Categories
Choir Church Live

Palm Sunday at COS, 2007

What is a blog but a slice of one’s life? So you want a fresh slice of music from Greg’s life? I thought so.

Here are a few things we sang at Church of the Servant this Sunday. We’ll start with a choir piece called “Ride On.” It was published as a vocal solo piece by Augsburg Fortress a while back, and I thought I’d see how it would work for SATB choir. I kind of have a love/hate relationship with this piece–I love it, but everyone else hates it. Just kidding. It started as a pop/gospel setting of the old text “Ride On, Ride On in Majesty” for congregation. But then I realized it was too hard for congregation, so I gave another go at it as a vocal solo. But then I realized that the archaic text was at odds with the contemporary music (you just can’t groove words like “strewn”), so I wrote a new text based on the same theme and meter. But then I realized that if was writing something for vocal solo, I should vary the verses a little, so I turned verse 3 into a bridge. But then I was planning choir music for Palm Sunday, and I realized that I could turn that the vocal solo into a choir version. But then we tried it in rehearsal and I realized that it was much harder for a choir to sing all the syncopations than a single vocalist. Or a married vocalist, but it really depends on the vocalist more than their marital status. But that’s really beside the point. The point is that I have a love/hate relationship with the song, and I’ll be glad to hear your opinion. So without further ado, click to listen to Ride On.

Next up on our three slice meal of worship wurst is Sanna & All Glory, Laud and Honor. These two songs were used during the palm procession. Nothing too fancy, but it gives an idea of our style at COS. I like the way the South African “Sanna” (which is a shortened version of the word “Hosanna”) sits alongside the traditional “All Glory.” And the drums and strings really make things festive. Try to ignore the cantor. He’s not really as big of a windbag as he sounds on this recording, it just happens that his mic was high in the mix.

Finally, what church service recording would be complete without a child crying in the background? What makes this recording so exquiste is that this particular little screamer has such impeccable timing. You’ve got to love it: “This is the day the Lord has made (waaaaaaah!!!!) Hallelujah!” And of course the juxtaposition of the seren Taize chant with the primal scream is priceless. Give a listen: This Is the Day.

Having trouble with the above links? Try these: Ride On, Sanna & All Glory, This Is the Day.

Categories
Choir Church Live

Feed Us, Lord

This Sunday the choir sang “Feed Us, Lord” (see Feb 2 post) at Church of the Servant. Here’s a recording, complete with babies crying.

Categories
Choir Live

New recordings from Canada

Richard Janzen (www.musicshare.sk.ca) just sent me recordings from his Christmas concert, which included two of my choral pieces. Richard directs the Rosthern Junior College choirs in Saskatoon, Saskatchewan. RJC is an independent Mennonite church high school (grades 10-12). His 35 voice choral sang Lo, How A Rose, and the 100 voice concert choir (which he lovingly refers to as his “mob” choir) sang We Three Kings. Listen to the recordings, then head on over and download the pieces from www.gregscheer.com so you, too, can pay a mere $30 for 135 octavos.

Categories
Live

Three Rivers Overture

In 1996 I was asked by Roger Zahab–new music’s greatest friend–to compose a piece for the University of Pittsburgh Orchestra. The result was The Three Rivers Overture. After its spring premiere, Roger decided it would make a good piece for Pitt’s graduation. In fact, he used it for a number of years after that–maybe even still uses it.

Here’s a funny anecdote about money and music. At my graduation from Pitt, I got paid to play my bass in the orchestra, got paid to hire other musicians to fill out some sections, and got royalties on The Three Rivers Overture. The latter was the greatest source of revenue, because BMI calculates royalties based on number of instruments (full orch), length of piece (over 6 minutes) and number of people in audience (about 20,000). I was very pleased when I opened up my BMI check that year. The sad thing is that BMI changed their rules, so they no longer pay royalties on events–only concerts. So my source of easy money dried up…

The good news is that a new piece was born, even though it’s no longer a money maker.

The Three Rivers Overture, mp3 (performed by the Pitt orchestra)

The Three Rivers Overture, pdf

Categories
Live Rock and/or Roll

True Confessions

The new year is a good time to reflect on one’s life. A few years ago some of my reflections turned into a song named “True Confessions.” This recording is from a chapel at Northwestern College. I’m on vocals and guitar, Cory Grimm is on the other guitar, Adam Grimm is on bass and Joseph Barker is on drums.

True Confessions by Greg Scheer, October, 2003

The second hand keeps on ticking, the hours fly, but I
find the days grow short as the years go by.
Half my life may be gone—even though I’ve tried and tried
I’m still not half the man that I thought I would be.

But I’m older and wiser, and happy and tired, and richer and wider,
and just now getting comfortable living inside this skin.
Even though half the things that I thought were me recede—
just get forgotten—lost in the living.

My true confessions,
my best intentions,
I guess in the end that
is all I can give.

My true confessions,
my best intentions,
I guess in the end that
is all I can give.

Dive below the surface and you’ll find things in me
that even I don’t know or choose not to believe.
But I’m open to your reviving streams. You see,
I want to be a tree whose roots grow deep.

CHORUS

What on earth is the problem with humanity?
Why do we run to wrong? How can we be so mean?
But if I had been Adam and you were Eve, I think
I’d bite any apple that you offered me.

The serpent is speaking
so convincing and sweetly.
The spirit is willing
but the flesh is weak.

Since the garden of Eden,
with our sweat we’ve been reaping
the price of our pride
and our disobedience.

CHORUS

I’m in trouble sometimes, but I still believe I’ll see
the goodness of my God while I’m still living.

Categories
Church Live

The Babe of Bethlehem

When I worked at Wildwood Presbyterian Church in Tallahassee, Florida, we had an annual “Festival of Carols” service during Advent. (Can I really call something “annual” when it only happened twice?) Basically, this was a lessons and carols service, but I knew that would sound too high church, so I called it a “Festival of Carols.” In any case, in 1999 the theme of the service was “An American Christmas.” It featured Christmas songs from Canada to New Mexico, with lots in between.

The first song of the evening came from the shape-note (Sacred Harp) singing tradition. Instead of singing it in shape-note style, though, we performed it with solo voice (me), mandolin (me) and guitar (Mike Houghton). This isn’t a particularly good performance–I botch a note in the first few measures–but it’s a great song. In fact, I like the song so much that I used it again this year at Church of the Servant’s lessons and carols service. This time we sang it in proper shape-note style, with bright chest voice and men and women doubling the soprano and tenor lines. But I don’t have a recording of that.

Without further ado, here is “The Babe of Bethlehem.”