I’ve often said that if I were to compare myself to an animal it would be a bear. A Grizzly, to be more specific. Grizzlies eat half the year and sleep the remaining half. And they spend a lot of time in a cave. They are okay being alone. That describes the life of the composer/arranger in a lot of ways, actually.
I work in a cave – a very nice cave, mind you. I have high-speed internet, quality studio gear, central heat & air, and a bathroom and kitchen very nearby. But it’s still essentially a cave. And when I’m not working, all too often I am either eating or sleeping. Oh, and I growl a lot, but that’s more about my personality. All in all, I’m okay in my cave.
But for the past eighteen months or so, the whole world has been in a cave, isolated from our fellow bears (I mean human beings) except for Netflix, Prime Video, and Zoom. That is not normal for the vast majority of people. Now, we are slowly emerging to see if the world outside has changed much, and if so, how.
Guest post by Joseph M. Martin, Composer and Director of Sacred Publications for Shawnee Press
The quest to combine ministry with artistry has been a lifelong calling for me. I have always found my place and purpose in this pursuit. Composing animates me and breathes into my spirit an inner peace that is deeply sacred.
Reassuring rituals are part of my writing process—simple disciplines made special by repetition, reminding me to be grateful for the labor to which I have been called. With faithful regularity the process unfolds over and over, familiar yet surprising, comfortable yet challenging.
In this approximately hour-long express session, Mark and Lloyd tell stories, look ahead to our future opportunities for ministry and community as church singers, and preview new music perfect for distanced, streaming and virtual choirs from Mary McDonald, Lloyd Larson, Tom Fettke and more.
Here are just a few of the titles featured in StreamSing:
Have you noticed how grumpy many people are today? I sure have. I believe with all of my heart, that is in part because no one has been to the symphony, seen a broadway show, sang in their church choir or rang in a handbell festival in months and months. Our souls are crying out to be part of a musical experience again.
There are so many challenges facing us today. We need to keep the safety of our communities as our top priority. With that being said, I believe that we also need to consider our spiritual and emotional health as well. Where and when it is possible to do so safely, let’s begin to ring again. It may look different from what we “normally” do. But, what would it look like to ring today? Ringers wearing masks, each ringer at their own table or music stand at a safe distance from one another, no shared equipment. Perhaps ringing outside?? What are the possibilities?
Martha Lynn Thompson adds another set of six settings to her highly successful series of Ring with 6 collections. Each arrangement uses 14-22 bells and is easily playable by six ringers. Three pieces have optional handchimes. A “Bells Used Chart” for each piece provides suggested assignments. No four-in-hand ringing is required but, because some ringers have more than two bells, it is necessary to have a table or a place to put the additional bells. Three of the hymns are suitable for general occasions, one is appropriate for either Palm Sunday or Advent, and rounding out the collection is Natalie Sleeth’s beautiful “Were You There on That Christmas Night?”
I know that these days many of us are searching for ways to keep our singers engaged without gathering. Here we feature several of our most popular titles that have part-dominant rehearsal tracks available for soprano, alto, tenor, and bass, as well as stereo accompaniment tracks. Whether you’re doing a virtual choir or some sort of limited socially distant singing, these tools are a terrific way to help singers learn new music at home on their own.
Originally, this appeared in Joel Raney and Lloyd Larson’s best-selling Lenten cantata, Hope in the Shadows. This medley pairs the popular Keith Getty song with the praise chorus “Cornerstone” and “When I Survey the Wondrous Cross.”
Guest post by Morgan Roberts, Director of Production, Sales & Marketing for Jubilate Music Group
Jubilate Music Groupis the culmination of many years of various developments in the lives of several individuals and the music print industry. These developments led to the consolidation of three separate and distinct music publishing catalogs, each with its own individual history: Alfred Sacred, Jubilate Music, and H.W. Gray. The result is Jubilate Music Group, an eclectic stylistic blend of sacred and secular choral, vocal, handbell, and instrumental publications for adults and children.
Alfred Sacred – Jubilate Music – H.W. Gray
As a result of the consolidation and acquisitions described in this blog, Jubilate Music Group also contains the sacred compositions from the historic Belwin-Mills and Gordon V. Thompson catalogs plus the entire Brodt Music Publications and Good Life Publications catalogs. From Handel, Hopson, and Hayes to Puccini, Penderecki, and Purifoy…Jubilate Music Group catalogs contain a combined 150+ years of rich music publishing history. When considered retrospectively, the changes and developments that came together to ultimately create Jubilate Music Group make its birth true to the meaning of its name:
Patti Drennan is an active composer and arranger with almost 700 piano books, piano/vocal books and choral octavos published with major publishers.
As a former 28-year high school choral director and then Director of Worship/Music Arts Director for almost 10 years, I have been seated at the piano creating music in so many venues. (Once a musician, always a musician, right?) In both the secular and sacred arenas, the pianist is often the glue that holds together a concert, worship service, wedding or memorial service. This is also the case when accompanying a soloist or small group. Because all music is not usually performed a cappella, a confident, quick-thinking accompanist must be ready to sense the soloist’s tempo and dynamics, phrasing and places for breathing, and the dreaded skipped-the-repeat-and-now-on-the-next-page moment! Fast thinking is a must for the church pianist and the goal is to play beautifully, giving not a hint of the soloist’s “mis-fire” to the congregation! When I was serving on staff, one of my duties as Director of Music was to create a meaningful worship service with inspiring scriptures, hymns, anthems (often two), prelude and postlude, and timing it all to when the pastor returned from a contemporary service a half-block away in another building. There were often times when he had yet to arrive and I needed to walk to the piano and extemporaneously play reflective music under a guided prayer time. For those who do not play by ear, this would be an important moment to have a secondary hymn or piano book in reach to provide that quiet music. more “Prelude, Postlude and All That’s In Between: A Guide for the Church Pianist”…
The postlude following a service makes creation resound with praise and allows the congregation to leave the church proclaiming God’s greatness. As the signal for the congregation to disperse, it should be a stirring exclamation point to the service that connects the worship experience to the secular world to which the crowd of people is about to return.
Guest post by composer Pepper Choplinintroducing his new cantata, Once upon a Morning: From Resurrection to Pentecost. Choplin is known as one of the most creative writers in church music today. With a diverse musical background, Choplin incorporates varied styles such as folk, Gospel, classical, and jazz. His published works include over 300 anthems for church and school choir with 20 church cantatas and two books of piano arrangements, and over 120 groups have commissioned him to write original works for them. Since 1991, his choral music has sold several million copies. Choplin has conducted eight New York concerts of his music at Carnegie Hall and Lincoln Center with 250 voices and full orchestra. In his hometown of Raleigh, he has conducted eight mass performances of his cantatas at Meymandi Auditorium (home to the NC Symphony) with over two hundred voices and orchestra. In 2019, he conducted Handel’s Messiah (Christmas portion) with the 150-voice Cary Community Choir with orchestra. He also visits many schools, churches and conferences to conduct and to entertain.
I always wanted to write this cantata. Then a church in Pennsylvania commissioned me to write a spring cantata outside of the typical Easter work. For a year, I surveyed directors and singers about different potential subjects. This idea got them most excited.
I loved writing this cantata. These wonderful stories don’t receive much attention in church music. Yet, they contain so much drama and passion.