Happy Anniversary


Look at this couple–they were destined to be together!

This year’s anniversary was one of the weirder ones in Amy and my 21 years of marriage. I’ve been on sabbatical in Richmond, VA, working with the Urban Doxology Songwriting Internship and writing a new book, while Amy has stayed home with the boys. Making my wife a single mom for nearly two months makes me about the biggest heel in the history of marriage.

But even though I was 800 miles away, I woke up the morning of my anniversary thinking about Amy and thankful for our marriage. This turned into a little anniversary song by the time I was out of the shower. An hour later I roped the interns into recording it with me. (I knew that KP Purdie’s buttery vocal tones would sell the smooth R&B feel I imagined for the song.) Unfortunately my computer was broken at the time, so I wasn’t able to surprise Amy with it on our actual anniversary. But better late than never.

Happy Anniversary, Amy. You’re a keeper!

Listen to the love: MP3

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An Offering of Praise

urban_dox_internsI’ve been in Richmond working with five talented young songwriters in the Urban Doxology Songwriting Internship. Their task: write great new songs for urban churches, using East End Fellowship as a test congregation. But what kind of songs should they be? Should they mimic hip hop? “Urbanify” songs from the CCLI charts? Continue the black gospel tradition? A little of all three?

I figured I had given them enough grief about their songs over the last few weeks that it would be unfair for me not to give it a try myself. What I came up with has a Bruno Mars “Locked Out of Heaven” feel in the beginning, some juicy gospel chords in the chorus, and a modern P&W style repeated bridge. (That doesn’t make it three times as good as a mono-style song, I just thought it was interesting enough to note.) Lyrically, I decided that an urban song could (should?) have simple, direct lyrics that would relate to a wide variety of educational backgrounds (this is true at EEF, at least). I was also eager to return to the basics of salvation and righteousness in Christ. We shouldn’t get tired of that, right?

Here’s the MP3 I recorded on my computer’s mic with just my voice and a guitar. (Granted, I had some help from Logic Pro X’s drummer and octave transpose pedal.) The recording makes me sound insanely white. I’m confident that if the interns sing it, it will quickly sound more urban.

1. Imprisoned in a pit of shame,
That I had dug with my own hands.
Locked within these prison walls
Of my own making.
Everywhere the smell of sin—
Regrets, remorse, a heart of pain.
And I had given up all hope
Of salvation.

Jesus paid the debt that I could never pay:
his life for mine, his blood divine made a way.
All that I can give is the ransomed life I live;
Spend all my days a debtor to God’s grace.
All that I can give is the ransomed life I live,
and I give it as an offering of praise.

2. Released from such a debt of sin,
Redeemed from certain death I live
Renewed to the holy radiance
of my Savior.
Live as a debtor to his love.
Live in his grace, it is enough.
Live every day in confidence
Of his favor.     CHORUS

In Jesus Christ I am made right.
In Jesus Christ I have life.

3. Nothing I have ever done
or will ever do will change his love.
He looks on me and sees his Son;
Sees me righteous.
Righteous in the work of Christ,
The Holy Lamb once sacrificed,
Once, for all, throughout all time.
It is finished.     CHORUS


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I Feel Sad for Canadians

On this July 4th, it wouldn’t be right to gloat about what a great nation the USA is without feeling a little twinge of sadness for our neighbors to the north. My son Theo put it best when he held up something we had purchased and said wistfully, “I feel sad for Canadians. They always have to pay more for things.” Very true, Theo. Very true.

My fellow Americans, click on this MP3 and take a moment to feel sad for Canadians.


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Three for Emily Brink: DODECAPHONIA

emily_brinkFinally, the weirdest song of the three written for Emily Brink’s retirement collection. It is quite possibly the first 12 tone hymn tune ever written. 12 tone technique, also known as serialism or dodecaphony, uses “tone rows” to give equal weight to all twelve notes of the chromatic scale. Or “one note, one vote” as we used to describe it in music school.

Since Emily began her career as a music theorist, I thought it would be appropriate to combine her love of hymnody and theory in a ground-breaking new hymn tune. I wish I had been at her retirement party when people sang through some of the songs written for her. I’m pretty sure she would be the only one who fully appreciated the musical riddle of a pungent hymn tune named DODECAPHONIA. I thought she’d also appreciate that the text was written by her long time friend and collaborator, Bert Polman, who died recently.


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Three for Emily Brink: Unified

emily_brink#2 in the Emily Brink hit parade is a collaboration with Ron Rienstra. Ron had written a short song in a bouncy, country style for an event years ago and wondered if I’d revisit it with him. I applied some gospel sauce and it turned into this: PDF, MP3.

And no, I don’t know how it is possible for a professional musician to sing so out of tune…

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Three for Emily Brink: What Wondrous Joy

emily_brinkThe grande dame of congregational song, Emily Brink, recently retired. I was asked to provide some music for a book celebrating her career: “One Holy, Catholic, and Apostolic Church: A Scrapbook of Worship Resources for the Worldwide Church.” Of course, I was happy to add to the collection, and only wish I could have been at her retirement party to celebrate with her and sing some of the songs from the book.

The first song is a setting of Psalm 133 by Michael Morgan for which I wrote a new tune: PDF. MP3.

Why the tune name MY IMAGINARY FRIEND, you ask? Well, Maria Poppen told me that her daughter Rebekah has an imaginary friend, and somehow she decided to name her Emily Brink! How cute is that?

Posted in Church, Congregational Songs, Demos, Finale demo, Hymn tunes, Psalms, Uncategorized | Leave a comment

Know, Grow, Show

Terry Taylor recently asked me to submit a song that would serve as the theme song for next year’s Growing in Grace children’s music ministry curriculum. I’m pleased to say that “Know, Grow, Show” was accepted and will be used throughout the year for all ages of the curriculum. Here’s a demo to whet your appetite. Now head over to their website and order it for your children’s music ministry!

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Let the Spirit of the Lord Come Down (Nigeria)

Listen. Look. Read:

A few days ago, a friend of mine, Wendell Kimbrough, asked about a Nigerian song he had heard. I checked it out and was immediately smitten. It has everything you’d want in an African praise chorus: it’s immediately singable, thematically focused, and it leaves plenty of room for ad lib verses. Oh, and one more trait of African praise choruses: everyone sings it slightly differently. Below are a few versions to give you an idea of the variety of styles.

I decided I needed to commit the song to notation, but that meant I needed to synthesize all the different renditions and make some comprises for Western musicians and notation. First, I bumped the key up to G. No biggy; it just felt more congregation-friendly. Next, I standardized the syncopation–“of the Lord” is always syncopated the same way. This is fairly consistent in all the recordings, so I felt it was the right thing to do. My transcription keeps the spirit of the original rhythm, and also gives newcomers only one rhythm to learn. On the same subject, “from heaven come down” is usually syncopated in the source recordings, but I decided to go with the straightest version of them–no point in giving Western congregations the “right” rhythm which they’ll never get right. Finally, I wrote it in four-part harmony. Since an SATB version doesn’t exist in any of the original performances, I had to create one from what those performances imply.

Consider the above paragraph “truth in advertising.” There are some Western arrangers (some of whom may hail from Scotland) who give the impression that their versions of songs are definitive. I want to document what recordings I was working from and what decisions I made. You are free to make your own arrangement or adapt to your context. That is especially true for an “off the page” song like this. For example, I must say that I really like Wendell’s rendition below. It’s completely different, yet entirely faithful to the original.

If anyone has any background information on the song, I’m all ears.

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Everlasting to Everlasting (Psalm 118) Easter @ COS

The last song from my Hallel Psalm cantata, Everlasting to Everlasting, is a setting of Psalm 118 for which the cantata is named. Psalm 118 is also the lectionary Psalm for Easter Sunday, so I decided to use the song at Church of the Servant this year. This is a slow burner–it sneaks up on you rather than grabbing you by the collar and shaking you–but I think it worked rather well. Of course, who can dislike a song that starts with a boy soprano? Thank you, Christian Voetberg for doing the work of winning over the congregation to my new song!

Listen to the MP3.

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Kimbrough’s Psalm 31: In You, Lord, I Refuge Take

Wendell Kimbrough is one of my favorite new congregational songwriters. I figured I’d hitch my wagon to this rising star early on his career so that when he becomes a household name, I’d be a household footnote.

One of his latest songs is a setting of Psalm 31 called “In You, Lord, I Refuge Take.” It’s simple–most congregational songs are–but also profound, translating the desperate prayer of Psalm 31 into fresh new language that sings well. I wrote a four part harmonization of it so we could use it in my church. As you can hear from the recording, my congregation took to it right away.

Since you all are so kind to stop by my blog, here’s little bonus Palm Sunday music for you: Hosanna in the Highest, and Sanna Sannanina (piccolo, djembe, choir).

Posted in Arrangement, Choir, Church, Congregational Songs, Psalms | Leave a comment