Only one service this week, more traditional than anything else. Still, with the Tune Weavers, the Carol Choir and our Adult Handbells providing leadership, there'll plenty of great music.
Hymns
139, Come, thou almighty King (ITALIAN HYMN)
85, What wondrous love is this (WONDROUS LOVE)
339, Be thou my vision (SLANE)
Introit
Ritchie, Where children belong
Carol Choir
Confession
Greatorex, Glory be to the Father
Anthem
Arr. Gary Matheny, Way-faring stranger
Tune Weavers
Doxology
Old Hundredth
Benediction
Hernaman, Abide with us
Instrumental/Organ Music:
Prelude: Arr. Cathy Moklebust, Be still my soul
Adult Handbells
Offertory: Arr. Jack Schrader What a friend we have in Jesus
Tune Weavers
Postlude: Felix Mendelssohn, Fugue in d
Saturday, February 28, 2009
Monday, February 23, 2009
Communion Music
A couple of folks asked what I played during the distribution on 2/22. It was a Laotian tune, "SOI SUN TUD," which appears with the text "Come, all of you" in the United Methodist Hymnal (#350) of 1989. Information about the hymn online is quite limited. Here is the first (of four) stanzas:
Come, all of you, come men and women, come forward;
drink of the water provided for you;
all of you who are thirsty come to me to drink
from the water of life, provided by Jesus your Lord.
Subsequent stanzas invite "bearers of burden;" "trouble-minded;" "hungry and poor." Though not explicitly a communion hymn the concluding line of the last stanza reads, "receive the bread and the water of life."
The words were translated from Laotian by Cher Lue Vang in 1987 and are loosely based on Revelation 22.17, Matthew 11.28, John 14.27 and Isaiah 55.1-2. The poetry has an "Irregular" meter, which in practical terms means that this is the only tune that meshes easily with the lyric.
The tune is pentatonic (a common scale in folk music around the world), using the first, second, fourth, fifth and sixth tones of our western seven-tone scale. This is an E-flat pentatonic song, but the key signature is A-flat in the hymnal setting; the third and seventh tones of an E-flat scale do not appear in the melody at all. I was confident that the former missionaries in our congregation who had served in Asia would recognize the "sound" of the tune as being Asian, even if they did not know the specific tune.
As is common for me, I improvised on the tune during worship this week, rather than using a notated setting. This allows me flexibility to get in and out of the music quickly and easily as the actions of the distribution dictate. The tune has been set at least once in an arrangement by Jane Latva from Augsburg-Fortress; I may have to track it down.
For the hyper-curious, I used a mutation stop on the organ to give a distinct sound to the melody. I had on a unison flute and a rank that sounds 2 1/2 octaves higher than unison (a 2 2/3-foot stop is its organ nomenclature. Aurally one gets a good sense of unison pitch with a heavy emphasis on the harmonic fifth. It's a distinctive organ sound. (One experiences something similar in Ravel's Bolero in the sections where more than one instrument is covering the melody and playing it in different keys as when the piccolos are in G and E while the melody continues in the horns in C.) The accompanying voice on the organ was a single unison flute for the left hand and a 16-foot pedal. (I used something similar a couple of weeks ago on an Italianate Bach piece (the Siciliano from the D-minor organ concerto).
Thanks for asking about the music. I hope that even without knowing the context, it helped the listener to worship last Sunday.
Come, all of you, come men and women, come forward;
drink of the water provided for you;
all of you who are thirsty come to me to drink
from the water of life, provided by Jesus your Lord.
Subsequent stanzas invite "bearers of burden;" "trouble-minded;" "hungry and poor." Though not explicitly a communion hymn the concluding line of the last stanza reads, "receive the bread and the water of life."
The words were translated from Laotian by Cher Lue Vang in 1987 and are loosely based on Revelation 22.17, Matthew 11.28, John 14.27 and Isaiah 55.1-2. The poetry has an "Irregular" meter, which in practical terms means that this is the only tune that meshes easily with the lyric.
The tune is pentatonic (a common scale in folk music around the world), using the first, second, fourth, fifth and sixth tones of our western seven-tone scale. This is an E-flat pentatonic song, but the key signature is A-flat in the hymnal setting; the third and seventh tones of an E-flat scale do not appear in the melody at all. I was confident that the former missionaries in our congregation who had served in Asia would recognize the "sound" of the tune as being Asian, even if they did not know the specific tune.
As is common for me, I improvised on the tune during worship this week, rather than using a notated setting. This allows me flexibility to get in and out of the music quickly and easily as the actions of the distribution dictate. The tune has been set at least once in an arrangement by Jane Latva from Augsburg-Fortress; I may have to track it down.
For the hyper-curious, I used a mutation stop on the organ to give a distinct sound to the melody. I had on a unison flute and a rank that sounds 2 1/2 octaves higher than unison (a 2 2/3-foot stop is its organ nomenclature. Aurally one gets a good sense of unison pitch with a heavy emphasis on the harmonic fifth. It's a distinctive organ sound. (One experiences something similar in Ravel's Bolero in the sections where more than one instrument is covering the melody and playing it in different keys as when the piccolos are in G and E while the melody continues in the horns in C.) The accompanying voice on the organ was a single unison flute for the left hand and a 16-foot pedal. (I used something similar a couple of weeks ago on an Italianate Bach piece (the Siciliano from the D-minor organ concerto).
Thanks for asking about the music. I hope that even without knowing the context, it helped the listener to worship last Sunday.
Thursday, February 19, 2009
Worship Music for February 22
FirstLight
11AM
Gathering Song(s)
All hail king Jesus
He is exalted
Shine Jesus shineConfession
Dayenu
OffertoryWe bow down
Doxology
Glory and gratitude and praise
CommunionTaste and See
Closing Song
Fairest Lord Jesus (You are fairer still)
11AM
288, I sing the mighty power of God (ELLACOMBE)
148, At the name of Jesus (KING’S WESTON)
Introit
Taize, Sing, praise and bless the Lord
Confession
Purcell, Glory be to God the Father (WESTMINSTER ABBEY)
DoxologyLasst uns erfreuen
BenedictionStainer, Seven-Fold Amen
Instrumental/Organ Music
Prelude:
Offertory:
Chancel Choir
Postlude: Olivier Messiaen (1908-1992), Le banquet céleste (1928)
Wednesday, February 11, 2009
Thought for the weekend
In many and various ways God spoke of old to our fathers by the prophets; but in these last days he has spoken to us by a Son, whom he appointed the heir of all things, through whom also he created the world. He reflects the glory of God and bears the very stamp of his nature, upholding the universe by his word of power. When he had made purification for sins, he sat down at the right hand of the Majesty on high, having become as much superior to angels as the name he has obtained is more excellent than theirs (Hebrews 1.1-4, RSV).
"In many and various ways..."
So here's the thing, if God could speak to us in more than one way, how can we presume that there is only one way for us to speak to God, for us to make our sacrifice of praise to God?
One might push the analogy and say that because in Jesus Christ God's expression toward us is complete, there must be a means of worship that is likewise definitive. I would concur and state that just as Christ's reign is complete in heaven and on earth and in the church, the church's expression of ceaseless praise will be realized at that consummation of all things which is yet to come. Until then we are blessed with many and various means and modes of expression for our prayers and songs of praise.
Call it the Holy Spirit: this verse jumped to mind this evening after a long day of fretting about the wide variety of music we will experience in worship this Sunday.
"In many and various ways..."
So here's the thing, if God could speak to us in more than one way, how can we presume that there is only one way for us to speak to God, for us to make our sacrifice of praise to God?
One might push the analogy and say that because in Jesus Christ God's expression toward us is complete, there must be a means of worship that is likewise definitive. I would concur and state that just as Christ's reign is complete in heaven and on earth and in the church, the church's expression of ceaseless praise will be realized at that consummation of all things which is yet to come. Until then we are blessed with many and various means and modes of expression for our prayers and songs of praise.
Call it the Holy Spirit: this verse jumped to mind this evening after a long day of fretting about the wide variety of music we will experience in worship this Sunday.
The ugliest song ever
Every song we sing was new once. And chances are it went over like a lead balloon when it debuted. Yet it persevered somehow and rooted in people's minds and hearts and ears. And it came to be seen as durable, worthwhile, beautiful.
I come across some musical dogs every now and then. Last year the Prophets were asked to consider adding a song to their repertoire. We played through it and hated it. Then we played through it again. And hated it still. The words were dated and the musical idiom passe. And the style of the song just didn't mesh with what we thought was "our" sound, nor did we think it would resonate with the worshiping congregation we lead musically each week. We decided not to add it to our repertoire.
The adult choir sang through a hymn in rehearsal recently. Someone remarked, "1962?!? I didn't know this song was that recent!!" An "old" favorite was actually a relatively new song, especially in terms of making it into a hardcover hymnal. BTW the same is true for that stalwart favorite, "How great thou art." It was new in 1953; if you're over the age of 30, that's still a new song for you. You really didn't grow up singing it all your life.
A musician colleague used to remind me that, "if a worship song was more than 3 years old it belongs in a hymnal. " A couple of things are at play here. First, he accounted hymnals as stale and moribund. Second the best songs for worship were the newest and hottest; they hadn't even been published, merely circulated via the Internet. And more incredibly, a song was "old" after a mere 3 years! And while I disagree there is still food for thought here. There are some extremely popular contemporary songs that have some theological heft and substance, which do belong in bound hymnals, and indeed have been added to standard collections in recent years.
The are plenty of solid ways to score a hymn on music and language. But ultimately there is that "x" factor that can make or break a song for any musical group or any worshiping congregation. Regularly I remark to the musicians I work with about the "thing" that keeps a song from being perfect in my estimation. It may be a weak chord progression or a wimpy lyric phrase. There are plenty of good songs around, several great songs, but very, very few perfect songs.
And yet, for every song, there is probably someone for whom it means the whole world. Someone for whom that lyric and tune opened up a new dimension in sound and faith. So I tread lightly when I critique a song. And every time I speak disparagingly about a song, I try to remember to say something to the effect that I know it may be someone's favorite.
As I've said before the days of going to the hymnal and picking three hymns for a given Sunday morning are long gone. There are too many choices and their are too many personal and social mandates to consider (i.e. "I have to like it," we need to sing songs by women, by African-Americans, from third world cultures; we need newer songs with fresh images for God). With that in mind we can't afford to sing even a very, very favorite hymn more than two or three times in a year. Not only will it not be likely that a single hymn really is the best fit more than that, there are so many other songs that could be the best fit, if we can just allow room for them to make their way into our liturgy, and from there into our subconscious and from there into our theological memory.
If you don't like the songs this Sunday, just wait a week. They'll be totally different next week! Sorry for the rambling. Guess what: I was looking at some new songs for worship this week: Woof!
I come across some musical dogs every now and then. Last year the Prophets were asked to consider adding a song to their repertoire. We played through it and hated it. Then we played through it again. And hated it still. The words were dated and the musical idiom passe. And the style of the song just didn't mesh with what we thought was "our" sound, nor did we think it would resonate with the worshiping congregation we lead musically each week. We decided not to add it to our repertoire.
The adult choir sang through a hymn in rehearsal recently. Someone remarked, "1962?!? I didn't know this song was that recent!!" An "old" favorite was actually a relatively new song, especially in terms of making it into a hardcover hymnal. BTW the same is true for that stalwart favorite, "How great thou art." It was new in 1953; if you're over the age of 30, that's still a new song for you. You really didn't grow up singing it all your life.
A musician colleague used to remind me that, "if a worship song was more than 3 years old it belongs in a hymnal. " A couple of things are at play here. First, he accounted hymnals as stale and moribund. Second the best songs for worship were the newest and hottest; they hadn't even been published, merely circulated via the Internet. And more incredibly, a song was "old" after a mere 3 years! And while I disagree there is still food for thought here. There are some extremely popular contemporary songs that have some theological heft and substance, which do belong in bound hymnals, and indeed have been added to standard collections in recent years.
The are plenty of solid ways to score a hymn on music and language. But ultimately there is that "x" factor that can make or break a song for any musical group or any worshiping congregation. Regularly I remark to the musicians I work with about the "thing" that keeps a song from being perfect in my estimation. It may be a weak chord progression or a wimpy lyric phrase. There are plenty of good songs around, several great songs, but very, very few perfect songs.
And yet, for every song, there is probably someone for whom it means the whole world. Someone for whom that lyric and tune opened up a new dimension in sound and faith. So I tread lightly when I critique a song. And every time I speak disparagingly about a song, I try to remember to say something to the effect that I know it may be someone's favorite.
As I've said before the days of going to the hymnal and picking three hymns for a given Sunday morning are long gone. There are too many choices and their are too many personal and social mandates to consider (i.e. "I have to like it," we need to sing songs by women, by African-Americans, from third world cultures; we need newer songs with fresh images for God). With that in mind we can't afford to sing even a very, very favorite hymn more than two or three times in a year. Not only will it not be likely that a single hymn really is the best fit more than that, there are so many other songs that could be the best fit, if we can just allow room for them to make their way into our liturgy, and from there into our subconscious and from there into our theological memory.
If you don't like the songs this Sunday, just wait a week. They'll be totally different next week! Sorry for the rambling. Guess what: I was looking at some new songs for worship this week: Woof!
Summer Music at Montreat
I recevied this note from Bob Keener today. I had heard that changes are afoot. Here's the official word. We sang a Sunday morning at Montreat last summer. We'll see what the future brings.
During the last year, we have heard much about CHANGE. And we see it all about us: some of it good, some of it not as good. However, even change that seems negative initially often proves to be positive in a larger perspective.
CHANGE is also happening – “right here in River City” – or the Swannanoa Valley. Music for the Sunday summer services at Montreat will have a new direction in 2009. Montreat Conference Center has formed a partnership with the Sacred Music Department at Presbyterian College, Clinton, SC. Dr. Porter Stokes and Dr. Ron Davis will be on site this summer guiding the process. Additionally, they are bringing a student intern who will serve as the summer worship coordinator.
How does this change your life? I’m not completely sure. Dr. Stokes has requested, and I have provided, a list of participating choirs from previous summers. He may invite visiting choirs. He may establish a resident choir. Or there may be a combination of both. Suffice it to say that any invitation for your participation in Sunday worship in the future will come from Dr. Stokes or Dr. Davis.
I have enjoyed my association with Montreat over the past 22 years. The greatest joy of that experience has been knowing you and your singers/players and the wonderful music you have shared with us all. Thank you for that. I will miss interacting with you all.
CHANGE has also happened in my professional life. My summers will be free for the first time in many years. The time seemed right for another change; I retired from Oak Forest Presbyterian Church the end of December and am adjusting to being a congregant on Sunday mornings. This is the first time in more than 65 years that I have not been involved in church music either as a singer, organist, director, or administrator. So far, I’m managing that change quite well.
My best to you and your musicians. I will miss being in touch with you. Hopefully, we will see each other from time to time.
With deep appreciation,
Robert P. Keener
February 11, 2009
Monday, February 9, 2009
Intense
In my Facebook update I called this one of the most spiritually intense staff meetings I have even been part of.
We got to talking about the state of our church. We had been dancing around issues by discussing budget woes and directions the Session may take in the next few days to try to remedy the situation.
Ultimately we got around to where the problem or the need is not the budget at all, but rather the spiritual state of ourselves as individuals and a staff, and the spiritual needs and hunger on the part of the congregation. Not really rocket science when you think about it, but we have all gotten so wrapped up in money troubles, and before that our Centennial celebration and before that the departure of our pastor and associate pastor that we have lost our focus and prime directive. There has been blame and plenty of excuses to go around, but we realize that none of that is helpful.
We re-committed to prayer in very specific ways and to lead better. We've kind of bought into the moan and groan about money and trying to find a new pastor, and see a need to set better examples for the congregation. We sensed that our church folks have gotten somewhat weary from our worship life simply mirroring the state of our culture. The economy has tanked; the church budget is troublesome. The nation needed new leadership; the church is seeking new leadership. People are loosing their jobs; the quickest way to fix our budget would be to eliminate staff.
We confessed amongst ourselves, I hope I don't betray confidences by writing this, that we must do better at presenting a "more excellent way." We must proclaim Jesus Christ to be the Solid Rock when other ground is sinking sand.
We almost let ourselves believe it was a "downer" of a staff meeting. But we know, because we are an Easter people, that it was a great meeting. Pray for the staff, and look for and be part of new things coming in the next few days and weeks.
We got to talking about the state of our church. We had been dancing around issues by discussing budget woes and directions the Session may take in the next few days to try to remedy the situation.
Ultimately we got around to where the problem or the need is not the budget at all, but rather the spiritual state of ourselves as individuals and a staff, and the spiritual needs and hunger on the part of the congregation. Not really rocket science when you think about it, but we have all gotten so wrapped up in money troubles, and before that our Centennial celebration and before that the departure of our pastor and associate pastor that we have lost our focus and prime directive. There has been blame and plenty of excuses to go around, but we realize that none of that is helpful.
We re-committed to prayer in very specific ways and to lead better. We've kind of bought into the moan and groan about money and trying to find a new pastor, and see a need to set better examples for the congregation. We sensed that our church folks have gotten somewhat weary from our worship life simply mirroring the state of our culture. The economy has tanked; the church budget is troublesome. The nation needed new leadership; the church is seeking new leadership. People are loosing their jobs; the quickest way to fix our budget would be to eliminate staff.
We confessed amongst ourselves, I hope I don't betray confidences by writing this, that we must do better at presenting a "more excellent way." We must proclaim Jesus Christ to be the Solid Rock when other ground is sinking sand.
We almost let ourselves believe it was a "downer" of a staff meeting. But we know, because we are an Easter people, that it was a great meeting. Pray for the staff, and look for and be part of new things coming in the next few days and weeks.
Friday, February 6, 2009
Worship Music February 8, 2009
In the interest of getting this information available in a timely fashion, and sacrificing narrative, I am going to simply list the music for Sundays, rather than try to provide it in a narrative form. I will comment when it seems helpful or especially informative. But to make it easier and quicker to get the information available, I'm going to use a list format. If you have an opinion or preference either way, do let me know.
FirstLight
Gathering Song(s)
What a mighty God we serve
My life is in you, Lord
Glorify thy name
Confession
Dayenu
Offertory
Holy is the Lord
Doxology
Glory and gratitude and praise
Prayers
Be still for the presence of the Lord
Communion
NA
Closing Song
Go forth in his name
11 AM
Hymns
265, Great God we sing that mighty hand (WAREHAM)
2137, Would I have answered when you called (KINGSFOLD)
398, Thereʼs a sweet, sweet spirit (SWEET, SWEET SPIRIT)
Introit
Schoenster herr Jesu, Fairest Lord Jesus
Confession
Celtic Alleluia
Anthem
Arr. Fettke, Beautiful Savior
Benediction
Vaughan Williams, God be with you till we meet again
Instrumental/Organ Music
Prelude: Willan, Voluntary on Wareham
Offertory: JS Bach, Siliciano, Concerto in d
Postlude: Johnson, Trumpet Tune in D
FirstLight
Gathering Song(s)
What a mighty God we serve
My life is in you, Lord
Glorify thy name
Confession
Dayenu
Offertory
Holy is the Lord
Doxology
Glory and gratitude and praise
Prayers
Be still for the presence of the Lord
Communion
NA
Closing Song
Go forth in his name
11 AM
Hymns
265, Great God we sing that mighty hand (WAREHAM)
2137, Would I have answered when you called (KINGSFOLD)
398, Thereʼs a sweet, sweet spirit (SWEET, SWEET SPIRIT)
Introit
Schoenster herr Jesu, Fairest Lord Jesus
Confession
Celtic Alleluia
Anthem
Arr. Fettke, Beautiful Savior
Benediction
Vaughan Williams, God be with you till we meet again
Instrumental/Organ Music
Prelude: Willan, Voluntary on Wareham
Offertory: JS Bach, Siliciano, Concerto in d
Postlude: Johnson, Trumpet Tune in D
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