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!
I began going to a yoga class this year. As you probably know, breathing is an important aspect of yoga. It’s amazing how disconnected we modern humans have become from our breath and our bodies. So I often take a few minutes during the day to concentrate on the rhythm of my inhalations and exhalations, trying to be in the moment and simply be.
Musing on how fundamental our breathing is to our being led me to compose a piece for string orchestra called “Breathe.” It is based on a repeating 20-measure chord sequence over a spoken incantation of “Breathe in. Breathe out.” It is written in the lineage of compositions like Samuel Barber’s “Adagio for Strings” and Max Richter’s “On the Nature of Daylight”–pieces that are based not on melodic theme or harmonic movement, but on the shape and intensity of the instrumental timbres. It is not at all as easy as it sounds–it’s more like sculpting than traditional composing.
Expect to hear it played by St. Sinner Orchestra in the near future. For now, listen to the demo above or Max Richter’s “On the Nature of Daylight” below
This summer, I was commissioned by the Grand Rapids musicians’ union to compose a fanfare for our 120th anniversary. The parameters were: a 2-minute (120 seconds–see what they did there?) fanfare scored for a mixed ensemble of brass, winds, and percussion not to exceed the instrumentation of Aaron Copland’s “Inaugural Fanfare,” which would also be on the program. I only had a month to go from blank page to completed score and parts, so I knew I had to get busy.
But first: what is a fanfare?
Intuitively, I understood a fanfare to be a festive, trumpety thing, but I started to second-guess myself. Was there a secret recipe that everyone knew but me? (I’ve been composing for forty years, and I am still susceptible to impostor syndrome.) After a good deal of research, I confirmed that a fanfare is, indeed, a festive, trumpety thing. It has no precise definition, but there are plenty of examples: Copland’s “Fanfare for the Common Man” is something of a gold standard, as is John Williams’ “Olympic Fanfare and Theme.” One of my personal favorites is Leoš Janáček’s “Sinfonietta.”
The challenge was to compose something regal and courageous, immediately accessible to listeners, playable by performers with a half hour rehearsal, and that says everything it needs to say in a very short time.
I gravitated toward a more-or-less tonal palette, but kept it from being obvious or saccharine by using lots of stacked fifths/fourths (for openness) and non-harmonic tones (for bite). Of course, I relied heavily on the trumpets, but every section is featured at some point. I also had a ton of fun with the percussion, including Glockenspiel, Xylophone, Tubular Bells, Brake Drum, Crotales, China Cymbal, Cabasa, Vibraphone, Tam-tam, Suspended Cymbal, Crash Cymbal, and Drum Set. Finally, I played with style. The GR music union is made up of musicians of all genres: classical, blues, jazz, rock, etc. So, I used drum set to establish a pop groove in the middle of the fanfare, with jazz style voicings on top of it.
I was really pleased with how it turned out–a tasty little slice of musical cake.
From 2000 to 2005, I worked at Northwestern College in Iowa, teaching music and worship in the music department, and leading chapel worship and overseeing worship teams for campus ministries.
In my second year there, a new president was inaugurated, and I was commissioned to compose a piece for the ceremony. I hadn’t thought about it much in the few decades since, but I recently found a recording from the inauguration and decided to clean it up and post it here.
I had forgotten how much I like it!
The lyrics are adapted from Psalm 67–a perfect Psalm of thanksgiving for a fall worship ceremony in the heartland of America. The meter is 7/8 throughout. I never strayed from a 2+2+3 rhythm; still, the choir hated me for the odd meter! The rhythmic vitality really drives the piece; it feels exciting and exuberant. The harmonic style is–I don’t know what to call it–pan modal? But I like it. There is a lot of bite in the harmonies, but they’re not so complicated the choir can’t find their notes or it leaves the audience scratching their heads.
It feels like it was an important step forward in my composing.
I was commissioned to compose a new piece for The Northwest Iowa Christian Schools String Orchestra Festival. The result is Cannon, which premiered on October 31, 2024.
It was a lovely performance featuring over 100 student string players. Here are the notes about the piece that appeared in the program:
I’ve always joked that I continue composing because I want to have my Pachelbel’s “Canon.” Though Pachelbel wrote hundreds of pieces, most of us only know his ubiquitous “Canon in D.” Not bad for a “one hit wonder”! As an homage to Pachelbel, I named my piece “Cannon in D Minor” and began composing. However, I soon ran into a problem: the orchestra would sound a lot better in a key like G or D. I transposed my draft to G and shortened the title to “Cannon” (this music is explosive in any key!) and got back to work.
What emerged is a composition that is full of rhythmic energy and surprises. The piece begins with a bang, a fanfare that sets the tone for what is to come. Suddenly, the bombast stops and a stately canon begins. (You’ll remember that a canon is another word for round, where a musical theme is repeated in each section. Think “Row, Row, Row Your Boat.”) After a brief reappearance of the fanfare, we enter an extended rhythmic section that has hints of Irish Jigs, African rhythms, and Rock and Roll. Once again, we hit the brakes for a canon, but this time it is a quote of Pachelbel’s “Canon”—with a twist. The orchestra has barely finished the first eight measures of Pachelbel’s theme when a solo violin interjects a theme of its own—a double-canon mash up of Pachelbel and Scheer that takes us to the final fanfare.
Astute music connoisseurs will notice a unique feature of the “Cannon” orchestra: the addition of Acoustic Guitar, Piano, Percussion, and Drum Set. The idea of adding a rhythm section was suggested after the conductors heard some songs I had written for the St. Sinner Orchestra, a symphonic rock group I lead. I quickly agreed, being a composer who loves combining styles and timbres in fresh ways.
Who knows? Maybe “Cannon” will be my Pachelbel’s “Canon”!
A quick refresher: Psalm 119 is the longest Psalm, an acrostic poem with 22 sections, one for each letter of the Hebrew alphabet. This third movement is “Gimel.” As with the previous two movements, the music is all about transformation. Sometimes you turn a corner and suddenly a new vista opens before you; other times the transformation takes place slowly, like a sunrise.
All of this was recorded by me, “in the box.” That is, anything that isn’t my voice, guitar, bass, or the upright piano 8th notes is a sample from Logic Pro. I would have loved to record two classical violin soloists, a jazz/fusion pianist, a ton of percussion, and strings in the studio, but alas… “Done,” as they say, “is the new great.” Even with so many digitized parts, I hope you can hear a little spark of what I was hearing in my head.
ג Gimel
Reward your servant that I may live to treasure your Word. Open my eyes that I may gaze upon the wonders of your law.
I am a stranger on this earth. Oh, do not conceal your commands from me! I am consumed— consumed with longing for your law.
You scorn the scornful— those who disregard your way. Remove the disgrace of the arrogant for I have followed your path.
Though a council of the mighty speaks against me, your servant will dwell upon your Word. Your words are my delight. Your law is my counsel.
Continuing our series from Psalm 119, here is Beth. Beth is not only a woman’s name and the title of a ballad by Kiss; it is also the second letter of the Hebrew alphabet. In this second section of Psalm 119 the Psalmist continues an acrostic meditation on God’s law.
Musically, this is my favorite of the three movements. There is just a lot of interesting stuff going on, with twists and turns throughout. You wouldn’t think that rock, slinky funk, choral, classical piano, the Chinese erhu, and minimalism could hang together coherently in the same 11-minute musical frame, but somehow they do.
All the tracks were recorded by me in my home studio using Logic Pro.
ב Beth
How can the young remain on the path of the pure? By walking in the way of your Word.
With all my heart I seek you. Let me not wander from your way. Within my heart, I treasure your Word. Let me not sin against you.
Blessed are you, my Lord. Oh, that I would learn your law.
I recount with my lips all the words of your mouth. I rejoice in the way of your Word more than wealth.
I meditate upon your precepts and gaze upon your paths. I will delight in your law. I will not neglect your Word.
For the last three years, I have been quietly chipping away at a composition of behemoth proportions. It is now time to release it. And I mean “release” in two senses of the word: Over the next few days, I will release the recordings of the first three movements; I will also release the project in the sense that I need to let it go so I can turn my attention to other music that is waiting to be written.
Here is how I described the project in its early stages:
Psalm 119—often called “The Great Psalm”—is the longest Psalm, an acrostic poem on God’s law, with one eight-line verse for each of the 22 letters of the Hebrew alphabet.
For setting Psalm 119 to music, I’ve decided on a different path than I’ve used with previous Psalm settings. This will not be congregational or choral; instead, it will be a recorded meditation weaving words and music together in a mesmerizing, ever-transforming musical mosaic. Each of the 22 sections will be a 5–10-minute musical movement that will be both independent and interlocking with the movements around it.
What will the music sound like? Imagine Mike Oldfield, J.S. Bach, and Steve Reich collaborating while on retreat at a monastery, composing music to be performed by the Penguin Café Orchestra, Pinback, and Polyphonic Spree and sung by Taizé, the Bulgarian Women’s Choir, and Keur Moussa. Like that.
I am writing my own translation of Psalm 119 that attempts to honor the original text while remaining accessible to modern ears. My version is unmetered and unrhymed, but with a latent inner rhythm.
Here is the first movement, Aleph. Most of the tracks were recorded by me in my home studio; additional tracks were recorded at Local Legend Recording with the help of these musicians:
Clara Becksvoort (9 years old)
Men’s Trio: Chris Snyder, Paul Ryan, Jordan Clegg
Theo Janga Ndawillie, drums
Josh Kaufman, guitar and mixing
אAleph
Blessed are those whose way is pure, who walk in the Word of the LORD. Blessed are those who keep God’s will and seek the LORD with all their heart— who do no wrong, for they follow God’s way.
You have established your Word to be followed wholeheartedly.
Oh, that my path would be built on your Word; then will the whole of your law bring no shame.
I will praise you with a pure heart, for I learn from your righteousness. I will walk in the Word of the LORD. O God, do not leave me alone.
In 2019, I started a series called Piano Miniatures. I had planned to write 14 short pieces, each with a corresponding meter (i.e. #7 would be in 7/8 time). I finished four of them, and ever since, a lonely sketch for #5 has been languishing in my draft folder until this week.
This new piano miniature is in 5/4 meter and has some harmonic bite to it, so you’d expect it to sound harsh or complicated. Instead, it is a dreamy musical vignette reminiscent of Debussy’s “Reverie.” And though it’s lacking Debussy’s musical genius, I’m still quite fond of it.
By the way, this piece marks a musical milestone: It’s the first piece I’ve typeset in the Dorico notation program. After using Finale for almost 30 years, I think it may be time to jump ship. Dorico is a promising newcomer and I’m committing to learning it. If you notice a substantial improvement (or downgrade) in the look of my scores, let me know. (‘Cause I know you all care a lot about that…)
Update 12/11/21: Sheet music for this song is now available at gregscheer.com.
I was honored that Bethany Cok and Josh Parks asked me to compose music for their wedding. I’ve played with Josh many times before at Church of the Servant, Calvin University, and in the St. Sinner Orchestra, so it felt like a real vote of confidence to be included in his nuptials.
The rehearsal.
Bethany and Josh chose Psalm 65 as the song’s text. It was a great choice: Psalm 65 is a Psalm of thanksgiving that was likely written for one of the harvest festivals; its focus on entering God’s house, keeping vows, and God’s blessing make it a beautiful fit for a wedding.
The piece I wrote volleys back and forth between a congregational refrain that features a bold, ascending melody I’ve dubbed a “Mannheim Mountain,” and lush, rhapsodic verses.
You might wonder about the opening phrase “We Praise You, God, in Silence and Singing.” Why “in silence” when it’s a song? Well, the first phrase of Psalm 65 “Praise awaits you,” is unclear in the Hebrew, but seems to carry the connotation of hushed awe—a quiet before a storm of praise. I decided to interpret that as “in silence and singing,” including a ripe silence before the return of each chorus.
I post this song on the day of Bethany and Josh’s wedding as a musical blessing on their union!
We praise you, God, in silence and singing, in making of vows and lifting of prayers. To you all people, in joy and thanksgiving, renewed and forgiven, to you they are streaming for you are our God. And you, God, are good.
1. Blessed are the ones you draw to you courts– guests in the house of the Lord. Riches o’erflow and spill out the doors– blessings that fill the whole earth! REFRAIN
2. For you pushed the mountains into place with the strength of your hand; and you hushed the chaos of the waves, for even the seas obey your commands; and you change the chattering of all the nations into choirs of joy! And the whole world hums with your praise! REFRAIN
3. You care for the land, you soak the ground, and you shower it with riches. You fill the streams and soften the soil and you flood the furrows and ditches. The year is crowned with blessing; her path flows with abundance; her hills are covered in gladness; her meadows clothed in flocks; her vales are robed in wheat and grain– they shout for joy! They sing! They shout for joy and they sing! REFRAIN
I’ve been a fan of M.C. Escher for a long time. One of the things that fascinates me about his art is how he meticulously worked out his tesselations on graph paper before incorporating them into a finished print. These “proof of concept” sketches were a necessary step in creating his mind-boggling works of art.
In the same way, I’ve had a number of Escheresque musical ideas that have been simmering on the back burner for some time. Yesterday, I was able to record a quick demo–a draft that would allow me to figure out some of the logistics for a later piece. In the end, it didn’t work. So be it. That’s how one learns.
Can anyone guess the musical concept I was trying to implement?
