This is, literally, my musical diary–notes fresh from my pen and recorded in a few hours. You can find my finished works elsewhere; here, it's all about capturing the moment!
This song started when a single line popped into my head: “It could have been worse, but I’m not sure how.” Certainly a promising opening, right? As I played with it, “worse” rhymed with “hearse” and suddenly it turned into a song about a guy who has died, yet remains hopeful. What can I say? I go where the music leads.
If you love yourself some Ataris, this one’s for you.
1. It could have been worse,
but I’m not sure how.
We all arrived in a hearse
and they won’t let me out.
They said it’s all up from here,
but now I’m not so sure,
‘cause I’m gasping for air
and they’re shoveling dirt.
It’s been a year.
It’s all up from here.
I try to see things on the bright side
even when they’re looking bleak.
What’s the point in dramatizing
everything?
2. Things are looking up
even though I’m down.
I thought I’d had enough,
when it was just starting out.
But it’s not so bad.
(It’s also not so great.)
Maybe I should be sad,
but that can probably wait.
Chorus
3. As the crowd dispersed,
I realized
it was so well rehearsed
that nobody cried.
But it could have been worse
though I’m not sure why.
And even though it still hurts.
I’ll just give it some time.
Psalm 29 paints a picture of God and nature intertwined. But more than simply embodying God in the thunder and lightning, the psalm shows the world to be God’s very temple. While some theological frameworks paint the earth as fundamentally tainted by sin, to be left behind when we’re transported to heaven, Psalm 29 says that God’s presence makes the stuff of life sacred–blessed.
Psalm 29 begins with two “ascribe to the Lord” verses and ends with two verses of “the Lord is enthroned.” Between those bookends are seven “the voice of the Lord” statements. I stick close to this poetic form in my song.
Musically, this song is an easy-to-sing melody with fairly run-of-the-mill chords. But I’ve fleshed it out on this recording with all sorts of fun musical doodads: a section accompanied by four basses, interjections of arpeggiating guitars, and synthesized swamp gas.
The voice of the Lord is on the waters. The voice of the Lord moves o’er the deep. The voice of the Lord resounds through the sky; thunders across the sea.
Ascribe to the Lord, all you creatures of heaven, ascribe to the Lord all the glory and might. Ascribe to the Lord all the splendor of his name and worship the Lord on high.
The voice of the Lord is filled with power. The forests fall down before their King. The voice of the Lord, the fiercest of joys, making the mountains leap. Chorus
The voice of the Lord is like the lightning; it flashes across the desert sky. The earth has become the temple of God. “Glory!” the people cry. Chorus
The Lord is enthroned above the water. The Lord is enthroned upon the sky. The voice of the Lord, it hallows the earth; blesses all humankind. Chorus
I had an idea for a breezy jazz tune a while back, but the bridge had been eluding me. That is, until a few days ago. The title of the song is, of course, a play on the phrase, “second fiddle”–except that this tune is built on fourths. (And there’s no fiddle.)
I’m sorry I didn’t have time to do more with the recording. It’s just a quick sketch using Band-in-a-Box and my guitar. It gets the point across, but not much more. I’m eager to try it out with some live musicians at some point in the future. For now, enjoy this little musical bon bon!
Shortly after Cindy Prince heard my music for her lyrics “Only Good Vibes,” she sent me a message: “Do you do jazz?” Clearly, in the short time we’ve known each other, she’s learned that I can’t resist a challenge! Yes, I do jazz. And I had a ton of fun working with her song, “That Mr. Jazz.”
I decided to (kind of) take part in FAWM 2025. That is, I’m not committing to writing all 14 songs (or the ensuant mania required to complete that task). However, I’m dipping in and out, contributing when I can.
The other day, I came across a cool lyric by Cindy Prince that was in need of music. I pounded out a dance ditty in about two hours, start to finish. I quite like how it turned out!
I’m going to be vulnerable and let you hear a song I’ve had rattling around in my brain for a while. You might assume that a person who has composed over 100 Psalm settings and has dozens of songs in hymnals would be a person of bullet-proof faith. The sad fact is that I, too, have my seasons of doubt.
The full title of this song is “Maybe (Hymn for a Reconstructing Friend).” There’s been a lot of talk about people “deconstructing” faith, often decried by those who claim it’s heresy to mature beyond the simplicity of Sunday School faith. I think it’s better to talk about “reconstructing” faith. But first, you have to lament the doubt that comes before rebuilding.
I wish I had more faith in faith, but of late it’s hard believing. It’s not like it was in simpler days when the answer was always “Jesus.” But now life’s gotten so complex and I keep looking for some answers. But the answers never seem to fit, except, I guess, for “maybe.”
Maybe simple answers aren’t enough. Maybe a hallelujah is too much. Maybe honest doubt is my song of love.
Oh, the devil was a wily snake when he offered Eve the apple. Were she and Adam wrong to want a taste of the fruit of truth and wisdom? And is it really such a sin to be curious and naked? Do we have to run and hide again, as if being human’s shameful?
Maybe simple answers aren’t enough. Maybe a hallelujah is too much. If I knew the tune, I would sing along.
I would love to hear that still, small voice cutting through the constant chatter. Have I grown deaf or has God gone hoarse? I’m still listening for an answer. What once enflamed my eager heart no longer seems to move me. Oh, I’d give everything I’ve got to simply have some feeling.
Maybe simple answers aren’t enough. Maybe a hallelujah is too much. I can only sing the song I know.
I forgot to post this to my blog when I completed it in December!
My alma mater congregation, Church of the Servant, reached out to me last year about their O Antiphon service.* They had been using various musical resources and wanted to commission a brand new setting of all seven “O” texts. I set to work writing new texts based on the original Latin verses and composing an original melody.
Since the O Antiphons are traditionally associated with the Magnificat, I decided to tie all seven verses together with Mary’s song of praise, turning her words into a group response: “Our Souls will Magnify the Lord.” It is a pentatonic (five-note) melody that never seems to come to rest because it begins on the second scale degree and ends on the third. Let me put that in normal person language: the melody has a mystical, elusive quality that reflects the tone of the text and worship service.
This should have been a simple one-and-done seven-verse hymn, but as I continued to work on it, I imagined more sonic textures. By the time I was done I had written a 60 page score for choir, flute, alto recorder, violin, viola, bass, and piano. Feel free to follow along in the scrolling-score video above.
*If you’re not familiar with this Advent tradition, the O Antiphons are seven songs, each beginning with “O” and then addressing the coming Savior with a title like “O Wisdom” or “O Root of Jesse.” You may know them in one of their most popular forms, the hymn “O Come, O Come, Emmanuel.”
Psalm 32 is the classic Psalm of sin, confession, and forgiveness–so classic that Paul quotes it in Romans 4:6-7 to explain righteousness apart from works.
The Psalm begins with a beatitude in three parts: “Blessed is the one whose sins are forgiven” is reiterated with three nuanced synonyms for sin and forgiveness:
rebellion – burden lifted
wandering/failing – covered/hidden
defilement – cancellation of debt
What is more important than the exact meanings of each is the parallelism that tells us “This is important and complete; God will forgive every sin.” I kept this parallelism in the chorus of my song.
One of my favorite things about this Psalm is the vivid picture of unconfessed sin: “When I kept silent, my bones wasted away.” People often glibly say, “Confession is good for the soul,” but this Psalm takes a much more serious view of not confessing–your secret sin will eat away at you until it causes you physical distress.
And then–Poof!–just like that, the Psalmist confesses and is forgiven. It begs the question of why we are often so reluctant to own up to the messes we’ve made. The Psalmist has a thought about that: “Do not be like the horse or the mule, which have no understanding.” I recast this in more colloquial terms: don’t be as “stubborn as mules.”
Musically, I found myself in a folk/world groove that is amplified by all sorts of sonic doodads in the recording–tabla samples, Arabic tambourines, overdriven guitars doubled with synthesizers, and even a cloud of rhythmic patches like you’d find in EDM. What I most like, though, is the way the key of C minor slides into all sorts of other harmonic terrain without sounding forced.
Blessed is the one whose sins are forgiven. Blessed is the one whose wrong is recalled no more. Blessed is the one whose spirit is washed from iniquity’s stain.
1. Oh, when I kept silent, my bones, they wasted away. My secrets consumed me; my groaning accompanied my days.
The longer I hid the more weary and weak I became. I longed for relief but was filled with the heat of my shame.
2. I finally gave in and confessed the depth of my sin. I trusted your mercy and God, you forgave me again.
Oh, why did I hide from the One who sees sins and hears prayers? The waters may rise but I’m singing salvation’s refrain.
CHORUS
3. As stubborn as mules we insist that we find our own way. But we’re lost little lambs and too proud to admit that we’ve failed.
God’s bottomless love will surround those who give him their trust. Rejoice in the Lord! Rely on his mercy and love.
I’m planning a recording project and realized I needed a setting of Psalm 135 to fill in the sequence from 120-136. You’ll remember that Psalms 120-134 are the Psalms of Ascent; 135-136 are often considered addendums to the collection.
Like many of the Psalms that surround it, Psalm 135 is a call to praise, pointing to creation, the calling of Israel, and deliverance from enemies as reasons for praise. It was a trick not getting bogged down in details like the killing of Og, king of Bashan, while still retaining the overall sense of the Psalm. As often happens, the discipline of trying to find rhymes and rhythms that express the Psalm in modern language led to some fresh imagery and phrases. “Dwell” and “Hallel” for the win!
Praise the Lord, all you servants of the Lord. Praise the Lord, those who serve in the house of God. Praise the Lord, for God has claimed us as his own. Praise the Lord!
1. Our God has done as he has pleased. For joy he formed and filled the seas. The mountains grandeur and the heaven’s expanse all leapt to life at his command.
God’s breath blew clouds into the skies; lightening and rain made their reply. And then God carved a path upon the earth; called us and led his people forth! [Chorus]
2. Your name endures forevermore. Each generation joins the song. Our God is known for his unending love. His tender mercy covers all.
Some trust in idols made of gold, but we will trust a living God who leads us on to where his glory dwells, where we will join the great Hallel. [Chorus]
Beer City Saxes and St. Sinner Orchestra joined forces for a Night of Sax & Violins on November 8, 2024 at The Stray. One of the songs we played together was a brand-new tune celebrating the magic of the holidays in the Mitten State: “Christmas in Michigan.”
