■■ no, now what?” She said, “That by offering examples that will is there an emotional was some chord you played last engage your congregation. climax in the text or in a Sunday.” I had to think twice stanza? about which chord she meant. I Stanza after Stanza, Ideas and Thoughts asked her, “What was the word Note after Note, for Introductions and I played that chord on?” She Word after Word knew right away: “Why, it was Accompaniments the word ‘ring.’” I knew then What is the overall mood of While I was attending a that the concept of playing the text or a stanza? Dark and hymn-playing workshop many the text matters. The love stormy, praise and worship, years ago, the presenter handed affair with the congregation joyous and hopeful? Maybe out a list of creative hymn ideas. continued. the whole text, or just a stanza, I took that list, laminated it, and will have one special word or placed it by the organ. Then, Our goal of connecting the phrase you wish to point out when I needed some creative congregation to the hymn texts or highlight. Does each stanza ideas for the next hymn, I had is what should inspire each of tell a story, or is it part of the a starting point. I present the us as we prepare the hymns for larger story? How do you as the following in that same light: worship. By loving the people, worship leader help the congre- something that may spark your you will involve them in such gation follow the story? Find creativity in playing and sharing the hymns of the church. Many Figure 1. “This Is My Father’s World” (Terra Patris) of the following examples can work as introductions, accompaniments, or interludes.

■■ Add voice parts one at a time, phrase by phrase (e.g., Lobe den Herren, ELW, LSB, CW).

ALCM in tempo 2019, No. 2 7 ■■ Alternate phrases between ■■ Establish mood-setting mu- ■■ Change the tempo of a unison and harmony (e.g., sic, with melody eventually stanza (e.g., Assurance, Veni Emmanuel, ELW, LSB, appearing (e.g., Schönster ELW). Slow down stanza 3 CW). Herr Jesu, ELW, LSB, CW, to reflect the text “Perfect ■■ Alternate fanfares with or Union Seminary, ELW). submission, all is at rest,” phrases of the tune (e.g., ■■ Add a pedal point. (e.g., then go back to the previ- Diademata, ELW, LSB, CW). Hyfrydol, ELW, LSB, CW). ous tempo at the refrain. ■■ Add a ritornello figure ■■ Solo out the melody, maybe ■■ Have an a cappella stanza: between phrases. as an ornamented chorale fade away the accompaniment (e.g., Were You There, ■■ Find an ostinato motive in the Baroque style (e.g., ELW, LSB). that can underlie playing Ar hyd y nos, ELW, LSB, ■■ of the melody (e.g., Beach CW). Play a duet, melody vs. Spring, ELW, LSB, CW). ■■ Play in a free style: have counter melody (e.g., Herzlich tut mich verlan- ■■ Use octave displacements: barely any melody, or even gen, ELW, LSB, CW). ELW play phrases of the tune in no melody, until the very uses the hymn text “Our different octaves. end (e.g., Hymn to Joy, ELW, LSB, CW). Use man- Father, We Have Wandered” ■■ Play a canon: some tunes uals only: give your feet a with this tune, which in- can be played in partial or break. Include a 16' manual spires a wandering counter total canon (e.g., Picardy, stop? melody on an 8' flute with ELW, LSB, CW). You may the melody entering on a ■■ Solo out the tenor line or want to emphasize the text soft reed, continuing as a alto line as a descant. of, say, “Will You Come and duet. Follow Me” (Kelvingrove, ■■ Solo out the melody in the ■■ Play in unison when called ELW) by leading with a solo pedal (e.g., St. Columba, for (e.g., The Ash Grove / line phrase and answering ELW, LSB, CW, or Founda- Sent Forth By God’s Bless- in canon. tion, ELW, LSB, CW). ing, ELW, LSB). The hymn ■■ Improvise a toccata figure ■■ Don’t play the melody line: text “Unite us as one in the following the harmonic support the congregation life that we share” inspires a structure of the hymn and with just the traditional unison melody line. play the melody in the ped- harmony (e.g., Gloria, als (e.g., Mit Freuden zart, ELW, LSB, CW). ELW, LSB, CW).

Figure 2. “God of Grace and God of Glory” (Cwm Rhondda)

Figure 3. “Hark! The Herald Angels Sing” (Mendelssohn) and “Angels We Have Heard on High” (Gloria)

8 ALCM in tempo 2019, No. 1 Your congregation will Figure 4. “Shall We Gather at the River” (Hanson Place), hear and notice and “For All the Saints” (Sine nomine), and “Ye Watchers and Ye Holy Ones” (Lasst uns erfreuen) be astounded how you are able to bring all the themes together.

Other Ideas and Music Mash-ups ■■ In stanza 3 of “God of Grace and God of Glory” (Cwm Rhondda, ELW, LSB, CW), highlight the text “Lo! The hosts of evil round us” by adding an “evil” bass line (see fig. 2). Figure 5. “When I Survey the Wondrous Cross” (Hamburg) ■■ Play a related hymn lead- with “Were You There” (Were You There) ing to the real hymn, e.g., play the refrain of “Angels We Have Heard on High” (Gloria, ELW, LSB, CW) that leads to “Hark! The Herald Angels Sing” (Men- delssohn, ELW, LSB, CW) (see fig. 3). The congregation will notice and think you’re playing the wrong just to inspire you to craft Holy Jesus” (ELW) or hymn or maybe think that together hymns in a seam- “O Sacred Head, Now you are so clever to tie the less fashion. Wounded” (ELW, LSB, Christmas themes together. ■■ All Saints: combine CW). ■■ If needed, plan to combine phrases of “Shall We ■■ Good Friday: the idea hymns from the service into Gather at the River” of mixing related hymn a communion meditation. (ELW), “For All the tunes works well with Start an improvisation on Saints” (ELW, LSB, CW), hymn introductions, a hymn used in the service, and “Ye Watchers and Ye too. Combine phrases then bring in phrases from Holy Ones” (ELW, LSB) of “When I Survey the another hymn used in that (see fig. 4). Wondrous Cross” (ELW, service. Your congregation ■■ Reformation: combine LSB, CW) with “Were will hear and notice and phrases of “A Mighty You There?” (ELW, LSB, be astounded how you are Fortress” (ELW, LSB, CW) as an introduction able to bring all the themes CW), “O God, Our Help to set the mood and tie together. It may require in Ages Past” (ELW, LSB, the hymns together (see some work to transpose CW), and “The Church’s fig. 5). keys and work out meter One Foundation” (ELW, changes, but even a phrase LSB, CW). Even a phrase or two or two of the hymns will work to let the congrega- ■■ Palm Sunday: combine of the hymns will work tion remember that they phrases of “All Glory, to let the congregation Laud, and Honor” (ELW, sang these hymns earlier. remember that they sang The examples below are LSB, CW) with “Ah, these hymns earlier. ALCM in tempo 2019, No. 2 9 Figure 6. “Go, My Children, with My Blessing” (Ar hyd y nos)

■■ At times I’ll include a Being self-aware of O flowing waters, pure and clear, tidbit of a hymn that we your work and open to Make music for your lord to hear. are not singing but that is Oh, praise him! Alleluia! one everyone knows and critique is a key factor in O fire so masterful and bright, bridge it together with the working to connect the Providing us with warmth and main hymn. In the example light, bench and the pew. “Go, My Children, with My Oh, praise him! Oh, praise him! Blessing” (ELW, LSB, CW), Alleluia, Alleluia, Alleluia! I end the introduction with hymn playing and text painting, a fragment of the children’s always keep in the forefront of hymn “Jesus Loves Me” (see your preparation maintaining John R. fig. 6). The congregation proper support of the melody. Paradowski is not only hears the con- Remember, the goal is to bring minister of music nection but feels it inside, forth the text in the most appro- at St. Matthew’s remembering the song priate manner. At times, less is Lutheran Church from their childhood. more; don’t “over harmonize” in Wauwatosa, WI. every chord. Summary Being self-aware of your work We must never stop expanding If we as musicians and open to critique is a key our knowledge and resources and worship leaders factor in working to connect the to share and grow with the become stagnant in bench and the pew. While I’ve congregation. If we as musicians used every idea presented here, and worship leaders become sharing God’s gift of not all were initially successful. stagnant in sharing God’s gift of music, how is the Listen to your congregation music, how is the congregation and your peers, record yourself to grow? When we love some- congregation to grow? in worship, and evaluate both one, we strive to always give our your successes and the ones that best. didn’t go so well. Recognise when an introduction or an Your Assignment accompaniment didn’t work as Look at the text in the next much as when it did work and column (sung to the tune Lasst why. uns erfreuen) and think about how you might interpret the While you explore the endless text as an introduction, a con- resources and ideas to creative gregational stanza, or an organ stanza. What will you share and how will you engage with your congregation by first loving the people?

10 ALCM in tempo 2019, No. 2 The “Hours Per Week” Misconception

0-25-100-0 100-22-22-0 by0-80-100-0 Fran Morton ow many hours a mornings and at scheduled A good position week do you really “ rehearsals. But these can’t be description creates a hwork for the church?” done successfully in the absence I and many church musician of all the other things we do picture of what any colleagues have been on the that congregants don’t see, i.e., incumbent in the receiving end of this question selecting music, practicing, more times than we like to recruiting singers and handbell position does when remember. I’ve received it ringers, planning worship, par- everything is going fine. delivered with two different ticipating in ALCM and other meanings: professional organizations, board. The best way to do this taking lessons or doing other ■■ Meaning #1 (supportive): is to provide a clear under- actions to maintain/enhance After a particularly standing of what we do and of our own professional skills, challenging Lent/Easter the church context in which managing volunteers, collabo- season, the question meant, we work. We need to document rating with other local church “I think you are working key responsibilities, duties, and music directors on interfaith or more hours than we pay context in a position descrip- ecumenical programs. you for—you are giving tion. Many churches these days us more value than we Now, here’s the trick: how do we will have a written position recognize.” make a convincing argument to description for the music director. If your church doesn’t have ■■ Meaning #2 (critical): From my congregant (in Meaning #2 one for your position, create it. a congregant who thought I above)? Can we convince them If they do, review it carefully. was overpaid, the question that what they see is only the ice- berg’s tip, that we create value meant, “I haven’t seen you A good position description doing many things they don’t at the church for your full creates a picture of what any see and that can’t be done in 20 hours every week, so I’m incumbent in the position our office? Having tried, I can recommending we pay you does when everything is going say with confidence—we can’t. only for the hours that you fine; it covers activities taking People who make this argument are (verifiably) present at place both at the church and really believe church musicians the church.” away; it describes context are no different from delivery The big problem with both and collaboration needed; it drivers, bookkeepers, or bank these statements is that they focuses on outcomes. Sadly, not tellers: when we’re not on the interpret the church musician all position descriptions are organ/piano bench or directing job as just another job that pays created equal, and we need to a choir, or physically in our by the hour, e.g., retail sales, assure that the ones we work office at the church, we’re not delivery drivers, bank tellers, from are the best they can be. doing anything of value that the bookkeepers. In these jobs Position descriptions need to church should pay for. people are paid for the hours be precise, say what they mean, they spend in a particular place, What to do? First, be realistic. relate our work to the overall doing a specific function on We’ll never get 100 percent of context of the church, fit the a particular day and time. If the congregation to understand “size” of the job (recognize that they’re not there at that time, clearly what we do and to value a part-time musician can’t be on that day, doing that function, our contribution. However, we expected to take on full-time they don’t get paid. do need (at a minimum) the commitments). Below are some clergy, the governing council, things you need to look for (or Of course, part of our job is and the people to whom we’re create) that will make a good being there on Sunday directly responsible to be on position description ALCM in tempo 2019, No. 2 11 ■■ “Do” versus “manage/ If a quality statement nating with the Christian oversee”—There is a huge is included, be sure it education team, and on difference in effort re- and on. And if it doesn’t quired from us to “Develop contains the precise work out for some reason, and implement a choir criteria being applied. everyone would be looking music filing system” in con- to us for an explanation. trast to “Design and oversee pianos and organ are main- Instead, we need to craft a development of a choir tained according to their statement that honors the music filing system.” The maintenance contracts, and context and the need for first statement says we ac- any unusual conditions are collaboration: “The church tually will be doing all the reported promptly to the wants to start a youth choir. work. The second one says music and worship chair.” As a first step, the music we create the design and ■■ “Music director will pro- and worship chair and then oversee others doing vide music for” without music director in consul- the actual work. Make sure any context. For exam- tation with the pastor, that you understand exactly ple: “Music director will the Christian education/ what’s required and the supply music for Vacation faith formation chair will level of commitment before Bible School and lead research the requirements, you sign on to anything student singing during budget, and willingness that says you will do all the this program.” This is a of parents and children to work. very complex task, and our participate. They will pre- ■■ “Responsible for” versus ability to perform it success- pare a feasibility report for “advising/consulting”— fully depends heavily on review by the council and “Responsible for” says the collaboration. Our position congregation.” buck stops at our door, description needs to say, When we’ve finished the whereas “advising/con- “Music director will consult position description, what do sulting” says we have a key with Christian education/ we have? We have a document helping role, but the buck VBS team and agree upon that covers the major parts of lands at someone else’s music to be included and our responsibilities, is “sized” door. Example: “Consult the role of music in VBS. to the director job we have, with the worship team to Music director will supply and honors the context of our create a Taizé evensong ser- music and accompany sing- church. The answer to our crit- vice” is very different from ing based on the current ical congregant then is, there is “Responsible for creating a year’s mutually agreed a document mutually agreed to Taizé evensong service.” requirements.” by everyone involved in oversee- ■■ “Satisfactory/robust/ ■■ “Other duties and special ing the music program. Finally, growing” versus a specific projects as assigned”— we’ve made the “how many standard—undefined these “kitchen sink” hours a week” critical statement statements that tie us to a statements are particularly go away—it’s been eliminated Facebook-type “Like” mea- to be avoided. An example: by a document that demon- sure are to be avoided at let’s say our church does strates the value we bring. all costs. If a quality state- not have a youth choir and Fran Morton is a ment is included, be sure it they want to start one. A conservatory- contains the precise criteria pure “kitchen sink” de- trained organist being applied. Example: scription might say, “Music and choral direc- “Assure that the church’s director will develop and tor. She has held pianos and organ remain direct a youth choir as soon church music director assignments in optimum condition at all as possible.” Again, this across denominations throughout times” leaves us subject to makes us responsible for the New York City metro area. anyone’s interpretation on everything: researching Additionally, she accompanies and any day of the year. Instead, music, selling parents and conducts choral groups in major “Assure that the church’s kids on the idea, coordi- choral works in a variety of venues. 12 ALCM in tempo 2019, No. 2 Orgelkids USA Tours Philadelphia Area

by Vincent M. Ryan

“You guys have to see this. This organ-in-a-crate- thing is sick!” —Alec, a high school junior, to his peers

“Jump on this now.” —Ryan Pongras, music teacher, to his colleague (when offered a chance to present it to their class)

“Orgelkids makes the King of Instruments accessible. What is accessible is then lovable.” —OrgelkidsUSA.org0-25-100-0 100-22-22-0 0-80-100-0

rgelkids USA is a small, fully functional pipe oorgan designed to teach children of all ages how a pipe adjacent to our sanctuary ■■ On a Saturday evening, we organ works. The kit arrived in instrument. They were able hosted a Pipes and Pinot Harleysville, PA, in a shipping to compare and contrast party. A relaxing evening case in mid-March and was built the two, even using proper of friends gathered for hors 33 times by a total of 460 peo- terminology. Are there d’oeuvres, wine, and organ ple. Vincent M. Ryan, minister many parishioners (not building (and playing). of music at Advent Lutheran involved with an organ ■■ A high school senior was Church, Harleysville, presented build or restoration) who completely and viscerally the instrument to 29 classes in can do so? joyful when the organ local schools and communities ■■ We formed a small instru- began playing. An elemen- before delivering it to its next ment ensemble that played tary school student giggled destination in York, PA. along with the organ to uncontrollably. Orgelkids USA, a nonprofit lead worship for three ■■ Fifth-grade girls were organization based in Sundays. spotted writing down termi- Corvallis, OR, is directed by ■■ Prior to class, one middle- nology (unprompted), such Erin Scheesele. Originating school teacher informed as mortise, tenon, and tusk, in the Netherlands, it was me that the 8th-grade as well as the website for brought to the USA by Erin boys would usually rather OrgelkidsUSA.org so they with a lot of help from her son. be elsewhere. My expecta- could learn more at home. For the full story, visit tions were set to encounter The typical construction began www.orgelkidsusa.org. some resistance. Of the 56 with a life-skills question: “How students that day, these 10 do you get the elephant out Some highlights of the boys were the most en- of the JELL-O box?” Answer: Philadelphia-area gaged! They were attentive “Read the instructions!” One Orgelkids tour included: from the moment they hundred thirty-three pieces ■■ The adult Sunday school entered the room, through were laid out on three tables. class at church not only the building process, play- Students were given brief built this organ but did so ing, and disassembly. instructions and divided into ALCM in tempo 2019, No. 2 13 groups. Each group also had clear printed instructions that described every step. Despite some requisite explanation, my goal was to allow the students the room they needed to explore—with teamwork—by doing. Once a group completed a step, they were expected to explain what they did and how it works. The groups then com- bined to learn from each other and create the final assembly. They took turns as calcant and organist. The organ was usually techniques, the physics of sound This tour was also made completed and played in about in a pipe, math, tuning, and possible by an Action Team 40 minutes. wind pressure. Students were Grant from Thrivent Financial, given age-appropriate handouts support from the Potter and Ages of the students ranged with worksheets or coloring Wilhelmson families, and the from 5 to 90, and their back- pages and invited to visit our many professionals who helped grounds included musicians, church (or to speak to their coordinate the schedule. science students, visual artists, own church organist) to see and organ builders, etc. Depending hear a full-sized instrument. “My sincerest thanks goes on the audience and time to Mr. Ryan for providing available, we were able to Venues included: this amazing opportunity discuss organ history, ancient ■■ West Broad Street for our students!” woodworking and joining Elementary, Souderton —Eric Stover, music teacher at West Broad Street Elementary school, to his ■■ Advent Lutheran Church, students’ parents. Harleysville ■■ Perkiomen Valley Middle Vincent M. Ryan is School West, Zieglerville minister of music ■■ Perkiomen Valley High at Advent School, Collegeville Lutheran Church in Harleysville, PA, ■■ Vernfield Elementary where he directs the church’s School, Vernfield varied ensembles. He accompa- ■■ Indian Valley Middle nies solo instrumentalists, voices, School, Harleysville mixed ensembles, and choirs of all ■■ Organ Historical Society levels, including the Gospel Choir Headquarters, Stoneleigh, of Wittenberg, Germany. He Villanova created (with Noel Kennedy) a ■■ A private residence for coloring book, “Meet the King,” Pipes and Pinot to be used at his workshops that ■■ Generations of Indian introduce children to the pipe Valley, Souderton organ.

■■ Arcadia University, Reprinted by permission of the Glenside Philadelphia Chapter of the ■■ Peter Becker Community, American Guild of Organists. Harleysville PHOTOS © Vincent M. Ryan ■■ Oak Ridge Elementary School, Harleysville 14 ALCM in tempo 2019, No. 2 Hymn “O Holy Spirit, Enter In” 0-25-100-0 100-22-22-0Notes0-80-100-0 (Wie schön leuchtet)

by Rebecca L. Abbott contribute to our ease by using O Holy Spirit, enter in, only stepwise motion, no excep- And in our hearts Your work begin, Holy Spirit, Enter tion. All the pitches are either Your dwelling place now make us. In” to the tune of “ repeated or next to each other Sun of the soul, O Light divine, oWie schön leuchtet on the scale, so are easily sung: Around and in us brightly shine, deserves attention throughout going up (Sol La Ti Do Ti La La the time of Pentecost since, To joy and gladness wake us Sol), then going down to home unlike most hymns, the entire That we may be (Sol La Sol Fa Mi Re Do). As if hymn is directed to the Holy Truly living, that were not simple enough, we Spirit.1 Its length and poetic To You giving immediately repeat those three structure, however, mean that Prayer unceasing lines, reviewing the major tonic many of us may find it difficult And in love be still increasing. chord and moving stepwise up, to pray. Despite the directness then down, the scale. Give to Your Word impressive pow’r, of the opening line, it may serve That in our hearts from this good hour then as a reverent but forgetta- This repetition is reflected in ble reflection on the Holy Spirit the third and final section, the As fire it may be glowing, rather than as a heartfelt prayer. one that begins with four lines That in true Christian unity How might we absorb the hymn of four syllables. The first line of We faithful witnesses may be, into our understanding and four syllables opens with Sol Mi Your glory ever showing. come closer to offering it as our Sol Mi, an incomplete presen- Hear us, cheer us personal prayer? tation of the major tonic chord, By Your teaching; reflecting the opening line. Let our preaching Instead of beginning with The next three lines of four And our labor the theological concepts the syllables reflect the stepwise Praise You, Lord, and serve our hymn illustrates, we will begin motion of the major scale, going neighbor. with the most basic distinction down finally to home: Mi Mi Re between a text and a hymn; Do. We sing in miniature—in O mighty Rock, O Source of Life, we may read both, but we sing compact form—what we have Let Your dear Word, in doubt and strife, a hymn. How does the music just sung in expanded form in In us be strongly burning itself penetrate our under- the song’s first six lines. That we be faithful unto death standing and help us accept the And live in love and holy faith, theology? The one great surprise of the From You true wisdom learning. melody is the first note of the The melody helps us feel secure Your grace and peace last line, Do. We need a great in three ways: outline of the On us shower; breath to leap up that octave major tonic chord, stepwise By Your power before we settle into the final motion, and repetition. The Christ confessing, notes. What words are empha- opening line has only one pitch Let us see our Savior’s blessing. sized on that high Do? How (La) outside of the major tonic (LSB 913) does it affect us, to need one big chord (Do Mi Sol). We may be breath? We have sung that pitch praying to the mysterious Holy twice before, in the middle of Spirit, but the music reassures the second and fifth lines, but us and helps us feel we have a we built up to it by step. Here its right to pray. The next two lines ALCM in tempo 2019, No. 2 15 Each of the three stanzas suggests a human height is dramatically empha- struggle to transcend After having taken the hymn sized as we approach it by a leap. seriously as a song and as a How might its height reflect a time, to orient our vision poem, we have earned the right theme in the song itself? How to an eternal growth in to explore the more abstract can we give ourselves over love and joy. theological concepts. We find to that theme in the way we then a more subtle prayer than prepare for that note and glide Incidentally, if there is indeed a the directness of the melody down from it? fault here in the poetic compo- might suggest, a prayer that sition, should we invest the time implies limitation and struggle. Still setting aside the abstrac- to make its prayer our own? For Each of the three stanzas tions of theology, we turn next myself, I decided the beauties suggests a human struggle to to the structure of the text. outweighed the deficiencies transcend time, to orient our Here we should acknowledge and made this hymn serve as vision to an eternal growth what we lovers of church music an example of perseverance in in love and joy. Consider the are sometimes reluctant to my own faltering prayers. How words that close the first stanza admit: it is uncomfortably often do we ourselves, when we (italics added): “To You giving edited, amplifying the problems begin to speak, sound less than / Prayer unceasing / And in of the original German. In fluid? How long does it take us love be still increasing.” There the early German editions of to find a rhythm? When others is a poignancy in our asking eight stanzas,2 a turning point are trying to explain something for this eternal growth, as we appears fairly consistently at the to us, especially something deep acknowledge our own limita- fourth line, the repetition of and heartfelt, do we cut them tions within time. Just as the the “A” melody; we see there the off after a moment if they have first stanza asks the Spirit to “in word “daß,” translated as “that.” to hunt for words? We can grow our hearts Your work begin,” It creates an internal logic. In in patience and compassion so the second stanza prays, the first three lines, we ask the toward others and toward our- “That in our hearts from this Holy Spirit to do something; in selves through even a marred good hour …” Those lines imply the fourth line, as the melody poetic form. that, unlike the Holy Spirit, repeats, we state why we have we have a definite beginning, made the request and what we What, then—in our fumbling although we are praying to join expect to receive from it. Melod- yet confident way with the high those who are without ending, ically and emotionally, it aligns note of joyful abandon at the “Your glory ever showing.” The our rationale with the request. end—are we asking the Holy third stanza acknowledges our So far, so good. Spirit to do? The verbs show earthly deaths: “That we be what we are asking, while the However, in the very first faithful unto death.” Yet it closes misplaced “thats” show why stanza, the original German with a final plea for transcen- we are asking and what we are undermines its own logic by dence: “Let us see our Savior’s expecting to receive from it. delaying the first “daß” until blessing.” What is that blessing? Eternal life, the final victory in the opening of the “B” melody, Stanza 1 our struggle to transcend time. and it inserts an extra “daß” at A: enter … begin O Holy Spirit, enter in. May this the second line of the second A: make … shine … wake hymn help us pray. stanza, as though the poet B: THAT we may be living … had not yet established the giving … increasing Rebecca L. Abbott internal logic nor discovered his Stanza 2 serves as pianist own form. All of these “thats” A: give … THAT it may be at Hope Lutheran appear in our three English glowing in Sunbury, OH. stanzas. Because we have only A: THAT we may be witnesses three stanzas, instead of eight, B: hear … cheer … let Endnotes recognizing and settling into a Stanza 3 1. The version here considered is from pattern becomes difficult. Our LSB 913. minds sense the inconsistency A: let A: THAT we be faithful and live 2. “O heil’ger Geist kehr bei uns ein,” even before we are able to https://hymnary.org/text/o_heilger_geist_ articulate it. B: shower … let kehr_bei_uns_ein, accessed April 11, 2019. 16 ALCM in tempo 2019, No. 2 organ maintenance by Luke Tegtmeier 0-25-100-0Understanding Pipe100-22-22-0 Organ Lingo, Part 1 0-80-100-0

As one of the biggest investments a church can make, the pipe organ requires careful attention to ensure its longevity. In this series of articles, Luke Tegtmeier will help bridge the gap between organist 0-25-100-0and organ builder.100-22-22-0 0-80-100-0

ecently my car was making a funny noise. When I r took it to the mechanic, he started rattling off car terminology that went completely over my head. We made it through somehow and my car got fixed, but it made me think about how I communicate with clients about an issue on the pipe organ that needs attention.

Organists don’t always understand the inner workings of the instrument or have the proper terminology to explain a problem; secretaries, pastors, and music committee members usually have even less under- Organ console with five manuals, Notre Dame, Paris standing. To help increase Basic Components Rank—a set of pipes, with one understanding, I developed a of the Organ pipe corresponding to one document to help explain the key on a given keyboard. basics of the organ. Console—the “control center” of the organ where the A rank can be “borrowed” Please feel free to share this organist sits to play to be played from another with your students, committee division, and a rank can be Manual—a keyboard played members, and anyone else inter- “unified” to play at multiple by the hands, e.g., Great, ested in the organ. pitches. Swell, Choir, Positiv, Solo Organ pedals, Warsaw. Stop—a device on the console Pedal —a key- that activates a particular board played rank or set of ranks by the feet Compound stop—a stop Division —each with more than one rank, keyboard usu- e.g., Mixture, Cornet, ally represents Sesquialtera a division. A Swell box division may —a box with contain one shutters (imagine window to 20 ranks of shutters) containing all pipes. ranks played on a given manual. The organist can

ALCM in tempo 2019, No. 2 17 open and close the shutters with a foot pedal to control the volume heard in the room. Crescendo pedal—a pedal that adds or removes stops as it is moved Windchest—pipes sit on the windchest above the mech- anism that delivers air to a given pipe so it will sound or “speak.” Reservoir—this airtight box with leather gussets helps hristophe MOUSTIER

create and maintain the C pressurized air that is deliv- Organ stops. ered to the windchests. Stop action—the method by 3. Electro-pnuematic— which pulling on a stop an electronic signal Types of Action activates that stop on the from the console chest. (Note that “All-elec- activates a magnet and The mechanical means whereby tric” key action does not pneumatic components an organ responds to the per- have a stop action.) Again, to activate a stop. This former’s actions: this could easily be subdi- could be further divid- Key action—the method by vided much further, but ed into sub-categories which pressing a key causes there are three main kinds like Pitman and Ventil air to enter a pipe. This of stop action: chests. could be subdivided much 1. Mechanical—used only in tracker key action; further, but the main three Describing Basic the drawknob has a kinds of key action are: Problems with an Organ 1. Tracker—each key has a physical connection to Organ malfunctions are often mechanical connection the slider under each caused by minor issues with the to the chest on which rank of pipes. “action.” Common symptoms pipes sit. Named for 2. Electric slider—used the trackers that run in both tracker and vertically from the key electro-pneumatic up to the chest. key action; an elec- 2. Electro-pneumatic— tric or pneumatic each key is wired to a motor operates a magnet that activates a slider under each pneumatic pouch that rank of pipes. allows air into the pipe. 3. All-electric—each key is wired to a magnet that allows air into a pipe. Swellbox, Organ of Pfarr- kirche St. Willibrord in Kleve-Rindern, Germany

ALCM in tempo 2019, No. 2 18 Fabian Zohren, Aachen, Germany Hymn Text Competition

The Association of Lutheran Church Musicians invites new hymn texts for the tunes Bethold (ELW 317), Seward (LSB 415), and St. Clement (ELW 563, 569; LSB 886, 891; CW 594).

Bethold and Seward are currently paired exclusively with the Submissions for Bethold/Seward Transfiguration text “Jesus on the Mountain Peak.” Because these and St. Clement will be accepted hymns are sung only once a year on Transfiguration, introducing until August 15, 2019. Entries additional texts of a more general nature can assist congregations will be reviewed by a selection in learning the tunes. The tunes are in 78 78 8 (ELW) and 78 78 4 committee and evaluated both (LSB) meter, but since the last phrase is one or two alleluias, they theologically and poetically. can be considered the same meter. Text submissions for Bethold/ One hymn text may be selected. Seward must be able to be sung with either tune, so the last phrase The writer of the winning text of the text should contain either alleluias or one four-syllable will receive a $500 honorar- phrase that can be repeated. ium. Additional information and rules for submission are The tune St. Clement is much more widely known, but because the available at https://alcm.org/ texts most frequently associated with the tune are “evening” texts, hymn-text-competition/. the hymn has little opportunity to be sung by most congregations. The meter for St. Clement is 98 98.

caused by action problems Organ pipes, St. John, Oberneuland-Bremen, Germany include:

Cipher—a pipe won’t stop playing. Dead note—a pipe does not play when the key is pressed. Slow release—a pipe continues to play briefly after the key is released. Sticky note—a key is slow to return.

Luke Tegtmeier holds degrees in church music from Valparaiso Univer- sity and Luther Seminary. For 10 years he was a church musician in Minnesota. Since 2015 he has worked for Muller Pipe Organ Company near Columbus, OH. He welcomes your questions or comments: [email protected].

Photos Courtesy Wikimedia Commons ALCM in tempo 2019, No. 2 19 pew perspective by Jennifer Wolf 0-25-100-0 100-22-22-0 0-80-100-0 Vacation Bible School Rocks! 0-25-100-0 100-22-22-0 0-80-100-0

nce upon a time during my teen years, I was a ogroup leader for vacation Bible school (VBS) at my church. We had it all: theme days, crazy costumes, pastors who joined in skits, craft projects, games, and of course, music. I can still remember many action songs and singing in rounds.

Our church doesn’t use a VBS program anymore for a variety of reasons, but last summer was the first time my daughter was old enough to go with her cousins to their church. She had a blast, and we keep her take-home CD in the car. I loved that the kids each got sent home

with music to continue singing ©iStock/Highwaystarz Photography and praising God well beyond turned to Pastor Ray Schum- Ray Schumacher: For quite VBS. Many other parents I acher, curriculum editor, and a number of years, NPH has talked to feel the same way. Jeremy Bakken, director of wor- been blessed to work with There’s nothing better than ship and sacred music, both at one or more composers who hearing those little voices sing Northwestern Publishing House create a special theme song for out their love for Jesus. I didn’t (NPH) where the WELS VBS each VBS program. For some even mind when my daughter materials are produced. Here’s programs, additional songs are started belting out the words a portion of our Q&A. written. We always supplement to “Eye of the Storm” by Ryan those theme-specific songs Stevenson when I was having When writing a VBS curriculum, with some familiar Bible-based trouble parallel parking my how do you pick which music ones, because the students enjoy minivan one day. At least she to use and how much music? the familiarity. NPH includes was using it in a semi-correct approximately 10–12 songs context. Jeremy Bakken: First and foremost, the music should for each VBS program, which But I digress …. relate to the overall theme provides a variety of music so of the VBS as well as to the the classes can sing something Wanting to know more about individual lessons. Other factors new every day and also gives the the musical side of VBS, I for choosing or developing VBS teachers some choices. music include variety, flexibility, From experience, I know that There’s nothing better and ease of teaching and learn- the Concordia Publishing ing. A balance is sought between than hearing those House programs use a lot of offering adequate options and music you might hear on the little voices sing out not overwhelming the teacher radio. Does NPH material use their love for Jesus. or the students. contemporary music too? 20 ALCM in tempo 2019, No. 2 Research has shown that 0-25-100-0 100-22-22-0music has a profoundly 0-80-100-0 positive effect on emotion and memory retention. Recalling God’s promises can be easier and perhaps JB: Music has been called a as they may have had with past more enjoyable when universal language. If a person generations. Though many can talk, they can sing. So it is a parents may be active in their connected to ... music. universally relatable means by churches, they feel awkward which the Bible truths of a VBS about talking about God and can be conveyed. Additionally, faith in their homes. So even research has shown that music for well-churched families, JB: Music associated with Chris- has a profoundly positive effect VBS provides an opportunity tian radio is often rhythmic and on emotion and memory reten- to teach biblical truth to kids, refrain-based, which is appeal- tion. Recalling God’s promises which in turn might encourage ing, and refrains aid learning can be easier and perhaps more spiritual talk within the homes, and retention. The vocal ranges, enjoyable when connected to given the take-home design however, are rarely conducive the benefits of God’s gift of of the materials. In some to singing for developing voices. music. Finally, a hallmark of instances, the music CDs may The music of NPH/WELS Lutheran worship is singing be as important for the parents programs is softer, crafted in a by the worshipping body. The as for the children, because simple manner for easy learning famous Luther quote says it all: they also will be listening to the at age-appropriate vocal ranges, “Next to the Word of God, the Scripture-based message that and more importantly, assures noble art of music is the greatest the music proclaims. that a musical style isn’t over- treasure in the world.” shadowing the text or taking For more information on VBS place as the end goal. The music Would you like to add any programs and other materials should be fun but not at the information about the VBS produced by Northwestern expense of learning important process or purpose? Publishing House, please visit words based on Scripture. https://online.nph.net. RS: Because VBS is often used I love having a CD of the music as an outreach tool, the mate- Jennifer Wolf is a because I can play it in the car rials (crafts, lesson sheets that PR specialist for the kids. They know all the include the Bible story, souvenir who has taught songs and are excited to sing music CDs) are designed to be at Wisconsin them. Is this the intention of the taken home, with the hope that Lutheran College souvenir CD? they might catch the attention in Milwaukee, WI. She is a lay- of other family members and/ JB and RS: person in the pew at St. John’s in The “car applica- or give the student the opportu- Wauwatosa, WI. tion” is certainly one fine use nity to share the message with of the souvenir CD! The goal others. of the CD is that the kids can VBS provides an listen to or sing along with the VBS programs, however, are songs they learned at VBS, not not focused solely on outreach opportunity to teach only for the sake of enjoyment to the unchurched. Unfor- biblical truth to kids, but also to keep the important tunately, in our fast-paced which in turn might truths of Scripture in the lyrics society, families are often so fresh in their minds and hearts. busy running in different encourage spiritual talk directions that they don’t have within the homes, given Many churches use VBS as an time to sit down together when the take-home design of outreach tool. How is music a spiritual discussions might take part of this? place (i.e., meals, vacations) the materials. ALCM in tempo 2019, No. 2 21 interview with a church musician 0-25-100-0 100-22-22-0 0-80-100-0 Dr. Norma Aamodt-Nelson Interviewed by Allison Schweitzer, April 2019

Since 2001, Norma Aamodt- Incidentally, one of my piano Nelson has served as cantor teachers was the mother of at Trinity Lutheran Church in Carlos Messerli, a name very Lynnwood, WA, where she familiar to ALCM. Mrs. Messerli administers a lay-led inter- used to talk with great pride generational choral and about her famous son, Carlos, instrumental music program so when our paths would cross and serves as primary organist/ decades later it was a joy to me. choral director. Her degrees Interest in the pipe organ came are from Pacific Lutheran as a result of attendance at a University, the University Flor Peeters concert. My ears of Iowa, and Oxford (Christ were opened! Church). To sit with [Paul Manz] IT: Where and how did you pro- as a student was icing In Tempo: How did you get ceed with training in the field of your start in church music? church music? on the cake. Norma Aamodt-Nelson: I was NAN: I started at Pacific raised in a small-town Lutheran Lutheran University with a While living in Minnesota I had church in Oregon, and I started primary focus on elementary the fabulous opportunity to lessons on the Hammond organ education and piano. It didn’t study with Paul Manz, probably in my aunt’s home at age 10. My take long for me to decide that the most important mentor. aunt had retired from church I wanted to study organ, ending Absorbing his hymn improvisa- playing and when I showed up with a major in church tional style and hymn playing an interest beyond piano, she music. Prior to coaching with came as a result of attending opened her home to me. (Of David Dahl, I had lessons with numerous hymn festivals, and course, we’re talking here of the Mary Helen Thompson, the then to sit with him as a student left-foot Hammond organ.) spouse of Pastor Erling who was icing on the cake. was serving at Trinity-Parkland. From Paul Manz, I went to the Shortly after that, the church Mary Helen became an import- University of Iowa for graduate organist developed severe ant mentor in the journey. arthritis in her hands and I was studies where Delores Bruch asked to help accompany choirs David Dahl has been a lifetime became my advisor and drew and play for worship as needed. mentor. I have always valued me into ALCM. Together we (I shudder now thinking what his hymn playing and wise developed the Placement Ser- my hymn playing must have approach to church music. Our vice, still functioning well today! been like in the day, but people paths have continued to cross were kind and grateful.) over the years, especially when IT: Will you tell us about the he asked me to partner with course of your career? Interest in the pipe him in teaching a hymnology NAN: My earliest full-time posi- course, and then most recently organ came as a result tion after graduate school was a as his editor for the library of one-year sabbatical replacement of attendance at a Flor organ collections he has pub- position for David Fienen at Peeters concert. My lished with Augsburg Fortress. Gustavus Adolphus College in ears were opened! St. Peter (MN), where I had the 22 ALCM in tempo 2019, No. 2 interview with a church musician When the assembly 0-25-100-0 100-22-22-0 “takes away the song0-80-100-0” I have tears as I remind myself, “it’s their song.”

opportunity to lead daily chapel IT: How has church music IT: Have you got any advice for and facilitate student partici- changed, since you’ve started church musicians? pation (instrumental, vocal), your work as a musician? an experience I treasured. NAN: Remember that the song Over the years there have been NAN: Flexibility is key! How belongs to the people. It’s not more part-time teaching oppor- well I remember the fears and about you, it’s the opportunity tunities for me (at Elmhurst frustrations I felt when in 1989 I to lead and proclaim the word College in the Chicago area was told that my parish needed through the voices of the young and Trinity Lutheran College a contemporary-style (seeker) and old, and through choral in Washington) where I feel I’ve service. Getting acquainted with and instrumental voices. Get had the chance to touch student the praise genre at that time out of the way, set your ego on lives; to see some of them now took deep sleuthing and perus- the shelf, and dig in. flourishing in church music is ing of the Hosanna! songbooks full circle. in particular. Over the years, IT: What are some of your I’ve been grateful to draw on favorites? It has been a privilege to serve that background, and of course, NAN: Hymn tune: Den signede a number of parishes, full- and today it’s so much easier to get Dag (I love that gorgeous Nor- part-time, over the years. At the good resources. In the early wegian tune as it develops), and same time, spending 25 years days, dealing with the theo- Berglund (from the pen of our (1994–2001) in music acquisi- logical issues was particularly genius creator, Robert Buckley tions for Augsburg Fortress was challenging. particularly rewarding. I think Farlee). The call I accepted (in 2001) to I’ve had the best of both worlds. Classical music: Gregorio my current position at Trinity Allegri, “Miserere,” and Morten There’s nothing like being on was designed to attract a person Lauridsen, “Lux aeterna.” the bench to lead assembly familiar with all styles of music, song, and when the assembly someone who could play their Composer: Wolfgang Mozart “takes away the song” I have new tracker organ for two ser- and J. S. Bach. tears as I remind myself, “it’s vices, and shepherd/facilitate their song.” a lay-led praise service. I’ve Church to visit: I’m drawn to found that both versatility and a cathedrals all over the world, On the editing side, I am willingness to wear a number of but here in Seattle I especially especially thankful to have had hats are key assets. treasure St. James, where I the opportunity to work on value the care with which they Sundays and Seasons over the execute the mass. years (which began with our ALCM friend Samuel Torvend) and then to edit all the volumes Remember that the song belongs to the people. of the Augsburg Organ Library. It’s not about you .... Get out of the way, I also treasure the years in hymnal work, as the publishing set your ego on the shelf, and dig in. house pushed out With One Voice, LifeSongs, and Worship and Praise, in particular, as well as the hymnals for the Latino and African American communities.

ALCM in tempo 2019, No. 2 23  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

LEADING THE CHURCH’S SONG: Doing Common Things Uncommonly Well Portland, OR ASSOCIATION OF LUTHERAN CHURCH MUSICIANS 2019 Biennial Conference June 24-27, 2019 Learn more at www.ALCM.org Last chance to register!

24 ALCM in tempo 2019, No. 2