The Musical Diary of Greg ScheerThis is my second attempt at Psalm 115. (The first is here.) It’s interesting to see the two different directions one Psalm can go musically. The first version was prettier and more compact, but I like the earthiness of this one better and it will fit into my Hallel Psalm collection better. All that’s left from my Hallel project is a song for Psalm 118 and some instrumental connective tissue!
Now that I’ve got most of the Hallel Psalm songs done, I can begin working on the instrumental parts of the piece. This “Hallel Prelude” (also known as “Hallel? Ooh Yah!”) is the lead off piece and will segue directly into the previously written “From the Rising of the Sun.”
All of the instrumental movements will be played by friends: alto recorder, flute, 2 violins, and a continuo of guitar/bass. The ensemble’s name is tentatively “The Grand Rapids Greg Scheer Consort of Old-Sounding New Music.” I’m open to other suggestions, though…
Sorry about the MP3 demo. I’m using Finale’s “Export to Audio File…” feature, and there’s something funky going on with it. Usually it just sounds robotic. This time it sounds robotic and distorted.
This, the shortest of Psalms, is made up of two, diminutive sections. The first is a call to all people of the world to praise God, the second gives the reason for praise: God’s steadfast love. In a process very unlike rocket science, I have dedicated a verse to each of those themes. I was pleased that I was able to get all the lines of the first verse to begin with the word “all” and the second with “great.” It’s not a big deal, but little touches like this help tighten up a song.
For the record, I no longer equate lots of notes with good writing. There’s a time to explore the thresholds of complexity.* But there’s also a time to keep pruning until nothing remains but the simplest, most pure form of what you want to say. Nowadays I’m more concerned about pacing than showing off my chops. That is, does the music unfold at the right pace? Does each new moment seem simultaneously inevitable and refreshing? At the end, do you feel both satisfied and left wanting more?
This is one of those heavily pruned pieces. I have 3 or 4 completely different sketches for this one, and this version is the result of 3 or 4 rigorous pruning sessions. A song whose theme is “be at rest” needs to feel restful. But not boring. It’s a fine line.
*My first composition professor, Dr. Gibbs, used to get a delighted look on his face if I handed in a lot of music at my lesson. He would take out a pair of reading glasses, look over the music and say, “That’s what I like to see: lots of notes!”
My FAWM challenge continues. I’m writing a piece based on the Hallel Psalms (113-118). Nine days in and I’ve got four of the six Psalms done, with sketches for the fifth. Once that foundation is laid, I can begin writing Hallelujahs and interludes.
Psalm 116 is a study in the contrast between death and life. The Psalmist had just about slipped into the pit of death when God restored him to the land of the living. And what better way to portray the depths to which the Psalmist had sunk than an accompaniment of basses?
I took quite a loose approach to the lyrics on this one. As a matter of fact, my goal isn’t to be literal or complete on any of these Hallel settings. There are plenty of metrical settings out there for people who want to sing something that sticks close to the Psalm text. I’m writing these more as musical reflections, meditations or a distillations of the spirit of the text. Is it working?
My head is in the Hallel Psalms (113-118), so this morning a little praise chorus just sort of began singing in my mind. I had to write it down.
Now, if this were the early 90s I would have a hit rocketing its way up the CCLI charts to shine like a star next to the songs of Graham Kendrick and Geoff Bullock. But this is not the 90s. And I’m still not sure if I’m going to include it in this project.
The trick is that the songs need to be sung reflections on the Psalms that can sit alongside complex instrumental interludes, something like Bach’s chorale preludes. So I don’t know if a sweet little bon bon of praise will be the right thing for this project. I’m happy to be convinced one way or the other. Take a listen and let me know if you think it’s a keeper: MP3, PDF.
A few years ago I wrote a setting of Psalm 114 called “The Hills and Mountains Tremble.” I liked it, especially compared to the settings of Psalm 114 that are available. (There aren’t many.) I didn’t want to use the same setting in my new Hallel Psalm music, but I also didn’t want to close that door entirely, so I wrote something in the same key and with lots of echoes to the previous song. Here is my Taizé-like refrain, a musical summary of the major theme of Psalm 114: MP3, PDF.
I finally decided to bite the bullet and do FAWM. What is FAWM, you ask? It stands for February Album Writing Month, and people who take part make it their goal to write 14 songs in 28 days. You can check out my page here: http://fawm.org/fawmers/gregscheer/.
For this year’s FAWM, I plan to write music around the “Hallel” Psalms (Psalms 113-118). For each Psalm there will be a song (that’s 6 songs), padded by instrumental interludes (7), and interjected Hallelujahs (5), for a total of 18 pieces of music. Part of the reason I decided to take the FAWM challenge this year is that I feel the need for a big project to keep me excited about life. It also coincides with a Cardiphonia project centered on the Hallel Psalms, due at the end of the month.
Now, on to the first post:
The first half of Psalm 113 is lots of beautiful creation imagery, but the second half contains some things that don’t fit as neatly into a modern worship song: God raises the needy from the garbage dump and places them among princes; he gives the barren woman children. I boiled this down to three themes in verse 2: God gives us a place at the table, a place in the kingdom of God, and a place in God’s family.
People at fawm.org get the MP3, but you, dear readers, get the PDF, too!
[Trivia for those who have too much time on their hands: this isn’t the first time I’ve set Psalm 113 to music. A few decades ago I wrote a whole cantata based on the Psalm for a church in Elterlein, East Germany.]
I’m a song maven. When I find a song I like, I make a point of sharing it with as many people as possible. If the song comes from a pop or global context, the sharing process often includes arranging it so that the pianists in my own church can lead it.
A while back I wrote two piano arrangements (one hard, one easy, plus SATB) of Bruce Benedict’s setting of Psalm 120 (via Isaac Watts), Thou God of Love. I’m pleased to say that Bruce’s song (and my arrangement) ended up in Psalms for All Seasons and the Choral Scholar CD, Cry Out to God.
Recently we sang the song at Church of the Servant on a Sunday that included a string quartet, so I whipped up a string arrangement. It’s simple, but it worked really well.
“So how did it sound?” You ask.
I posted a rehearsal MP3 for my choir last week, and now you’re probably dying to know how it went on Sunday. Well, maybe not dying, but at least a tad curious. Die no more, my friends. Here’s how it sounded: Bless the Lord, O My Soul! (Psalm 103)