Category: Hymn tunes

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Church Commissions Congregational Songs Demos Hymn tunes

We Break This Bread

Christopher L. Webber, my unwitting collaborator

At this summer’s Hymn Society meeting in St. Louis, I was approached by a publisher about composing some tunes to go with a new collection of hymn texts by Christopher L. Webber. I can never resist an opportunity to compose new music, so I got right to work.

Of the numerous texts I could have chosen, I gravitated toward, “We Break This Bread.” I love the way Webber connects the breaking of bread at communion to our human brokenness. What I don’t love is that almost every line elides into the next–and at different places in each verse. No melody could accommodate the text perfectly (or allow people to sing each phrase in one breath!) but I feel like I struck a good balance that holds up well to the shifts in each verse.

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Church Congregational Songs Demos Hymn tunes

Rejoice, Ye Pure in Heart

E.H. Plumptre, author of “Rejoice, Ye Pure in Heart.”

Update 11/4/21: Sheet music for this song can now be downloaded at gregscheer. com.

This hymn tune is another one that’s been hanging out in my idea folder for far too long. From the very beginning, the refrain was just how I wanted it: a perfect wedge of notes that vibrated with dissonant energy. The verse, however, was another story. It went through 3 or 4 entirely different drafts before I was satisfied.

What I like most about this hymn tune is that it twists, turns, and teeters on the edge of chaos without ever losing its melodic momentum. Let’s if you agree.

I would be very pleased to turn this into a festive choral anthem with organ and brass. If your church commissions it, you get to name the hymn tune! Alternately, if you want to write a new hymn text (6.6.8.6 with refrain) to this tune, I’d be happy to collaborate with you.

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Church Congregational Songs Contests Finale demo Hymn tunes Production music

WCRC Take 2: God of All Creation

My second attempt at a theme song for the World Communion of Reformed Churches 2017 General Council was inspired by their meeting place: Leipzig. Leipzig, of course, is famous as the city in which Bach worked for almost three decades and the where he is laid to rest. My second draft, then, is an homage to Bach: a four-part chorale with as many Bach-isms as I could muster.

It is a sturdy tune with all the harmonic twists you’d expect of imitation Bach. The text was also a step in the right direction. Instead of getting at the theme, “Living God Renew and Transform Us,” in slogan form as I did in my first draft, this time I approached it in strophic form. The three verses address the three persons of the Trinity and explore the ways they lead us to renewal. Check it out: PDF.

In the end, though, it felt too backward-looking for this assembly. They have thousands of historic hymns to choose from when planning worship–including chorales by the actual Bach–and likely don’t need any historic sounding hymns in the mix. So I decided, once again, to move on.

Stay tuned for the exciting conclusion of Greg writes a theme song for the WCRC 2017 General Council!

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Church Congregational Songs Contests Demos Hymn tunes Production music

WCRC Take 1: Semper Reformanda

Update 12/11/21: Sheet music for this song is now available at gregscheer.com.

I’ve been asked to write a song for use at the World Communion of Reformed Churches 2017 General Council.

The difficulty of this sort of assignment is that–with intuition rather than information–I have to project what might be needed and what the vibe of the gathering is likely to be. The theme of this global assembly is “Living God Renew and Transform Us.” This is both a prayer for the ongoing work of the Spirit and a tip of the hat to the 500th year anniversary of the Protestant Reformation.

You likely know the phrase “Semper reformanda: Reformed and always reforming” that captures the spirit of the modern Reformed Church. I began my composing with this as a starting point. I liked the way phrases such as, “Reformed and reforming; transformed and transforming; renewed and renewing, forgiven and forgiving” show both what we’ve received through faith and what we, in turn, offer the world. However, in song form, I felt the phrases were quickly turning into a laundry list, a lyrical dead end. (I often refer to this kind of song as a “contest hymn”; they use enough catch phrases to win a contest, but never really catch on in real-life congregations.)

While I like the Medieval music groove and believe it will be immensely singable with the right lyrics, I decided to pull the plug and move on. If you want to take a stab at writing new lyrics, please feel free to visit gregscheer.com to download the free pdf and get to work. Otherwise, stay tuned for WCRC Take 2.

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Church Congregational Songs Hymn tunes Jazz Live Psalms

Another Foothold

Update 10/2/20: Sheet music for this song can be downloaded here.

I recently posted a quick demo of a new tune I wrote for Debra Rienstra’s sweet setting of Psalm 25. Yesterday we introduced the song to the congregation. It went swimmingly, in part due to the leadership of the Rienstra Clan Band (Deb on viola, Ron on bass, Philip on sax).

It’s not a foregone conclusion that a jazzy piece will work with congregation. It may end up sounding too lounge lizardy or it may simply be too complex for a congregation to sing. I feel like we struck a good balance, keeping it from excess and caricature.

I’m pretty sure this song will soon become a staple of jazz worship services all over the world. All two of them.

For those of you who are considering using the song, see the link above for the most recent version.

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Church Congregational Songs Demos Hymn tunes Jazz Psalms

Foothold (Psalm 25)

Update 10/2/20: Sheet music for this song is available here.

10 years ago, my friend Debra Rienstra wrote a hymn text based on Psalm 25, called “Foothold.” Not only that, she won the Fuller Seminary School of Psychology Fortieth Anniversary hymn competition with it. As I began to work on an upcoming service in which she, her bass/guitar playing husband Ron, and her jazz sax improvising son Philip would be playing, that song came to mind.

But I wasn’t wild about the KINGSFOLD tune that the text had been paired with. Don’t get me wrong–KINGSFOLD is a great tune. But it is overused: “O Sing a Song of Bethlehem,” “I Heard the Voice of Jesus Say,” “I Sing the Mighty Power of God.” The list goes on and on. More importantly, the tune seemed like the wrong vessel for this text. It moved too quickly to allow the deep inner life of Deb’s text to emerge.

So I, being the incessant musical tinkerer that I am, set about to compose a tune that would do the text justice while also allowing Philip to unleash his inner Coltrane. I’m always nervous about changing the music a poet originally heard in her ear, but in this case the poet gave me permission to share, so I must not be too far off base.

Want to play it at the piano rather than listening to Greg croon? See the link above for the PDF.

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Art Music Church FAWM 2016 Finale demo Hymn tunes

Tenebrae: The Shadow of Desertion

The 2nd movement of my Maundy Thursday piece for cellos. Since the text  begins with “when they had sung the hymn,” I decided to give this movement a hymn-like structure–very simple rhythms with a singable melody. Of course, the harmonies are more biting than the average hymn. Take a look: PDF.

tenebraeThe Shadow of Desertion: Matthew 26:30-35
30 When they had sung the hymn, they went out to the Mount of Olives.
31 Then Jesus said to them, “You will all become deserters because of me this night; for it is written,
‘I will strike the shepherd,
and the sheep of the flock will be scattered.’
32 But after I am raised up, I will go ahead of you to Galilee.” 33 Peter said to him, “Though all become deserters because of you, I will never desert you.” 34 Jesus said to him, “Truly I tell you, this very night, before the cock crows, you will deny me three times.” 35 Peter said to him, “Even though I must die with you, I will not deny you.” And so said all the disciples.

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Church Congregational Songs FAWM 2016 Hymn tunes

Rhyme or Reason

I was challenged to write music for a somewhat irregularly metered hymn text based on Ecclesiastes. (Okay, not directly challenged, but I accepted it as such.) Since the text talked about stretching and striving, I thought this rising melodic figure (with a chromatically descending bass) fit the them quite well.

The author commented that he could hear the cast of Fiddler on the Roof singing it. I’m unsure whether I should take that as a compliment or not…

If you want to revel in the nitty gritty of the musical details, see this PDF.

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Church Congregational Songs Hymn tunes Jazz Live

Come, Join in Cana’s Feast

Herman G. Stuempfle, unwitting collaborator

Update 1/11/22: Sheet music for this tune is now available at gregscheer.com.

A few months ago I wrote a tune for a text by Herman Stuempfle. Strangely, when I went searching for a text to accompany this week’s sermon on the Wedding in Cana, I was led again to Stuempfle. Even stranger? The new text, “Come, Join in Cana’s Feast,” fits the same tune!

Because yesterday’s service was led by the Joyful Noise Orchestra, I had some cool instrumental options. I’m a huge fan of jazz with orchestra, so I broke out my hollow body Ibanez and wrote some string parts, a la Wes Montgomery’s Bumpin’. Throw in Lauren Figueroa on vocals and Joel Klamer on tenor sax, I figure you can’t go wrong.

Here’s the the MP3 of the service. Below, for your listening pleasure is some real music: Wes Montgomery’s Bumpin’.

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Choir Church Congregational Songs Demos Hymn tunes

How Wide the Love of Christ!

Update 1/11/22: Sheet music for this tune is now available at gregscheer.com.

Now that my book is finished, I have a little more time for creative ventures. The first fruit of that time is a setting of Herman Stuempfle’s text “How Wide the Love of Christ!” I came across the text when searching Hymnary.org for hymns based on Ephesians 3:14-21. I was drawn to this one because it takes “the breadth and length and height and depth” and gives a verse to each word, followed by a doxology. I began with the intention of writing a big festive choral piece with brass, but it started morphing into a more intimate, jazzy setting–a very different feel, but I kind of like it.