Due to popular demand (okay–one request) I just wrote a piano accompaniment for my Christmas song “A Great and Mighty Wonder.” I also took the opportunity to update the text a little and write out a descant. The descant is kind of cool in a musically geeky sort of way–it uses the refrain of “O come All You Faithful” as counterpoint to this song’s refrain. (Do I smell a Christmas medley?) You can hear a demo MP3 here or download the lead sheet and piano score at my main site.
Author: Greg Scheer
In an earlier post I introduced a song called “Jesus, Precious Jesus” and promised a choral arrangement. Here it is. I don’t know if it’s a good or bad trait, but this song can range in performance style from a simple praise chorus accompanied by acoustic guitar to slow and funky Black Gospel. In this choir arrangement I took somewhat of a middle road, using the lush harmonies of Gospel but keeping the rhythms fairly straight. It’s a little sweeter and flashy than more typical style, but it’s growing on me.
At this point I’ve written over 30 songs with Colin Gordon-Farleigh. This latest is a ballad called “What Do You Mean?” I decided to do something different with this post. Usually I just make an MP3 of Finale playing back the score, but this song doesn’t sound right with a machine’s rigid playback. So here is a recording of yours truly singing “What Do You Mean?” in one take into the built in mics on my Mac. Not enough for you? Here’s the music for you to play at the piano.
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Abba Father
Calvin College’s chaplain Andy De Jong is doing a chapel series on the Lord’s Prayer. He asked if I would compose a new tune for a text by Thomas Troeger called “Let All Who Pray the Prayer Christ Taught.” It turned out to be quite a challenge. It’s quite a thick text which doesn’t lend itself naturally to the meditative spirit you’d expect from a song about praying. So I put Troeger’s text in the mouth of the leader and gave the congregation a simple “Abba, Father” as a response. Here’s the demo. I hope you like it. More importantly, I hope that Thomas likes it, because I’ll be working with him next summer at Lake Junaluska. I can just imagine our first meeting: “Greg Scheer. (silence) So you’re the guy who ruined my song.”
This Sunday at Church of the Servant we sang a brand new song of mine, Psalm 114. I was really pleased with the way it turned out, especially in light of the fact that I had studied the Psalm for quite a while before I really connected with it.
The Psalm tells the story of the exodus in poetic form. Once I latched onto the idea that Israel’s history is not just the events of a long ago people but part of the living story of all of God’s people, I quickly arrived at a way to represent this musically: the first half of each verse tells Israel’s story as it appears in Psalm 114, the second half of each verse reflects on ways in which God continues to work in similar ways today, and the refrain answers with overarching them of the Psalm: “The hills and mountains tremble, the rivers stand in awe, for in this pilgrim people is the presence of the Lord.”
Listen to the recording of the service or email me for the score.
Last week I finished an arrangement of “Joyful, Joyful, We Adore You” for use in my church. How dare I mess with Beethoven, you ask? Indeed. A few years back I decided that I could no longer bear to hear praise bands butcher Beethoven’s fine tune. And since it had already been adapted for the hymnal, I thought I’d arrange something that would work for praise band. Since then I’ve written a lead sheet, a piano accompaniment, and string parts. You can find the piano music at my main website for a short time, and the demo you can find right here.
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You Can Talk to Me
Back in 1993 I released a cassette (yes, that’s how one did it in the last century) called From the Hand of… Greg Scheer, a collection of my folk/jazz/rock songs performed on acoustic guitar, bass and vocals (me) with Elizabeth Way on violin. It included a song called “You Can Talk to Me,” which I somehow ended up singing in my friends’ Jeff and Kathy’s wedding, which I somehow mentioned to my friends Andrew and Jessica, which they somehow are now interested in hearing, which may somehow entice them to work it into their wedding, which will mean that I’ll somehow have to remember how to play it.
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My Arms Are Open Wide
Back in 1990 there was a singer in Pittsburgh whose name I can’t remember who sang a lot of public school assemblies raising awareness about teen suicide. Because she couldn’t present an explicitly Christian message, she was looking for songs that offered a message of hope without being preachy. So I wrote the song My Arms Are Open Wide. 18 years later, I’m still wondering why she didn’t end up using it. This thing is a hit! All it needs now is a hit maker–a singer who can bring it to life. Carrie Underwood, where are you when I need you?
At Church of the Servant the theme verse of this year’s Girls’ Club is Micah 6:8. They found a few songs that worked pretty well (PsH 293, Schmit), but none that fit like a glove. And you know I can’t leave well enough alone, so I took it upon myself to compose my own by the end of the day. I like how it turned out. It’s simple to sing or play, and more importantly it turns the verses into a prayer. Sung justice scriptures often sound so heavy handed, so I like the way these lyrics convey a sense of aspiration rather than obligation. Listen to the MP3 or print off the PDF and take it to the nearest piano for a careful read-through.