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Arrangement Commissions Global Live

Music Unites Us: Sufro Por Tu Amor

Grupo Super Nova is Cumbia band from Holland, MI, comprised of the Garcia brothers, who immigrated from Mexico when they were children. We decided on their original song, “Sufro Por Tu Amor” (“How Long Must I Suffer for Your Love?”) written by Christian Paul Garcia when he was 16.

Here’s where my job as an orchestrator became interesting. Cumbia is a Latin style that features a strong backbeat to create upbeat, danceable music. Upbeat and danceable are not typically an orchestra’s forte… Further complicating the task is that Super Grupo Nova already includes an electric bass and drum set, so I had to find ways to have them complement each other rather than fight.

A few notable moments:

1:45 Grupo Super Nova’s original recording began with a quiet synth pad and a digital harp arpeggio. It translated beautifully into solo violin and string pizzicato.

3:26 I love this string ostinato against the song’s melody. Together, they really soar.

4:00 This orchestral interlude felt just right–a brief moment for the orchestra to take the lead, with the melody volleying between sections. It was also at this point in the performance that the rhythm gelled between the band and the orchestral percussion. (In retrospect, we should have put the band on the percussion side of the orchestra so they could hear each other.)

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Arrangement Commissions Global Live

Music Unites Us: Minka Variations

The first collaboration was with Nina Tritenichenko. She sings and plays Bayan Accordion, an all-button accordion that is common throughout the world, including her home country of Ukraine. The tune she chose was “Ikhav Kozak za Dunaj” (“The Cossack Rode beyond the Danube”). This folk song became popular throughout the world by its German name, “Schöne Minke” (“Beautiful Minke”).

Nina had a specific set of variations on the Minka tune that she wanted to perform. Because her accordion part was set in stone, my task was to build around it with the orchestra. I began by composing a grand overture-style introduction–a fanfare that established the tone of what was to come. Next, she sang a verse of the song to introduce the theme. Each variation became increasingly complex and exciting, with orchestration to match.

Some favorite moments in this arrangement include:

4:00 I turned this variation into a duet with the concertmaster! It added texture to the solo accordion and let an orchestra member momentarily come to the foreground.

4:42 I’m a huge fan of arpeggios that sweep through the orchestra like a harp. This one worked magnificently.

5:00 This interlude gave Nina a breather and created anticipation for the final, flashy variation.

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Arrangement Commissions Global

Music Unites Us: Overview

This year I was asked by the Holland Symphony Orchestra to work with four global musicians to choose and arrange a selection they would perform with the orchestra. I was thrilled: I have a lifelong interest in global music, have studied Ethnomusicology, played with an African drum ensemble, and edited a collection of global hymns.

In fact, my work with global worship music gave me good experience in what I call “musical transplanting”: taking music from one culture and helping it flourish in another context. It’s a delicate process. Non-Western music is full of timbres, rhythms, and aesthetic sensibilities that aren’t part of a Western context. Ideally, you want to engage with another culture’s music in a way that honors the sending culture but is also accessible to the receiving culture. This is made all the more difficult because many global musicians are play-by-ear musicians whereas Western-trained musicians–especially orchestras–rely on printed music.

In the next few blog posts, I’ll introduce each musician I worked with and discuss the unique approach required to transplant their music into an orchestral context. First, enjoy this overview video that explains how the Music Unites Us project came to be.

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Church Commissions Congregational Songs Demos Global Psalms

Tuhan Adalah Gembalaku/You, Lord, You Are My Shepherd of Love

One final song for 2022.

An Indonesian friend introduced me to this setting of Psalm 23, which he’ll use in his ordination service. It’s simple, lovely, and has some interesting melodic twists and turns. Since I was learning it anyway, I decided to translate it into English so that those of us outside Indonesia could enjoy it. This wasn’t as easy as it sounds, because Indonesian uses many more syllables than English to say the same thing!

While there are many Psalm 23 songs to choose from, this one has a gentle spirit that cuts right to the heart of the Psalm. The song really helps us feel the complete trust the sheep feels for the shepherd. It makes the metaphor personal, so we can offer the words of Psalm 23 as our own prayer.

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Arrangement Church Commissions Live

Once in Royal David’s City Live at Baylor University

One of the great joys of composing is when a fine musician performs one of my pieces in a way that really makes it come alive. In the case of this recording, there were three fine musicians: Hunter Morris on violin, Kathy Johnson at the piano, and Chris Martin on cello.

This was the prelude at a recent Baylor University Advent service, and I couldn’t be happier with how it sounds!

If you need a last minute instrumental piece for your Advent or Christmas services, you can find the music at www.gregscheer.com. The original was written for violin. I recently completed a version for cello solo.

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Arrangement Choir Church Commissions Congregational Songs Live

Jesus Cristo, esperança do mundo/Jesus Christ, Hope of the World

This fall, I was commissioned to write an arrangement of the lovely Brazilian milonga, “Jesus Cristo, experança do mundo.” It premiered last night in the second installment of Calvin University’s four-part Lessons and Carols. The whole program was lovely and it was great fun to hear my choral piece elsewhere than in my own head!

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Church Commissions Congregational Songs Demos Hymn tunes

By Blessed Wounds (T.L. Moody)

Update 2/4/22: Sheet music for this song is now available at gregscheer.com.

Tammy Moody wrote a lovely text about trusting God to be a good father rather than a vengeful or cruel one. She and I have discussed the fact that using the image of God as Father is quite out of fashion in some circles. There are good reasons: Some people have had horrible experiences with their earthly fathers that cause barriers to them approaching God as Father; also, we should be exploring the full range of images and titles the Bible uses for God. I like how Tammy approaches it, though. She recognizes God as Father, while also acknowledging the fear and doubt many of us have in believing we’re children, accepted and loved by a good Heavenly Father.

I composed a simple pentatonic melody to support the words–almost a lullaby. There are echoes of “Here Is Love, Vast as the Ocean” (the tune Tammy had in mind when she wrote the text), but with a more sweeping melodic arch that allows the second half of the song greater emotion. The first two times the apex of the melody asks the unanswered question, “Dare I come to you?” and the third time it declares tentatively, “I will come.”

1. Dare I come to you as Father,
when by shame I am consumed?
Through the spotless Lamb’s atonement
dare I come by blessed wounds?

Dare I come to you, as Father
when my faith has taken wing?
I’ve no gifts of gold or silver.
Doubts are all I have to bring.

2. Though your child, your dear, beloved,
and with you I’m not alone,
still, my fears arise, O Father,
born on tears before your throne.

Dare I come to you, as Father
when my faith has taken wing?
I’ve no gifts of gold or silver.
Doubts are all I have to bring.

3. Tell me, once again, O Father
how my soul you’ll ne’er dis-own;
How in Christ I am forgiven,
saved by works, not of my own.

I will come to you, my Father,
though by shame I am consumed.
Through the spotless Lamb’s atonement,
I will come by bless-ed wounds.

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Art Music Church Commissions Congregational Songs Demos Live Psalms

Psalm 65: We Praise You, God, in Silence and Singing

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

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Church Commissions Congregational Songs Demos FAWM 2020 Hymn tunes

T. L. Moody: Will Rise in Spring

Update 1/10/22: Sheet music for this song is now available at gregscheer.com.

Another collaboration with Tammy Moody. Like many of her songs, this one features vivid images of nature. In this, she takes us through the seasons, ultimately connecting spring’s budding new life to our hope of resurrection in Christ.

Besides writing wonderful lyrics, Tammy is also a professional photographer. She took this photo of the yellow boat. (You can read about the meaning of the boat in the previous post.)

1. Spent blossoms fall and then are swept away.
Light lingers late, as longer grows the day.
Sweet May’s near done, as are the cooler eves;
as spring wanes, the summer comes with plums and leaves.

2. Green shoot unfurls to welcome sun’s embrace;
so, turn my heart and bask in warming grace.
Join, too, my voice with larks in ceaseless praise,
and join stream, join meadow where the young lambs graze.

3. Crisp fall’s red leaves are fading now to brown;
Soon, skiffs of snow will kiss the sleeping ground.
Through brittle winds the breath of winter brings
and I pray what lies in earth will rise in spring.

4. I praise the One who paints the sunsets’ hues.
I praise the One who tints the lilac blue.
I join my voice with song creation sings:
For in Christ, what lies in earth will rise in spring.

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Church Commissions Congregational Songs Demos FAWM 2020 Hymn tunes

T. L. Moody: Hands Come Gleaning.

Update 1/10/22: Sheet music for this song is now available at gregscheer.com.

Tammy Moody wrote the lyrics for this new song. I love the way she ties together images of harvesting the land, social justice, and the Lord’s Supper. The more connections we can make between what we do in worship and in the world, the better.

Tammy also took the picture of a boat. Why a boat, you ask? As we discussed the relationship between words and music, she told me about someone who said lyrics are like a boat: they need music like a boat needs water; once the two come together, their journey. begins.

1. O give us eyes to see them,
forgotten bits of grain
discarded in the harvest
as chaff upon the plain

O let our hands come gleaning
the lonely little ones,
so precious in your eyes, Lord,
it’s you who bid them, “Come”

We gather them to you, Lord,
to celebrate your feast
For such as these, your children,
O let our love increase.

2. O give us ears to hear them,
faint, pleading, hungry cries
from outcast souls and beggars
before we hurry by

O let us go to seek them
until the last is found
and mercy’s hands not tiring
‘til all their wounds are bound

We gather them to you, Lord,
to celebrate your feast
For both the babe and beggar,
O, let our love increase.