The Musical Diary of Greg ScheerI was recently commissioned to arrange “In Your Pentecostal Splendor” for the Calvin College Lessons & Carols service. This hymn might be new to you, but at my church we sing it every week during one of our Pentecost season liturgies. The text was written by John E. Spears in 1916 and the tune EDEN CHURCH was written by Dale Wood in 1959. As far as I know, this text/tune combination only appears in our church’s Joyful Noises song collection.
#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…
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.
Update 3/16/22: Sheet music for this song is now available at gregscheer.com.
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).
Last year I was re-introduced to the Advent hymn “Prepare the Way, O Zion” (BEREDEN VÄG FÖR HERRAN) through the great recording Proclaim the Bridegroom Near by Chicago Metro Presbytery Music. (An unwieldy name, but one of my new favorite Christmas CDs.)
This year I decided to include the carol in Church of the Servant’s Lessons & Carols service. (It’s next Sunday at 6pm if you’re in Grand Rapids.) However, I knew I needed to make some adjustments to make it work for our musicians. What resulted was two arrangements: a fairly straight ahead 4-part version of the tune in its original 6/4 meter, and a 4/4 swing leadsheet for jazz combo.
I don’t have recordings yet, but wanted to make it available anyway, as some of you still might be able to use the music this year. For now, you’ll just have to enjoy Chicago Metro’s version.
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Update: Sheet music for this arrangement is available at gregscheer.com.
I recently entered an orchestration of my choral anthem, “Lo, How a Rose” in a contest. I thought for sure I had this one in the bag. Alas, there was a hole in the bag.
Now I’ve got a jazz ballad arrangement of “Lo, How a Rose” for solo, SATB, 2 flutes, 2 oboes, 2 clarinets, bassoon, 2 horns, 2 trumpets, trombone, timpani, strings, and piano, with an optional jazz rhythm section that’s looking for a home. I think it’s quite beautiful, but my opinion is hardly subjective. What I can say objectively is that the score is very flexible. It can be sung a cappella, SATB/piano, with or without jazz combo, etc.
Take a listen and head over to my website if you want the octavo and instrumental parts: MP3.
And if anyone has any ideas why Finale’s playback sounds so good and its exported audio sounds so bad, let me know.
I just got the Lent, Easter, Spring 2014 new music sampler from Augsburg Fortress, and my anthem “As the Deer” was first on the list. (The list is alphabetical, so it was simply fortuitous placement rather than them highlighting my octavo.)
You can listen to their demo, or even better, head on over to their website and buy a bunch of copies for your choir.
Update: Sheet music for this song is now available at gregscheer.com.
MP3: All Those Who Trust (Psalm 125)
Last year I told the story of how I stumbled upon Rubem Amorese’s music. I’ve been following him and Toninho Zemuner ever since, starting with a translation of “Proteção” and following it up with “Adoração.”
I’ve been looking for a place to use Proteção (Psalm 125: All Those Who Trust) for a year, and I was finally able to schedule it in last week’s service. The sermon theme was the church under attack, and I thought that Psalm 125’s focus on God’s protection of his people would complement that nicely. And since the choir was singing, I arranged it for them. In many ways the choir arrangement is a different animal than what I heard in that YouTube video of Rubem and Toninho a year ago, but I think the song remains beautiful and continues to speak clearly in this new cultural context.
Update: Sheet music for this song is available at gregscheer.com.
A few weeks ago, I posted a Korean song I translated into English with the help of some friends. This week, I revisited the song, adding a piano accompaniment, instrumental parts, and a smooth-as-butter descant for strings and flute. Love it.
Update 1/20/22: Sheet music for this arrangement is now available at gregscheer.com.
When the Joyful Noise Orchestra leads worship at Church of the Servant, I try to give them a little something to sink their teeth into. Yesterday, it was a short little introduction I wrote for the tune DIX. This tune is usually associated with the text “For the Beauty of the Earth,” but yesterday we sang it with a version of Psalm 67, “God of Mercy, God of Grace.”
I feel like I was just beginning to explore this tune’s possibilities, so hopefully I’ll have the opportunity to work it into a bona fide orchestral arrangement at some point in the future.