the chorister: resources for music ministry vol. 67, issue 3 (october/november 2015)

R E S O U R C E S F O R M U S I C M I N I S T R Yaugust | september 2013 volume 65 | issue 2

Speaking the Words by Alice Parker

Top 10 Children’s Anthems based on Hymns and Folk Tunes

Shape Up Your Rehearsal!

PLUS +

Envisioning Your Choir Program

thechoristerR E S O U R C E S F O R M U S I C M I N I S T R Y

October | November 2015

ESTHER: SOME THOUGHTS AND IDEAS

PLUS:

HOME SCHOOL CHOIRS SELECTING SONGS FOR CHILDREN’S CHOIRS

Volume 67 | Issue 3

Let All God’s Children Sing Out for Joy!

2016 Dallas Church Music Workshop 15-16 January 2016

Lovers Lane United Methodist Church, Dallas, Texas

For classes, schedules, bios and registration visit DallasChapterCG.com

Early Registrat ion Begins September 1!

L i l l i e F e i e r a b e n d P r e s c h o o l M u s i c

T e r r i e P r e s k i t t - B r o w n C h i l d r e n ’ s C h o i r s

J a m e s W e l l s Y o u t h C h o i r s

K a r e n K e n a s t o n F r e n c h A d u l t C h o i r s

A m y H a m i l t o n H a r r i s V o c a l H e a l t h

D e A n d r e J o h n s o n W o r s h i p

M i c h a e l S h a k e O r g a n

S u e d a L u t t r e l l H a n d b e l l s

Create! Imagine! Inspire!

October/November 2015 | thechorister | 1

3 From the Editor

4 From the Sacred Choral Editor

5 Reproducible Puzzle by Keith Watson

6 You Can Do It! Tips for Selecting Appropriate Children’s Choir Music by Patty K. Nelson, Ed. D.

11 Anthem Feature: He Is Born by Trevor Manor

13 Esther: Some Thoughts and Ideas by Erik Whitehill

18 Growing in Grace Preview

23 “Now, Bring Me a Musician!” Meeting Needs through the Home School Choir by Dellene Harned

28 Singing with Three’s by Nan Grantham

32 Super Singer Singing Kit by Teresa Granger

34 The Institute Corner

37 Calendar of Events

38 New Members

39 Children’s Choir Devotionals by Susan Eernisse

44 Index of Contemporary Resources by Dr. Frances Sinclair & Kirsten Foyles

GET CONNECTED

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October | November 2015

Cover Photo Credit: The Dickens Handchime Choir from the HOPE Music Program, Garden Grove, CA. Dellene Harned, Director.

ContentsthechoristerR E S O U R C E S F O R M U S I C M I N I S T R Y

june/july 2013

2 | thechorister | October/November 2015

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JOHN WITVLIET Grand Rapids, MI

ANTON ARMSTRONG Northfield, MN

BETTY BEDSOLE Jackson, TN

MICHAEL JOTHEN Phoenix, MD

C. MICHAEL HAWN Dallas, TX

LARRY K. BALL Santa Ana, CA

JOHN D. HORMAN Kensington, MD

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Past Executive DirectorsC. MICHAEL HAWN Interim 2002–2003

JAMES STEEL 2000–2002

GEORGE EISON 1999

PATTY EVANS 1987–1998

JOHN BURKE 1978–1986

CECIL LAPO 1972–1978

JOHN S. C. KEMP 1968–1972

F. LEE WHITTLESEY 1963–1967

A. LESLIE JACOBS 1960–1963

RUTH KREHBIEL JACOBS Founder 1949–1960

Board of DirectorsHEATHER POTTER President Charlotte, NC

TERI LARSON President-Elect Maple Grove, MN

JUDY BRITTS Past-President Folsom, CA

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OSCAR PAGE Sherman, TX

STEPHANIE MCILWAIN MILLER Bellevue, WA

TERRY GOOLSBY Dallas, TX

Please consider joining our Covenant Society - those who have included Choristers Guild in their will or other estate plans:Larry K. BallJudy and Larry BrittsJohn BurkeRev. Richard F. CollmanJudith E. DardaganianNorman and Ethel GeistTerry and Pam GoolsbyC. Michael HawnHelen KempJoanna E. Pretz-AndersonRudolph A. RamsethJim and Stephanie RindelaubMary Louise and Don VanDykePriscilla B. Zimmermann

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Helen KempMarch 31, 1918 (Easter Sunday) – August 23, 2015

It seems that heroes are never with us as long as we would choose.

Helen Kemp, a dear member of the Choristers Guild family, left us

far too early on August 23, 2015. We offer our sincere condolences

to Helen’s family, and we join the prayers of many for God’s comfort

and peace.

The December/January issue will focus on the memory of our mentor

and friend, Helen Kemp. We look forward to sharing some wonderful

memories and highlights of this legendary life.

"Body, mind, spirit, voice: It takes the WHOLE

person to sing and rejoice.”

– Helen Kemp

From the Editor

Keep singing the song!

-Susan

HAVE YOUR WORK FEATURED IN AN ISSUE OF THE CHORISTER. Have you written a great teaching activity, Orff lesson, or choral warm-up that you would like to share? Simply send your original items* to [email protected] and we will consider them for use in a future issue of The Chorister.

*All work must be original. Please do not send copyrighted materials.

Instrument Fun Page

*Sing the melody line, or play it on soprano recorder, alto xylophone,

or other mallet instrument.

Copyright 2015Choristers Guild. All rights reserved.

Working up to the very end...photo of Helen taken by Choristers Guild Handbell Editor Kathy Lowrie, on a visit with Helen in early August 2015.


By the looks of the seasonal aisle in every grocery and department store in America, it’s beginning to look a lot like Christmas! (Get those peppermint candy canes

soon before you’re stuck with blueberry and piña colada.) Although it makes me squirm to see the retail stores

decking the halls so early, it does motivate me to organize my Christmas worship plans.

Christmas excitement and the pressure to perform well can lead us to over-program for our choirs. With so

much Advent and Christmas music at our fingertips, it’s easy to make big plans that are out of reach. And wow,

have I been there. Perhaps you have, too? Whether it’s a) too much repertoire, b) too difficult an anthem, c) too

far over budget, or d) too few voices to make that 3-part anthem fly, these situations are never easy to navigate.

Take time now to make sure your Christmas plans are realistic. The Choristers Guild catalog is filled with some

Christmas gems which can help you avoid crunch-time stress, and here are some of my favorites:

THE PARTNER SONGUse what your choristers already know. CGA1414 Unto Us a Child Is Born is a darling partner song incorporating

Away in a Manger. Laura Farnell sets a familiar Isaiah text to a melody that sings seamlessly with the Christmas

lullaby. Partner songs are fantastic pieces to use not only when you’re running short on time, but for choirs

learning part-singing.

THE HYMN ARRANGEMENTUse the congregation, a refrain, and instruments. Don’t underestimate how special it is for adults and children

in the congregation to join the children’s choir in song. CGA1315 Silent Night and CGA1340 O Come All Ye

Faithful are great choices. You may want to look for a hymn arrangement that has refrain. Trevor Manor’s

arrangement, CGA1422 He Is Born, is a terrific example. The refrain gives children a jolt of confidence every

time it comes around. Have a small choir? Sing this piece in unison and be sure to incorporate flute, handbells,

and drums. It will be brilliant. (CGA1422 He Is Born is this issue’s anthem feature, too! Check out page 11 for

more ideas.)

THE COMBINED ANTHEMUse your adult choir. Join forces on the fun arrangement of the spiritual, Rise Up, Shepherd and Follow, by Mark

Hahn (CGA1412/CGA1413). With SATB and unison/2-part voicings, this is a great anthem to learn separately

and sing together. CGA1369 Lo! Newborn Jesus is a lovely ballad for combined choirs.

So remember: simple can be beautiful. Beautiful can be simple. And realistic planning will ensure you’re left

with some hair on your head come December 24!

Christmas, here we come...

-Katie

From the Sacred Choral Editor


CHORISTERS' REPRODUCIBLE PUZZLE PAGE

BY KEITH WATSON

Fill in the number of beats represented below each leaf. Complete the poem by filling in missing letters that match the leaves below each blank. Read the completed poem. Add instrument sounds to represent fall leaf colors. Perform the poem with your friends!

A E M U

Fall Rhythms

How many beats?

_ _ t _ _ n l _ _ v _ s.

S n o w f _ l l s. T r _ _ s b _ d.

S _ _ _ _ r c _ l l s.

_ _ t _ _ n l _ _ v _ s.


TIPS FOR SELECTING APPROPRIATE CHILDREN’S CHOIR MUSIC

BY PATTY K. NELSON, ED. D.

BEGIN WITH THE TEXTThe words and message of the song is of primary importance. Does it support or conflict with the beliefs of your church or organization? Children remember the texts of the songs they sing much better than the things we tell them. They will internalize the message of the song, and carry it with them for many years to come.

Does the text fit the occasion? You obviously don’t want to sing Christmas songs for Thanksgiving or

Easter songs for the 4th of July! Do the children understand all the words? If you are using a hymn with symbolic or figurative language, be sure to explain the meaning of the text. I recently used a song which used the word “unfurled”. I explained to my choir that unfurled is like a flag blowing in the wind. The children immediately understood the image. When I created a picture chart to help with word memory, I used a picture of a flag blowing in the wind. They never missed that word and clearly understood its meaning.

You’ve agreed to work with the children’s choir. You love kids. You love to sing. Then it occurs to you – you have to choose a song to sing in worship or for a special occasion. Now what? Where should one begin? Even if you have excellent musical training, music selection can be a daunting task. Here are some practical tips to help with the process.

When selecting a song for a public performance, here are things to consider:

1. The song text 2. Singing Ranges 3. Singability a. Melody b. Rhythm 4. Possible adaptations 5. Time limitations

You Can Do It!


YOU CAN DO IT!: TIPS FOR SELECTING APPROPRIATE CHILDREN’S CHOIR MUSIC

Also consider the number of words in the text. Are there 2 stanzas or 6? Do the words repeat or are they different on every stanza? Will you require memorization? Keep in mind the age of the children. Younger children need fewer words and more repetition than older children. Another thing to remember is that young children take everything very literally. If you are singing “I stand alone on the Word of God”, your children may want to want to stand on their Bibles. Be sure you can explain anything they might take literally in terms they will understand. Finally, take into account how much time you have. If your time is limited, look for a repetitive, short text that serves the same purpose.

CONSIDER THE RANGE OF THE MUSICThe next step is to consider the vocal ranges of the children. Most songs children can actually sing successfully will have a range from Middle C to the C above.

Preschool children are most successful with songs from E to A, especially those with pentatonic melodies. School-age children can comfortably sing the octave, while older elementary children can sing above high C up to about E or F, if you keep them in their head voice. Adults often pitch songs too low for children. Using step bells or a recorder to help you stay in the proper range is a great tool when vocalizing with children. If a song stays within the octave but goes slightly above or below once or twice, that is fine. You just don’t want to use a song for performance or worship that sits on the low or high end for a long time.

HOW SINGABLE IS THE SONG?You have now found a song with a strong text and the right range for your choir. Now you should ask, “Is it singable?” There are two facets to this question – melody and rhythm. Let’s begin with melody. A good song for younger children will be mostly stepwise in motion with primarily descending melodic phrases. Does this mean it shouldn’t have any skips or leaps? No. Does this mean if the melody has ascending phrases I shouldn’t use it? No, but try this first. Sing it acapella. Can you do it easily? Does the melody stick in your head and you wish you could get rid of it? If so, this means it is singable. You want the children to learn and retain the melody easily. Stepwise songs are more singable and memorable than those with many skips and leaps. What if it has one or two large leaps? Look at where they are, how often they happen, and whether this is the only issue. If the leap seems to be a problem, can you make an adaptation? I’ll cover this in a few paragraphs. If so, keep it on the list. No song will be perfect. You are looking for the best you can find.

The second part of singability is the melodic rhythm. Unfortunately, many children’s songs which are currently available are very syncopated and difficult for the director to learn, much less the children. Children’s songs can be syncopated but it is better if the syncopation is minimal. The younger the child, the straighter the rhythms should be. Also, we are talking about songs you will sing in public, either leading in worship with your congregation or some other public venue for a special occasion. We are not talking about songs you sing for fun, movement, or recreational purposes. If a song is syncopated and the same syncopation happens over and over, it is easier to learn than one where the syncopation keeps changing. Again, are you singing this in your head? If so, then the syncopation is not a problem. If you are having trouble, your children will have trouble. This is a great measuring stick for whether a song is singable and appropriate for your children.



MAKE SOME ADAPTATIONS – ADD SOME ENHANCEMENTSYou have found a song but it’s still not quite perfect. So – adapt it! There is an octave leap in the middle of a phrase. Look at the melody. What does it do after the leap? Does it go back down to the lower note of the leap or does it continue upward? If it goes back down, just repeat the lower note; if it stays up high, sing the higher note twice. Perhaps a smaller leap or skip will work with the harmony; if so use the smaller leap to get up or down as needed. Remember, the younger the child, the smaller the leaps they can successfully sing.

OK, I’ve taken care of the tricky melody parts, but the song is too long. Do we really need to repeat the chorus 4 times? No, you don’t. If you have a good pianist, they can easily cut or adapt so you only sing the chorus as many times as you like. If not, perhaps you have a good guitar player who can make the adaptations. My choir sang “Living in the Light” from Growing in Grace last year and we chose to sing the song as written until the two-part section. Because my group is so small and I only have 20 minutes with them once a week we chose not to sing in 2 parts but repeated the melody again and omitted the coda. I accompanied the children on guitar, and they were able to learn the song and sing it successfully in a worship service. I adapted the melody of another song this year. The second stanza had a different melody than the first stanza. I slightly altered the second stanza to fit the original melody of the first stanza. This made the song easier for the choir to sing, and reduced the amount of time needed to learn it. Other adaptations could enhance the overall success of the performance. Children love adding sign language, movement, instruments, scripture reading, dramatizations, or visual enhancements. These are fun and can add to the overall meaning of a song. Adding sign language can be accomplished by finding the signs for words on the internet. You could add sign language to the whole song or just the chorus. You could

have the whole choir do the signs or just a few children. Movement should add to the meaning of a song, not take away from the meaning or detract from what you are trying to say. At a music camp this past summer, we sang a nifty song about magnifying the Lord. We really wanted to add jazz hands and a “yeah” at the end. The movement fit the genre of the song, but would have taken away from magnifying and praising the Lord. Therefore we chose not to do it during the performance. When thinking about movement, also take your space into account. Swaying from side to side is often quite appropriate and does not take a lot of room, whereas holding arms out like a cross takes more room and could be dangerous if the children aren’t careful.

Instrumental parts for Orff instruments, handchimes, and other percussion instruments which follow the chordal structure of a song are fun and could even replace the piano accompaniment. Here is a hint for using instruments. Children often don’t play or sing well when doing both at the same time. If your group is small, perhaps adult or youth helpers could play the instruments while the children sing. If your group is larger or you have the luxury of having more than one children’s choir, have one group play while the other sings. If you are dividing one choir, be sure that those who play one time, sing another time and vice versa. Instrument parts do not need to be complicated. If you only have one or two chords, simply have the students play these chords or just play the chord roots. Use charts and adult helpers to show students when to play. You can use numbers or color coded charts. Children love using instruments to accompany their singing.

You found a great song, you can add instruments and movement, but you are unsure if your group can manage both parts. It is not a requirement. Adapt as needed for your specific choir. However, if you choose to sing in harmony, here are a few tips to help. Teach everyone both parts. Once everyone knows both parts well, divide into two



groups. Practice singing the song so that everyone has the opportunity to sing both parts. The first time you do this with your choir it might be a disaster. That’s ok, just keep trying. Remember that children often have trouble singing harmony at first. Try putting the groups on opposite sides of the room facing away from each other. Once they can successfully sing in harmony, have the two groups face each other. Finally have them mix up and sing independently. It takes a little time but they can do it. I don’t generally start part singing until late 3rd grade. If you have multiple choirs singing, have each grade or choir all sing the same part. One year I had 1st, 3rd, and 5th grades sing Part I and 2nd and 4th grades sing Part II. The younger students were aided by the older students in singing their part when the whole group sang together. Rounds and partner songs are excellent ways to introduce harmony. Many choral anthems are structured so that the parts are learned as partner songs.

IS THERE ENOUGH TIME?Now that you have your song and your adaptations, how long do you need to teach the song? If your time is limited, the song needs to be repetitive, simple, and shorter. If you have more time, you can use a more complicated song with more words. I have my students for twenty minutes once a week. We can generally learn two songs

for Christmas and two in the spring. It takes about ten weeks to teach the songs each semester. I use picture symbols to teach the text, and I try to use songs which are repetitive. I also take into account that only one third of my choir members may be present to sing on a Sunday morning.

FINDING THE MUSICGreat ideas, now where do I find these songs? There are many places to find literature but two places where you can find good literature are Growing in Grace Children’s Music Curriculum and Chorister’s Guild. Growing in Grace will save you time since many of the above considerations have already been addressed for each age group. The Choristers Guild on-line catalog has music for all groups including the Note to Rote anthem series for younger, less-experienced choirs. There are also some excellent song collections available from Choristers Guild.

There are no hard and fast rules for choosing a song. The most important thing to keep in mind is that every group and church has its own personality. Each one is as unique as the individuals who make up the group. Whether you are experienced at children’s choirs or brand new, you can be successful. Do what you are good at, but also take a chance on trying something new each year.



Patty K. Nelson is the Director of Music Education at Shorter University. Patty is a lifelong music teacher having taught elementary music, private piano and organ. She has worked in several churches leading and teaching children’s choirs for over 30 years. Patty is Orff certified, has completed Kodaly Level I, and holds a BA in Piano from Trinity University, an MM in Church Music from Southwestern Theological Seminary, and an Ed.D. in Curriculum and Instruction from Baylor University. Patty is currently Organist and Children’s Choir Director at New Armuchee Baptist Church.

TextDoes it align with the beliefs of your church or organization?

Can the children understand the words?

How many words are there to learn?

Ranges Preschool: E to AEarly Elementary: Middle C to High C

Older Elementary: B below Middle C to F above High C

SingabilitySteps, skips, with few leaps; Catchy melody?

Descending melody patterns Unison or Simple harmony

Adaptations OR Enhancements

Alter difficult intervals if needed

Add sign language, movements, or instruments

Add scripture readings or other dramatization

Time ConcernsHow soon is the performance?

Can you commit adequate time for learning?

How challenging is the song?


HE IS BORN HE IS BORN arranged by Trevor Manor | CGA1422 Unison/two-part with

piano and optional flute, percussion, and three octaves handbells

CGA1422 He Is Born is a selection from the Heather Potter Choral Series. This choral series features anthems with two main qualities: exceptional writing for children’s voices and a clear opportunity to lead worship. Choristers will experience growth as musicians and as worship leaders by learning the anthems in the Heather Potter Choral Series. Trevor Manor has arranged a great Christmas anthem. Read Heather’s anthem description and suggestions for use to help as you plan for special Christmas worship services.

ANTHEM DESCRIPTIONIL EST NÉ is a joyful tune that children enjoy singing because of its dance-like quality. The text of

“He Is Born” reflects the spirited nature of the melody as it commands instruments to “play merrily!” and encourages all to “sing!” This is a jubilant musical celebration of the birth of Jesus.

Trevor Manor’s setting of “He Is Born” incorporates flute, handbells, hand drum, and triangle to underscore the exuberance of the melody and the text. The vocal parts remain consistent while the instrumentation lends interest and vitality. By consistently harmonizing the melody in thirds, Manor provides an achievable challenge for children with limited part-singing experience.

SUGGESTIONS FOR USEIf you are planning a musical Christmas service, consider including the children’s choir singing Trevor Manor’s setting of “He Is Born.” The setting

is appropriately festive for a Service of Lessons and Carols or other celebratory service, and yet accessible enough for mid-level choristers to sing it well. Participating in a grand, festive, formal service of Christmas music is a wonderful opportunity for children to experience the emotion of joyful worship.

TEACHING TIPSSpend some time identifying and comparing the two recurring alternating styles: lively vs. legato. Create a visual for each style and display them to present a picture of the overall form of the anthem.

Introduction – Lively – Legato – Lively – Legato – Interlude – Legato – Ending

Reinforce the “lively” sections by having the children play a simple repeated pattern on hand drums, paper plates, or rhythm sticks. Move to the dance-like sections by having children step hard on beat one, and tiptoe on beats two through four. Use scarves or streamers to rehearse the legato sections.

If the carol is new to your singers, introduce the melody with the fun instrument activity on the next page. If Orff instruments are not available, substitute resonator bells and Boomwhackers®. The melody may be sung, or played on recorders, keyboard, or other pitched percussion instruments. Beginning recorder players will enjoy playing measures 1 through 2, and 5 through 6, as they add their right hand to play the low D.

Anthem FeatureF R O M T H E C H O R I S T E R S G U I L D C A T A L O G

www.choristersguild.org

He Is Born CGA1422arr. Trevor Manor Unison/two-part with piano andoptionalflute,percussion, and three octaves handbells

Growing Musicians Leading Worship:HEATHER POTTER CHORAL SERIES

He Is Born

USES & TIPS BY KATIE HOUTS AND SUSAN EERNISSE


ANTHEM FEATURE: HE IS BORN

CHORISTERS’ REPRODUCIBLE PAGE

Copyright ©2015 Choristers Guild. All Rights reserved. Printed U.S.A.

Instrument Fun Page

*Sing the melody line, or play it on soprano recorder, alto xylophone, or other mallet instrument.

Copyright 2015Choristers Guild. All rights reserved.


A Little Background and HistoryOver the last two decades I have spent a lot of time in three different worlds: music ministry, elementary music education and musical theater. These worlds certainly can live independently, but when they collide, the possibilities for synergistic, collaborative and participatory ministry are endless and exciting. My musical, Esther, is the product of such a collision of worlds.

It was composed for the 4th – 8th grade choirs at King of Glory Lutheran Church in Tempe, Arizona. The congregation had a rich tradition of presenting children’s musicals during worship services every spring. When I arrived on the scene, it was a well-oiled machine comprised of committees of choir parents, teenage helpers, instrumentalists, and tech crew. It was a joy to be a part of it!

I had always wanted to write an original musical and at King of Glory, the opportunity presented itself. Then came the decision of which biblical story to set. I searched the scriptures and I searched the publishers’ catalogs. Two things stood out to me: the number of powerful stories in the bible featuring women and how few musical versions of these stories existed. This gave me focus and over the next five years I wrote three musicals with female lead characters. Esther was the third in this series (look for the others in the future...hopefully!).

The story of Queen Esther captivated me. It sang to me with all its intrigue, courage, faith, and humor. It was my endeavor to be sure that these elements came to life musically in an eclectic, but cohesive way. In Esther you will find elements of vaudeville, swing jazz, soaring ballad, country and modern Broadway. It is scored for piano and two optional C instruments.

BY ERIK WHITEHILL

SOME THOUGHTS AND IDEAS...


ESTHER SOME THOUGHTS AND IDEAS…

A Few Words about Theater in WorshipWhen serving as a leader in any kind of project, there are many details to manage and prioritize. Some things you insist must go a certain way, some things you delegate, and some things you just let go. The language that frames the intent of a whole project is, as my sister would put it, a “hill I am willing to die on.”

There are two words commonly associated with theater that have no place in worship. These two words are “perform” and “audience.” Yes, the people presenting a story in worship share much in common with a performing actor – and yes, the people who are watching and listening share much in common with a theater audience. The thing we must remember is they are NOT the same. Performers present material to bring attention to themselves. Worship leaders present material that points to God. A theater audience passively consumes, while a congregation is the body of Christ actively engaged.

At King of Glory, we made it a major priority to continuously address this language usage. Some may find the distinction trivial, but I believe it to be one of the most important concepts to teach in the whole of music ministry. How we frame what we do informs what we do. It is as simple as that. To change this mindset requires vigilance and redirection, but it does put the focus in the right place. When the children see themselves as worship leaders and the congregation as the body of Christ, ministry happens. It is our aim to put the material out there and get out of the way.

A Few Director's NotesCASTINGAt King of Glory, we combined our upper elementary and middle school choirs together to put on our musicals. This gave us a fairly large group of students from which to choose our cast. Our shows would involve anywhere from 40 – 60

singers. The cast certainly does not need to be that big for the show to be successful. By having some students play multiple roles and removing some of the soloists and non-speaking/non-singing parts, a cast with as few as 20 people could do it. There just needs to be enough people to cover the chorus parts that are a part of nearly every song.

Here is the cast list with some description and vocal ranges:

Speaking and Singing (solos and a fair amount of memorized dialog)

• Esther (female, range: middle C - to high D) Esther is obviously the main character of the story. She is featured as a speaker and soloist for most of the show. She starts off rather un- assuming and develops into a powerful queen.

• Mordecai (male, range: middle C# – high D) [could be sung an octave lower with a changed voice] Mordecai represents the Jewish people in the Citadel of Susa. He is featured as a speaker and soloist. He remains true to his faith despite much opposition from Haman.

• Haman (male, range: middle C – high Eb) [could be sung an octave lower with a changed voice] Haman is the King’s advisor. He is, in essence, the villain of the story. He is full of himself and menacing throughout the story.

Speaking Only (all parts except for the King and Contestant #1 could be played by either gender)

• Narrator (could be split into multiple narrators)

• King Ahasuerus [uh-HAS-you-air-us] (a strong, but not mean-spirited male lead)

• Hegai (Host of Persian Idol, a Ryan Seacrest type)

• Shaashgaz (Judge of Persian Idol, a Simon Cowell type)

• Contestant #1 (nervous and giggly girl, never actually sings)

• Bigthan (gate keeper who masterminds assassination attempt)

• Teresh (dimwitted gatekeeper)

• Keeper of the Records (very dry, a Ben Stein type)


Singing Only (Heralds and Soloists could be either gender)

• King's Heralds (small group in “King Ahasuerus Seeks a Wife,” range: middle C# - high E)

• Contestant #2 (comedic female, sings “Fluffly the Camel,” range: F above middle C – high D)

• Soloists (four optional soloists in “The Citadel of Susa,” range: middle D to high D)

• Small Group Descant (sing in “A Dark Day Arrives,” range: A above middle C – high F)

Non-Speaking/Non-Singing Roles (Fluffy is a boy, but truly either gender would work with these parts)

• Stagehand (pulls bad acts off the stage during the Persian Idol sequence)

• Fluffy the Camel (1 or 2 people depending on costume, dances during “Fluffy the Camel”)

• King’s Guards (2 guards who flank the King whenever he is onstage)

• Castle Caterer(s) (sets up Esther’s royal feasts)

Optional Dancing Roles

• Sackcloth Dancer(s) (optional during “A Dark Day Arrives,” flowing movement with black fabric)

• Finale Dancers (optional during the finale song, celebratory [we used sticks with streamers])

INSTRUMENTATIONThis show is scored for piano and two optional C instruments. Both instrument parts are in mid to high treble clef and are intended for high school level players and up. Reproducible instrument parts are in the back of the director’s edition of the score. If neither of the instrument parts are used, the piano part on its own can carry the show. An accompaniment CD with backing tracks is also available. Side note: when we did the show, we also added a drum set (particularly for the songs that are swing). I did not score percussion parts for publication, but such parts are easily improvised

by a creative drummer.

COSTUMESAfter doing biblically–based musicals year after year, King of Glory gathered a large array of costumes. Many of them appeared annually in every show. (In KOG’s case, I put a camel in every show I wrote… because we had the costume!) Here are some basic costume ideas for the cast of Esther.

Biblical CommonerThis is a simple costume which amounts to a plain beige or light brown robe with some kind of sash or tie around the waist. They are usually accented with such things as a headband tie or a head shawl. Someone with a basic sense of cutting and sewing


Photo Credit:

Choir and Cast of

Esther, King of Glory

Lutheran Church,

Tempe, Arizona,

Carole Lea Arenson

and Erik Whitehill,

Directors


could probably improvise costumes such as these. There are also countless patterns available online and in craft stores. Making these is a good investment, as they would work for a great many biblical story uses. This type of costume would be for non-royal and non-specialty characters: Esther (at the beginning of the show), Mordecai, Stagehand, Narrators, and Soloists.

Royal CourtiersThis is a very similar idea to the basic biblical commoner costume, except that the fabrics are much nicer and more colorful. The basic cut of robe and accents are the same as above. I am not certain that this is historically accurate, but it sets apart the characters in the employ of the King from the common people. This type of costume would be for royal employees and royalty adjacent characters: Heralds, Hegai, Shaashgaz, Contestant #1, Keeper of the Royal Record, and Caterers.

Fancy RoyalsFor the most powerful people in the kingdom, fancy robes are needed. These should be in bright colors and shiny fabrics with gold accents, crowns, big rings. You could start with a royal courtier costume and give it big, bold accents, or it could be an out-and-out decadent royal costume made from a professional pattern. As long as these are the fanciest costumes in the show, the people will know they are the royals. This would, of course, be for Esther (after she becomes queen), King Ahasuerus, and Haman.

SoldiersFor the soldier-type characters, I would start with a royal courtier costume and then add some armor accents and a helmet of some sort. These can be easily acquired inexpensively online or whereever Halloween costumes are sold. Perhaps they might hold a shield or spear as an accent. This would be for Bigthan, Teresh, and Guards.

Odds and Ends

• Contestant #2: She is the owner of Fluffy the Camel. We chose to dress her as a “Little Bo Peep” type with a bonnet and petticoats to add to the ridiculousness of her scene. If you didn’t want to go that far, I would put her in a royal courtier costume.

• Fluffy the Camel: A two–person camel costume would be preferred to help Shaashgaz’s line “and your camel has two left feet!” land in a funnier way. We basically used a Halloween camel mask and a piece of brown fabric draped over two people. One person on their hands and knees could also work.

• Dancers: A basic liturgical dance appropriate leotard (or flowing fabric dance pants) in white is a good basic place from which to work. For “A Dark Day Arrives” the dancer(s) could work with a flowing piece of black fabric. For the Finale, we had the dancers in the aisles with ribbons on the ends of dowels. This creates a very festive finish for the show.

PROPSThis is not a prop-heavy musical. Here is a list of props. There are certainly other props ideas equally effective, but this is what we used.

• Bucket (for Esther’s entrance)

• Cane (for the Stagehand to remove bad acts)

• Papers (for the judges in the Persian Idol sequence)

• Veil (to be put on Esther by the King)

• Scroll (to record Mordecai saving the King’s life)

• Giant Record Book (for the Keeper of Royal Records)

• Signet Ring (starting on the King, given to Haman, and finally given to Mordecai)

• Banquet Stuff (things for the Caterers to set up for Esther’s banquets)

The main thing about props is that they need to be big enough to be seen. Think – a little larger than life.



SETFor me, the set for a worship drama incorporated the mantra of “less is more.” This is especially true if your sanctuary is particularly ornate. Below you will find a description of the set we created. There are infinite possibilities of how it could be done. This is just to give you an example of one possible way.

Background WallWe built a basic background wall to hide our altar, etc. It was a wooden frame with supporting legs weighted in back with large bags of pet food that someone loaned us. We then used a staple gun to attach cardboard and painted it to look like stones. It remained in place the whole show, providing a basic background. You can see it in the back of the cast picture.

ThroneWe spray painted an old dining table chair gold and made it into a throne. Fabric accents can easily be applied. We also made a gold painted cardboard crown-shaped backing piece for it. This can be seen on the right side of the picture.

Castle GateThis was a bit of ingenuity of which I am quite proud. We created a free-standing gate. It was basically a wooden rectangle frame that had support legs on both sides. We used screws to attach small pieces of dowel rod on the underside of the top and the top-side of the bottom of the frame. Then we cut lengths of thin PVC pipe and bent them into place so the dowel rod pieces were inserted into the top and bottom of the pipes to hold them in place. These served as the ‘bars’ of the gate. Then we stapled cardboard accents on the top and the bottom to

cover up the wood frame and the whole thing was spray painted gold. We also put felt on the bottom of the gate so it wouldn’t scratch the floor. The gate was moved to various locations during the story to give the appearance of being inside the castle at times and at other times outside. It also provided a way to show Esther and Mordecai conversing from either side of the gate. This really worked well! You can see it on the left side of the picture.

TableThere is a table needed for two scenes: one for the judges during the Persian Idol sequence, and another for Esther’s banquets.

Parting ThoughtsI had a wonderful experience creating and producing Esther. I am thrilled that it will find a life outside of its original presentation. Working with Choristers Guild has been a joyful experience! I wish to especially thank Susan LaBarr and Katie Houts for all they did to help Esther along to its current form! If you do decide to present this musical, I would really like to know about it. Please contact me! My email address is [email protected]. I would be happy to answer any questions or give suggestions, or maybe even attend! Thank you so much for the opportunity to share some thoughts about this musical that means so much to me. Prayerful blessings to all!

Erik Whitehill was born and raised in Iowa and holds a music education degree from Luther College in Decorah, Iowa. He has been composing for 20 years. He has instrumental works published by Handbell Musicians of America and Falls House Press. He has choral and musical theater works published by Augsburg Fortress and Choristers Guild, and has choral and musical theater works coming very soon from Heritage Music Press. Erik spent 11 years as the Associate Director of Music at King of Glory Lutheran Church in Tempe, Arizona, and is currently in his 9th year as a elementary general music teacher. He lives in Chander, Arizona.



GROWING IN GRACE REPRODUCIBLE PAGE Special Curriculum Preview! Sample KIDPage and Teaching Steps Growing in Grace Children’s Music Curriculum, Older Children Choosing God’s Way, Fall

Read the hymn, and follow the directions:• Draw a line to connect the rhyming words at the end of each phrase.• Underline all the proper nouns and pronouns that refer to God or Jesus.• Discover the name of royal David’s city. Three numbers are under

each blank at the bottom of the page. The first number represents the number of each hymn phrase. The second number represents the word in that phrase, counting from left to right. The third number represents the letter in the word. The last blank is filled in as an example: The M is in the third phrase, fifth word, first letter.

“Once in Royal David’s City” Choosing God’s Way Fall—Older © 2015 Celebrating Grace, Inc. All rights reserved.

A Hymn That Teaches

Cecil Frances Alexander (1818-1895) was born in Dublin, Ireland. She began writing poetry when she was a child and became a gifted poet and hymn writer. She wrote “Once in Royal David’s City” to help teach children about the birth of Jesus.

1. Once in royal David’s city stood a lowly cattle shed,

2. where a mother laid her Baby in a manger for His bed.

3. Mary was that mother mild,

4. Jesus Christ, her little Child.

5. He came down to earth from heaven who is God and Lord of all,

6. and His shelter was a stable, and His cradle was a stall.

7. With the poor and meek and lowly

8. lived on earth our Savior holy.

9. For He is our childhood’s pattern; day by day on earth He grew;

10. He was tempted, scorned, rejected, tears and smiles like us He knew.

11. Thus He feels for all our sadness,

12. and He shares in all our gladness.

______2/6/1

______9/6/5

______4/4/4

______8/3/5

______11/5/2

______5/7/2

______12/3/2

______7/5/3

______3/5/1M

A Hymn That TeachesA Hymn That Teaches

Order Growing in Grace Children’s Music Curriculum at www.choristersguild.org or call 800-CHORISTER (246-7478)


GROWING IN GRACE REPRODUCIBLE PAGE Special Curriculum Preview! Sample KIDPage and Teaching Steps

Growing in Grace Children’s Music Curriculum, Older Children Choosing God’s Way, Fall

Choosing God’s Way Fall—Older © 2015 Celebrating Grace, Inc. All rights reserved.

A Hymn That Teaches

© 2015 Celebrating Grace, Inc. All rights reserved. A Hymn That Teaches KIDPage Teaching Steps (“Once in Royal David’s City”)

PLANNING AHEAD• Make a copy of A Hymn that Teaches KIDPage for each child.

• Gather pencils.

• Provide MP3 or CD Demo 8 or Track 25 and an MP3 or CD player (optional).

GUIDING CHILDREN• Distribute KIDPages and pencils to the children.

• Read the information and directions on KIDPage together.

• Allow children to mark the hymn text as directed.

• Guide children to solve the code and fill in the blanks at the bottom of the KIDPage.

° Ask children to look at the three numbers below each blank.

° Tell children that the first number represents the line number, the second number is the word number, and the third number is the letter that goes in the blank.

° Point out that the last blank has been filled in as an example.

• Play Demo 8 or Track 25 as the children work if desired.

A Hymn that TeachesAnswers:

•••

A Hymn That Teaches

1. Once in royal David’s city stood a lowly cattle shed,

2. where a mother laid her Baby in a manger for His bed.

3. Mary was that mother mild,

4. Jesus Christ, her little Child.

5. He came down to earth from heaven who is God and Lord of all,

6. and His shelter was a stable, and His cradle was a stall.

7. With the poor and meek and lowly

8. lived on earth our Savior holy.

9. For He is our is our childhood’s pattern; day by day on earth He grew;

10. He was tempted, scorned, rejected, tears and smiles like us He knew.

11. Thus He feels for all our sadness

12. and He shares in all our gladness.

Once in royal David’s city stood a lowly cattle shed,

where a mother laid her Baby in a manger for His bed.

Mary was that mother mild,

Jesus Christ, her little Child.

He came down to earth from heaven who is God and Lord of all,

and His shelter was a stable, and His cradle was a stall.

With the poor and meek and lowly

lived on earth our Savior holy.

He was tempted, scorned, rejected, tears and smiles like us He knew.

and He shares in all our gladness.

where a mother laid her Baby in a manger for His bed. where a mother laid her Baby in a manger for His bed.

Jesus Christ, her little Child. Jesus Christ, her little Child. Jesus Christ, her little Child.

He came down to earth from heaven who is God and Lord of all, He came down to earth from heaven who is God and Lord of all, He came down to earth from heaven who is God and Lord of all,

and His shelter was a stable, and His cradle was a stall. and His shelter was a stable, and His cradle was a stall.

lived on earth our Savior holy.

For He is our is our childhood’s pattern; day by day on earth He grew;

He was tempted, scorned, rejected, tears and smiles like us He knew. He was tempted, scorned, rejected, tears and smiles like us He knew.

and He shares in all our gladness.

B E T H L E H E M

•••

A Hymn That Teaches

For He is our is our childhood’s pattern; day by day on earth He grew; For He is our is our childhood’s pattern; day by day on earth He grew; For He is our is our childhood’s pattern; day by day on earth He grew;




“On This Silent Night” Choosing God’s Way Fall —Older © 2015 Celebrating Grace, Inc. All rights reserved.

The Carol Sung ’Round the World 1

On December 24, 1818, Pastor Joseph Mohr took a poem he had written two years earlier, and went to visit his good friend Franz Gruber. He asked Gruber, a music teacher and organist, to compose a melody with guitar accompaniment for

his poem. Within a few hours, “Silent Night, Holy Night” was created and sung during the Christmas Eve service at Saint Nicholas Church in Oberndorf, Austria.

Joseph Mohr has been described as “a reliable friend of mankind.” During his life, he gave away most of his money to help the poor and to provide education for children. Franz Gruber was the son of a poor linen weaver. Though his family discouraged his love of music, he studied violin and organ and became a lifelong church musician.

“Silent Night, Holy Night” was created when Europe was still recovering from a time of war. Mohr and Gruber wanted their carol to encourage suffering people. Their carol of heavenly peace would eventually be translated into many languages and touch people around the world.

Joseph Mohr (1792-1848)

Franz Gruber (1787-1863)



GROWING IN GRACE REPRODUCIBLE PAGE Special Curriculum Preview! Sample KIDPage and Teaching Steps

Growing in Grace Children’s Music Curriculum, Older Children Choosing God’s Way, Fall

The Carol Sung ’Round the World 2

“On This Silent Night” Choosing God’s Way Fall —Older © 2015 Celebrating Grace, Inc. All rights reserved.

Fill in the blanks from the matching colored words in the story.

_ _ _ _ _ _ _ _ _ _ _ _!

Use the code above to fill in the blanks below to discover the German name for "Silent Night, Holy Night."

_ _ _ _ _ _ _ _ _ _ _!




The Carol Sund ‘Round the World KIDPage Teaching Steps (“On This Silent Night”) Choosing God’s Way Fall —Older

© 2015 Celebrating Grace, Inc. All rights reserved.

The Carol Sung ’Round the WorldPLANNING AHEAD

• Make a copy of The Carol Sung ’Round the World 1 KIDPage and The Carol Sung ‘Round the World 2 KIDPage for each child.

• Gather pencils.

• Provide MP3 or CD Demo 6 or Track 23 and an MP3 or CD player. (optional)

GUIDING CHILDREN• Distribute both KIDPages and pencils to the children.

• Read the information about “Silent Night, Holy Night” on The Carol Sung ’Round the World 1 KIDPage together.

• Guide children to follow the directions on The Carol Sung ’Round the World 2 KIDPage to fill in the blanks and solve the code.

• Play Demo 6 or Track 23 as the children work if desired.

• Challenge children to pronounce “Stille Nacht, Heilige Nacht,” using this guide:

° SHTIH–leh nahkt, HIGH–lih–geh nahkt

The Carol Sung ’Round the World Answers:

he bewar Evepoem Mohrpeace carolguitar GruberAustria teachermusician Nicholasencourage Oberndorfrecovering translated

STILLE NACHT!HEILIGE NACHT!



"Now, Bring Me

A Musician!"

Meeting Needs Through

the Home School Choir

BY DELLENE HARNED

“You could do it Dellene! With all your music background, and love for children, and love

for the Lord, and - well, you could start a choir for home school children!” Thus proclaimed

my dear friend, Trish, back in 1998. So Trish recruited some of her friends who were home

schooling their children, and along with my college daughter, Heather, we started a choir

with these students. We used simple songs, praise choruses and scripture to go with

rhythm patterns. We called ourselves The Joyful Noisemakers and so began a journey of

over 17 years of sharing my love of music with these special little people!


Music is part of my daily life. When I worship the Lord, do homework or just hang out with friends. It’s always there. I love it! -Rebekah, age 18

Music is the

prayer that the

heart sings.

-Milena, age 11

NOW BRING ME A MUSICIAN!According to II Kings 3:15, music was used to accompany praise and prayer, as well as to calm the mind and heart. Music has always been an important part of honoring and worshipping the Lord. However as I have observed within the home school culture, music and the creative arts are often sadly ignored. A parent planning the academic program of a home school student would be wise to consider adding music to the curriculum. As mentioned in scripture, we need to glorify God through singing praises, playing instruments, and using the musical talents that He has given to us. Home school parents take note: Colossians 3:16 admonishes us to “encourage one another in psalms and hymns and spiritual songs, singing with grace in our hearts to the Lord.” And as Elisha said in II Kings, “Now – bring me a musician!”

As founder and director, I was originally a piano teacher and children’s choir helper at my church. As my children have grown up and become independent I have made an effort to develop the two things I love most – love of God, and love of music – into an on-going service to others. Over the past 17 years, I have created music programs for the enrichment and education of homeschoolers. This is so much more than a job or business; this is work from the heart.

After forming the initial Joyful Noisemakers group, the next group was a high school choir in a different location so that my daughter, by then also a homeschooler, could continue to participate in musical performances. Allison became my assistant and actually taught the first class of Handchimes! (Allison has gone on to graduate from Cal State Fullerton and is now a high school choir teacher at a local Christian High school… and her students use handchimes – of course!) From this initial beginning in 1998 came HOPE Music Program, a weekly music school for many homeschooled students. Classes have included: music appreciation, pre-school music, reader’s theater, composers, beginning through advanced

handchimes, music theory, drama, honor choirs, and a patriotic performing group for girls.

A homeschool music program should not just give children an opportunity to sing songs at special programs, but should incorporate music education, discipline, and citizenship to help the students in many areas of their total development. The program should include rhythm, theory, and vocal skills, and should also incorporate songs that teach history, patriotism, or moral and ethical values. A program such as this can be enriching to their lives and at the same time give them a fun socialization experience. Do you realize that singing is one of the only ways we can go back in time? We can sing songs that were actually sung by people ages ago! (We can’t wear the exact same clothes or eat the exact food, but we can sing their songs exactly as it was originally written.) We can experience another culture by singing their songs, which of course, aids in learning other languages.

“NOW, BRING ME A MUSICIAN!” MEETING NEEDS THROUGH THE HOME SCHOOL CHOIR

I love it (music) so much and it is my life. The thing I strive on and that keeps one going on rainy days! -Melanie, age 16


PERFORMING GROUPSDaughters Of The Shepherd aka DOTS This is an auditioned performing song/dance group for home schooled girls, ages 7 to 18 living in Orange and Los Angeles counties. Their program selections are exclusively patriotic, and feature traditional American music. These girls have performed numerous times at Disneyland and the Orange County Fair. Additional special performances include: Forest Lawn-Long Beach Memorial Day; Pathway Christian School (Redlands) Veteran’s Day Assembly Presentation; Crystal Cathedral’s Gift of Music; and numerous senior citizen, Republican Women’s groups, and church groups. DOTS was formed in September of 1999 for the purpose of honoring God and our country with wholesome performances of music and dance. Weekly rehearsals and yearly auditions are held in Garden Grove, CA.

Tips for Creating a Similar Group:

- Start with a small group of girls who like to sing.

- Teach patriotic music, songs related to American History, or American folk songs.

- Sing unison or in multiple parts, depending on the experience and ability of your singers.

- Teach simple choreography, or find a capable volunteer to do this. YOUTUBE is a great source of ideas.

- Look at the strengths of your participants. Is there someone who studies ballet? Do you have a flutist? Use the talents of your group to enhance the performance!

Dickens Handchime Choir This ensemble is composed of home school students (1st –12th grades) from the HOPE Music Program in Garden Grove. They dress in traditional “Dickens” attire. Handchimes are used rather than handbells since they are lighter weight, simple to play, and much less expensive. Auditions for this performing group are held each year in August, following a four day Music Camp in which handchimes are introduced to interested home school students. A regular Friday music rehearsal schedule of 75 minutes begins in September for the coming school year, as a part of a larger musicprogram involving over 60 students in choirs and other music related activities.

This group has performed at many venues during the nine years of their existence. Among those performances are Sunday morning worship services for local churches, Huntington Library & Gardens annual Christmas Event, Prince of Peace Pageant (Long Beach), Riverside, Orange & L.A. County Republican Federated Women's Christmas luncheons, the Crystal Cathedral Sunday evening services, and the Disneyland Community Arts Showcase. This performing group was also invited to participate as a “Showcase Performing Group" at the 2015 Handbell Musicians of America National Convention in Dallas, Texas. Nineteen members made the trip from Los Angeles to Dallas after extensive fundraising by the students and families!


- Purchase or borrow a set of handchimes from a local church.

- Search the internet for simple music – some available for free.

- The Choristers Guild catalog offers simple arrangements of reproducible collections.

- Create your own arrangements with notational software.

- Enlist creative parents to create costumes in the Dickens style – or another style completely. Christmas sweaters or turtlenecks with Christmas scarfs are a great look for holiday performances!



Music is a lot

of fun and a good

way to give glory

to God. -Nathan, age

12

R.O.B.O.T.S. (Really Outstanding Boys Of The Shepherd)

This is a Readers Theater group (serious, silly, and sacred scripts) for boys in grades 5th-12th.


- Look for poems, recitations and other appropriate material on the internet and in published collections.

- Break readings down into separate sentences depending on the flow of the words.

- Use scripture that connects to one of the songs that the choir is singing.

- Allow the boys to write their own script.

S.P.O.T.S. (Short People Of The Shepherd)

This is a pre-school music exploration class for ages 2–5 years that includes: instruments, rhythms, music games, old Sunday school songs, folk songs and more.


- Use a music CD, and lead the songs with motions.

- Pick a theme – dog, cat, farm animals, zoo animals, Noah’s ark, butterflies.

- Use songs, poems, and finger play.

- Inexpensive stuffed animals are great tools.

INTRODUCING YOUR PROGRAM TO NEW FAMILIESUp With Music! is a three week music appreciation activity offered once a year for three consecutive Fridays from 9:30 a.m. to noon. Ages include pre-school through 5th grade students. The older students work in leadership positions to help teach the younger children. I plan the lessons for the leaders and they teach in small groups. We teach a variety of classes for 15 minute intervals with a food and play break at mid-morning. Classes include: Boomwhackers®, xylophones, drums, music related crafts, theory and rhythm, old Sunday School songs, music games, drama and more. Oh, and handchimes are always included! We also include a Composer for the day, and feed them well.

Tips for Hosting a Similar Event:

- Make it 2, 3, or 4 weeks. You could even offer it for a month on Saturday morning.

- Use older students to help with the younger students.

- Teach basic music reading elements.

- Borrow some drums and other percussion to enhance teaching.

- Enlist local instrumentalists to demonstrate their instruments. Make coloring papers of each instrument shared and include a simple fact sheet to take home.

- Teach some old Sunday School songs (do you remember Little Marcy?)


Be sure to participate in Chorister’s Guild choir festivals. The HOPE Children’s Choir has participated in many Choristers Guild festivals over the years in Orange County, CA. Festivals are often listed in the Calendar of Events in The Chorister, or contact your nearest Choristers Guild chapter.


I love to sing!

I love to play

an instrument!

-Logan, age 4

Ever since I was 3 or 4, I’ve always loved singing. It’s a way for me to express my feelings. -Karissa, age 10

THOUGHTS TO REMEMBER• We need to encourage children to actively participate in music-making using our principle instrument: the voice.

• Our voices are instruments we carry around with us at all times. We can make music in any place, at any time.

• Music is a gift we can give others – to sing and teach them how to sing!

• We need to teach children to listen to each other as they sing. We are all on the same team with the same goal.

• There are no losers in music since all involved are truly winners. The better you do, the better I sound, too!

So, are you making music, or just consuming music? Do you buy and sell and listen to music - or do you make music? In times past, almost everyfamily had a piano in their home and someone knew how to play. Now...we have CD’s, IPOD’s, surround-sound and even smart phones. Remember that the music class that you teach may be the only place where children are encouraged to make and participate in music!


Dellene Harned has been teaching music since she was 16; as a piano teacher and then as a choir teacher. She majored in music while attending Valley State College (now CSUN) and received her MRS. degree in 1970! She has been happily married for nearly 45 years to her sailor boy. As they raised their three girls, Dellene noticed the need for music in the homeschool community, so she decided to do something about it. Since 1997, Dellene has had choral music and music appreciation classes available to homeschool students (PK-highschool). Her choirs have participated in many Choristers Guild events, as well as events within the Association of Christian Schools International (ACSI). Her handchime group, The Dickens Handchime Choir, performed a showcase for the Handbell Musicians of America National Convention held July 2015 in Dallas, Texas.

Biblical References to SingingPsalm 33:3 Sing to Him a new song; play skillfully on the strings, with loud shouts.

Psalm 40:3 He put a new song in my mouth, a song of praise to our God. Many will see and fear, and put their trust in the LORD.

Psalm 98:1 Oh sing to the LORD a new song, for he has done marvelous things!

Psalm 144:9 I will sing a new song to you, O God; upon a ten-stringed harp I will play to you.

Isaiah 42:10 Sing to the LORD a new song, His praise from the end of the earth, you who go down to the sea, and all that fills it, the coastlands and their inhabitants.

Revelation 5:9 And they sang a new song, saying, "Worthy are you to take the scroll and to open its seals, for you were slain, and by your blood you ransomed people for God from every tribe and language and people and nation.”


Here is Part Two of our series offering more tips and tools for music teachers of threes in the church and

preschool daycare setting.

It’s Fall—and depending on where you live, you may be seeing colorful, beautiful leaves falling from

trees. If such does not happen in your location, check out the local craft/hobby stores and purchase

bunches of colorful fall leaves. If the budget does not allow that, then cut or tear leaf shapes from

colored construction paper. Whatever the case, celebrate the beauty of God’s creation in as many ways

possible with your 3-year-olds (and, of course, let’s make it musical!).

JUST MOVE!• Remember these are 3-year olds! Play a CD (instrumental recording of a hymn or praise song) and let the children simply float leaves up and down in the air. Build in some pauses, so they begin to distinguish between sound (they move) and silence (they rest).

• Play some glissandos on a keyboard, up and down the keys, and move as the ears tell – or just move to up and down vocal swoops. Move with the preschoolers at first to provide a model of up and down.

3's

singingwith

‘SPECIALLY FOR THREE YEAR OLDS

(AND THEIR TEACHERS!)

BY NAN GRANTHAM


SINGING WITH THREE’S

GAME: On the Tree—On the Ground• Pass a basket of leaves, and let each child choose a leaf.

• Allow children to take turns pretending to place leaves high on a tree, or low on the ground (a shelf or table top can represent the tree).

• As each leaf is placed, echo sing “I put it on the tree” or “I put it on the ground.” Use sol for high pitches and mi for low pitches. Use step bells or resonator bells for pitches if needed. (G = sol; E = mi)

• Eventually you may allow the children to play the bells as you point at the correct step or bell.

TEACHING TIP: Display a small kitchen step ladder. Place the G bell on an upper step, and the E bell on a lower one. Allow children to take turns playing higher and lower sounds.

ANOTHER COLOR GAME: Leaf in the Basket(You will need 4 baskets. Attach a colored leaf to each basket – brown, green, yellow, and red.)

• Tear bits of brown, green, yellow, and red construction paper into tiny bits.

• Give each child a paper showing the simple outline of a leaf.

• Children will paint the leaves with glue sticks, and then cover the glue with color bits of their choice.

• When leaves are completed, echo sing the following chant on

while moving from basket to corresponding basket.

• Distribute leaves and repeat, allowing each child to place a leaf in its matching basket.

(And, about those color bits . . . before you play the Leaf in the Basket Game, allow children to sort mixed colors into a muffin tin).



SING A “SOL-MI” SONG

• Echo sing measures 1-4, one measure at a time.

• Repeat and add descriptive motions, one per measure (looking up, down, grabbing one, armloads)

• Echo sing measures 5-6, displaying colored leaves and pointing at each color, then pretending to rake in measure 7 and spinning around for measure 8.

• For added fun, have children cover their eyes and switch the green and red leaves, then sing the song again and let them discover the difference.

WORK OUT THE WIGGLES!• Place leaf shapes, artificial leaves, or small colorful scarves in a basket.

• Ask each child to select a leaf or scarf.

• Play a favorite CD and call out a color. Children holding that color are to float or spin in the breeze until the music stops.

• Call out another color and resume the music (keeping the intervals short).

• Continue this until the CD ends, then float all leaves to the ground and rest.


Nan Grantham holds undergraduate and graduate degrees from Mississippi College, Clinton MS, in Music Education. Her career has included both public and private school teaching and private and class piano. She has served on church music staffs in Mississippi, Louisiana, and Texas, retiring from Second Baptist Church in Houston. Her Language of Music series was published by Chorister’s Guild. Throughout her career Nan has written songs and curriculum for Lifeway’s Children’s Music Series, and was on the inaugural writing team for Growing in Grace Children’s Music Curriculum for which she is still a contributor. Nan continues to work with the Houston Children’s Chorus, and is an active volunteer at her church.


WHILE WE’RE STOPPED, HOW ABOUT A STORY? GRAY SQUIRREL

By Nan Grantham

(Read the story and let children pretend to be the gray squirrel, moving as the text suggests.)

Gray squirrel, gray squirrel, way up in that tree.

Gray squirrel, gray squirrel, come where I can see.

Won’t you please just flip your busy tail?

Now I see you—see you very well!

Gray squirrel, gray squirrel, creep out on a branch

Be so careful! Don’t you take a chance!

Gray squirrel, gray squirrel, from that limb please hop…

Hop, hop, hop, hop. Now it’s time to stop!

One more hop and you’ll be on the ground

Lots of acorns waiting to be found!

Scratch and scratch. See how many you can find.

Bury some to find another time.

Gray squirrel, gray squirrel, fill your cheeks and then

Grab that tree and hurry up again!

Copyright 2015 Nan Grantham. Used by permission.

ONE MORE SONG

Always remember the power of planting music and wholesome thoughts into the minds of these precious young lives.


Even children who are “veteran” children’s choir members need fresh reminders to use good singing skills. Create this simple Super Singer Singing Kit to welcome new singers to your group or as a fun review for longtime choristers.

YOU WILL NEED:

- 1 gallon plastic storage bags with zip seals (one per child)

- copies of the Super Singer Singing Kit list – print on brightly colored paper

- Pencils

- Erasers

- Candies (Use the ones listed on the Super Singer Singing Kit page, or substitute others)

DIRECTIONS:

- Place all items in the storage bags.

- Distribute bags at the beginning of your rehearsal.

- Explain the significance of each item.

- Allow children to take the kits home.

- Keep extra kits on hand to give to new members.

Refer to kit items from time to time throughout the choir year to highlight specific skills. Using everyday objects is not only fun, but will create connections that last throughout the choir year.

Teresa Granger M.M. Ed is an elementary music teacher at Rocky Branch Elementary School in Watkinsville, Georgia. Teresa also serves as Children’s Choir Coordinator at First Baptist Church Athens, Georgia where she directs the older children’s choir. Teresa is a children’s choir clinician and was a curriculum writer for the Spring 2014 Growing in Grace Curriculum. She resides in Athens, Georgia with her husband Frank. They have two adult sons Ben and Adam.

Super Singer

Singing KitBY TERESA GRANGER


SUPER SINGER SINGING KIT

AirHeads® Sit tall, back up straight, feet on the floor.

Hershey’s Kiss® Make your tone as clear as a bell. Use your head voice.

Smarties® Think as you sing. Listen to those around you. Keep your music handy even if you think you already know the song.

Pencil Mark your music to help you remember dynamics, phrases, and more.

Eraser Mistakes can be corrected. Be ready to sing the music more than one time.

Lifesavers® Sing clear vowel sounds. Pronounce your consonants clearly. Good diction is truly the lifesaver for singers!

Peppermint Every choir member is worth a mint! You are an important member of this group. Attend children’s choir rehearsals regularly so that when we sing we truly lead in worship.

Refer to kit items from time to time throughout the choir year to highlight specific skills. Using everyday objects is not only fun, but will create connections that last throughout the choir year.

Developed for use with Children’s Choirs by Teresa GrangerElementary Music Specialist, 274 Hunnicutt Drive, Athens, GA 30606

Use these items to

become a Super Singer!

CHORISTERS’ REPRODUCIBLE PAGE


The Choristers Guild Institute of Summer 2015 was another successful week of building and renewing relationships with church musicians in shared learning experiences. The Institute is a great way to revitalize your skills and rejuvenate for ministry. Don’t miss out on this wonderful opportunity next summer. Look for the dates in the next issue of The Chorister and on the Choristers Guild Institute Facebook Page.

LIKE our FACEBOOK page: Choristers Guild Institute at Wingate University to receive instant updates and further insights into the program.

TheINSTITUTE CORNER


OPPOSITE PAGE (left to right, top to bottom): 1) CGI 2015 Faculty and Participants 2) Palm Sunday Morning Worship 3) Worship led by Year Ones 4) Worship planned and led by participants 5) Michael Bedford, Keynote Address 6) Year Twos at registration, Mitch & Wanda 7) Percussion Class

THIS PAGE (left to right, top to bottom): 8) Year Three Graduates and Mentor: Gerald Hughes, Pocatello, Idaho, Kirsten Foyles, Southern Pines, NC, Carol Rosenthal, New Palestine, Indiana, Nan Wooten, Burlington, NC, Karol Kimmell (Mentor) Atlanta, Georgia, Patrick Murphy, Burlington, NC 9) Rebecca Thompson and alum, Anne Saxon at Banquet 10) Andrea Baxter at Worship Seminar 11) Kenney and Heather Potter 12) Mark Patterson teaching Choral Methods 13) Faculty ensemble performing song w/ graduates names in it! 14) Year Ones: Hannah Ruth, Jessica, Janet, Melissa, Melissa, & Heather


Log On and take the tour!ANNUAL AND ONE-TIME COPYRIGHT

PERMISSIONS WITH THECLICK OF A MOUSE

LOG ON TODAY! WWW.ONELICENSE.NET

• EASY—online permission and reporting• ECONOMICAL—based on average weekend attendance• THOROUGH—your favorite songs• CONVENIENT—includes a growing list of publishers

OneLicense65X45 8/16/05 2:49 PM Page 1

Calvin institute of Christian Worship

worship.calvin.edu

The annual Calvin Symposium on Worship, at Calvin College and Seminary, Grand Rapids, MI, USA, is a three-day conference sponsored by the Calvin Institute of Christian Worship and the Center for Excellence in Preaching. The conference brings together pastors, worship leaders and planners, artists, musicians, scholars, students and other interested worshipers from around the world. Over 50 themes, including preaching, visual arts, pastoral care, Psalms, faith formation, the Lord’s Supper, outreach, congregational song, leadership, and many more. The worship theme comes from the book of Isaiah.

Navaho Canyon by Don West (www.donwestfineart.com)

Worship Symposium 2016January 28–30, 2016


GEORGIAJanuary 22-23, 2016MidWinter Workshop for Preschool, Children, Youth and Adult ChoirsPeachtree Presbyterian Church3434 Roswell Road NW, Atlanta, GA 30305Contact: Emily Floyd [email protected]

July 10-15, 2016Mabel Boyter Choir Camp for Elementary/Middle School SingersReinhardt University7300 Reinhardt College Cir, Waleska, GA 30183Contact: Emily Floyd [email protected]

KANSASJanuary 31, 2016Greater Kansas City Children’s Choir FestivalSouthminster Presbyterian Church6305 Roe Avenue, Prairie Village, KS 66208Clinician: Gretchen Harrison of the Allegro Children’s ChoirContact: Suanne Comfort [email protected]

MARYLANDFebruary 28, 2016Children’s Choir FestivalLutheran Church of St. Andrew15300 New Hampshire Ave., Silver Spring, MD 20905Conductor: Andrea BaxterContact: Marilyn Murchison [email protected]

MINNESOTAApril 23, 2016Twin Cities Choristers Guild Festival North Heights Lutheran Church 1700 Hwy 96 WArden Hills, MN 55112 Guest Conductor: Robyn Lana of the University of CincinnatiContact: Marlene Testa Lee [email protected] orAnn Schrooten [email protected]

MISSOURIJanuary 31, 2016Greater Kansas City Children’s Choir FestivalSouthminster Presbyterian Church6305 Roe Avenue, Prairie Village, KS 66208Clinician: Gretchen Harrison of the Allegro Children’s ChoirContact: Suanne Comfort [email protected]

TEXASOctober 4, 2015Youth in Worship FestivalNew World United Methodist Church2201 N. Davis Drive, Arlington, Texas 76012Contact: www.dallaschaptercg.com

January 15-16, 2016Dallas Church Music WorkshopLovers Lane United Methodist Church9200 Inwood Road, Dallas, TX 75220Clinicians: Lillie Feierabend, Preschool Music; Terrie Prescott Brown, Children's Choirs; James Wells, Youth Choirs; Karen Kenaston French, Adult Choirs; Amy Hamilton Harris, Vocal Health; DeAndre Johnson, Worship; Michael Shake, Organ; Sueda Luttrell, HandbellsContact: www.dallaschaptercg.com

WASHINGTONFebruary 6, 2016Children and Youth Choral FestivalGloria Dei Lutheran Church1515 Harrison Ave. NW, Olympia, WA 98502Clinician: Vicki Jardine TobinContact: Beth Tobin [email protected] 360.866.4962

WISCONSINNovember 14, 2015Choral Festival: Lord, Lead Us Day By DaySt. Luke’s Lutheran Church7337 Hubbard Ave, Middleton, WI 53562Clinician: Dr. Mark PattersonContact: Susan Daniels [email protected]

DID YOU KNOW…As a Choristers Guild member, you can list your church’s event on this Calendar of Events page? Email your listing to Susan at [email protected] three months prior to your event. Listings are admitted on a first-come, first-serve basis.

TO LIST YOUR CHAPTER EVENTSend your listing to [email protected] with complete information. Include dates, location, clinicians, and contact information. For additional advertising, contact [email protected].

Calendar of Events


ARKANSASMary Kay Burton, Little Rock

CALIFORNIABarbara Black, Corona del MarAudrey Mink, Orange

FLORIDAStacey Holiday, Panama CityJanine Jones, Vero BeachWinter Park Presbyterian Church, Winter Park

GEORGIALinda Floyd, MariettaOur Redeemer Lutheran Church, AugustaSaint Brigid Catholic Church, Johns CreekTrinity Presbyterian Church, Atlanta

IOWABecky Diebold, Ottumwa

IDAHOLarry Nystrom, Lewiston

ILLINOISEmma Hohulin, Glen EllynJennifer Whiting, WheatonPam Whittles, Naperville

INDIANAStephen Ogden, AvonJoy Ruegsegger, Auburn

KANSASLin Sanford, Overland Park

MASSACHUSETTSWesley Hall, WorcesterFirst Baptist Church, Westwood

MARYLANDBill Sykes, Severna Park

MICHIGANRosemary Lutz, FlintDeeAnn McCormick, FlintHeather Seaton, University Center

MINNESOTASharon Balcom, Saint PaulShaun Halland, MinneapolisOur Savior’s Lutheran, Hastings

NORTH CAROLINAEmalynn Colardo, GreenvilleElizabeth Jordan, FayettevilleElizabeth Scarborough, ApexRob Varner, Wake ForestJW Greer High School, Winston Salem

NEW JERSEYRegina Reale, Lakewood

OHIODee Pinkley, AshlandSuzy Springer, Mount Vernon

OKLAHOMAJonathan Gillis, Moore

OREGONCheryl Drewes, Auburn

PENNSYLVANIAGary Crum, ChambersburgAdam Hughes, StrasburgEmily Koons, GettysburgCarol Lenhart, Orefield

SOUTH CAROLINARebecca Sanderson, YorkWashington Street United Methodist Church, Columbia

TENNESSEE Mark Locke, ColliervilleJonathan Rudy, Cookeville

TEXASJanie Oliver, PlanoJane Smith, San AngeloFirst Presbyterian Church, Ft. Worth

VIRGINIAJudy Epperly, MartinsvilleGrace Lewis, Farmville

WASHINGTONCooper Sherry, TacomaBonnie Derby, BothellHeidi McComas, MarblemountMarie Seifert, Gig HarborBellevue Presbyterian Church, BellevueLake Forest Park Presbyterian Church, Lake Forest Park

CANADAJoshua Zentner-Barnett, Ottawa, Ontario

JUNE AND JULY 2015

New Members


WEEK OF OCTOBER 4

SCRIPTURE:O Lord, our Lord, how majestic is your name in all the earth! You have set your glory above the heavens. Psalm 8:1 NIV (Extended reading for entire month Psalm 8:1-9)

DEVOTIONAL:What is the most beautiful sight you have ever seen? Ocean waves crashing on the sandy shore? Sunrise over the mountains? Spring flowers in full bloom? A clear, star-filled sky? Nature seems to have its own language of praise. God is glorified through the very work of Creation. We should take time to enjoy the beauty, and then give thanks for the wonder of it all.

PRAYER:Father, Creator, Thank you for the beauty and majesty of creation. Thank you for visible evidence that you are present in our world today. We praise and glorify your holy name! Amen.

COORDINATING ANTHEM:CGA762 | Lord, O Lord, Your Name is Wonderful | By Hal H. Hopson | Unison with keyboard and optional 6 handbells

BY SUSAN EERNISSE

Children’s Choir Devotionals

Photo Credit: Sarah Skarsten, Director of Joyful Noise, Our

Redeemer's Lutheran Church, Benson, MN.

Worship Puzzle: Janet G. Miller's article from April 1978

"Putting it all Together: The Worship Service”, Choristers Guild website.


CHILDREN’S CHOIR DEVOTIONALS

WEEK OF OCTOBER 18

SCRIPTURE:You made him a little lower than the heavenly beings and crowned him with honor and glory. Psalm 8:5 (Extended reading for entire month Psalm 8:1-9)

DEVOTIONAL:Even the most majestic scene in all nature does not equal the creation of humans. God placed people just a bit lower than the angels. God treasures each person. When you are feeling sad or unimportant, think of this verse. Then show your gratitude by speaking and acting in ways that bring glory to God.

PRAYER: We praise you, God, for the amazing world you created for us to enjoy. Thank you for allowing us to be a part of your wonderful plan. We praise your holy name. Amen

COORDINATING ANTHEM:CGA611 Carol of Creation | By Shirley W. McRae | Unison/2-part

WEEK OF OCTOBER 11

SCRIPTURE:From the lips of children and infants you have ordained praise. Psalm 8:2a NIV (Extended reading for entire month Psalm 8:1-9)

DEVOTIONAL: Just think of it – the mighty God of the universe chose to have little children demonstrate praise and adoration! Wouldn’t you think God would have ordained praise through highly trained musicians, or skilled professional speakers? No. God knew that the purest praise comes straight from the honest hearts of children. Let’s seek ways to praise God’s name every day!

PRAYER: Thank you, Lord, for the gift of children, and for the opportunity each of us has to praise and worship you. Please accept our words and songs of praise, and may you be glorified in all we say and do. Amen.

COORDINATING ANTHEM:CGA867 | I Will Praise You, O Lord | By Mark Patterson | Unison with keyboard and optional descant



WEEK OF OCTOBER 25

SCRIPTURE:O Lord, our Lord, how majestic is your name in all the earth! Psalm 8:9 (Extended reading for entire month Psalm 8:1-9)

DEVOTIONAL:When you were born, were you named after someone – a relative or friend? Does your name have a special meaning? There are many names used for God in the Bible, but no matter which name you use, God’s name is more majestic, more glorious than our simple words can describe. When we sing God’s name, or pray in God’s name, we are showing respect, love and honor for Almighty God.

PRAYER: O Lord, our Lord, We praise your majestic name! Be glorified and honored in our music and in our lives. Amen.

COORDINATING ANTHEM:CGA1074 Alleluia, Allelu | By Susan Naylor Callaway | Unison/two part with piano, and optional flute

WEEK OF NOVEMBER 1

SCRIPTURE:Love the Lord your God. . .Love your neighbor as yourself. Mark 12:30-31 (Extended reading Mark 12: 28-34)

DEVOTIONAL:In Mark 12 we learn the two most important commandments spoken from the lips of Jesus: Love God & love others. Really – it’s that easy? Well, maybe not – perhaps it’s that hard! If we focus our energy on honestly loving God, and on being loving and kind to others, we will be pretty busy. Yes, there are only two basic rules, but they are extremely important. Let’s memorize this verse, and try to live up to these two commands each day.

PRAYER:Lord, We do love you though we are still learning how to express that love. Thank you for your patient teaching. Lead us to love other people, and forgive us when we are more concerned for ourselves. We want to be more loving. Guide our paths as we continue to grow. Amen.

COORDINATING ANTHEM:CGA419 I Will Love the Lord | By John D. Horman | Unison/Two-part with keyboard



WEEK OF NOVEMBER 15

SCRIPTURE:Keep me safe, O God, for in you I take refuge. NIV Psalm 16:1

DEVOTIONAL:What is your greatest fear? Are you afraid of heights? Do you fear speaking in front of large groups of people? Maybe you are afraid of the dark, or afraid of being alone. When you find yourself in fearful situations, try praying scriptures that remind you of God’s constant care. Memorize several verses now so that you have them in your heart and mind. Then when frightening times come, you can speak directly to God, and take refuge in God’s comforting presence.

PRAYER: Dear Lord, We trust you to care for us in good times and in fearful times. Thank you for being a constant presence of love and comfort. Thank you for being our refuge, our protection, our strength. Amen.

COORDINATING ANTHEM:CGA1293 Nearer, Still Nearer | By Emily Lund | SATB with piano

WEEK OF NOVEMBER 8

SCRIPTURE:Unless the Lord builds the house, its builders labor in vain. Psalm 127:1a NIV

DEVOTIONAL:There are 4 new houses on my street. I enjoyed watching the builders start from scratch to build homes for all my new neighbors. There were skilled workers each step of the way, but each day the master builder came to the job site to provide guidance and to assure quality work. Without the right tools and proper guidance, the builders’ work was useless. Our lives are like houses under construction. God is our master builder when we trust God to guide us.

PRAYER: Lord, Help us to trust in you to guide us each and every day. Thank you for leading us as we build our lives according to your plan. Amen.

COORDINATING ANTHEM:CGA1054 Trust in the Lord | By James Brighton | Unison with piano and optional oboe



WEEK OF NOVEMBER 29

SCRIPTURE:Show me your ways, O Lord, teach me your paths; guide me in your truth and teach me, for you are my God and Savior, and my hope is in you all day long. NIV Psalm 25:4-5

DEVOTIONAL:I was recently looking for a flower shop in an unfamiliar town. I drove up and down the street, looking left and right, but could not find it. The voice on my GPS kept saying, “You have arrived at your destination.” I finally spotted it after wasting much time and gas. Why didn’t I stop and ask for directions? God provides direction in our lives each day through trusted people, through Bible study, and prayer. God is our hope and our guide. Let’s ask God to direct us every day.

PRAYER: Dear Lord, Please show us your ways, teach us your paths, and guide us in your truth. Make us mindful of your constant presence so that we will seek your help and direction all day long. Thank you for being our God, our Savior, and our Hope. Amen.

COORDINATING ANTHEM: CGA1081 Teach Me Your Way | By Timothy Shaw | Unison/two part with keyboard, and optional C treble clef instrument

WEEK OF NOVEMBER 22

SCRIPTURE:And why do you worry about clothes? See how the lilies of the field grow? They do not labor or spin. NIV Matthew 6:28 (Extended reading Matthew 6:28-30)

DEVOTIONAL:I have many outfits in my closet. I could go several days without wearing the same pair of pants, or shirt, or shoes. In spite of that, I sometimes stand at the closet door and complain, “I don’t have anything to wear!” Does that sound familiar? It really shows a lack of gratitude for the many gifts we have. Jesus pointed out that God takes care of our needs. Why do we worry needlessly? In this season of Thanksgiving, let’s be thankful for all we have, and find ways to share with others who are in need.

PRAYER: Dear Father, Thank you for caring for us, and providing all we need. Please forgive us for being greedy and selfish. Show us ways to show our gratitude by sharing with others. Help us to be thankful for all we have, and teach us to be more giving. Amen.

COORDINATING ANTHEM:CGA19 Consider the Lilies | By Natalie Sleeth | Unison voices and keyboard with optional flute or violin


For Every Season There Is a Song, Part 3

This is the third in a series of six indices we have created for contemporary worship music, categorized according to the seasons of the liturgical calendar and applicable to most Christian denominations. The first index was published in the June/July 2015 issue of The Chorister. In addition to your favorite hymn indices, we hope this will be a parallel resource for contemporary worship music. One common complaint about contemporary Christian music is the lack of connection to Biblical principles and liturgical themes. Special attention was given in selecting songs consistent with the textual focus of each particular date. There is a substantial volume of excellent contemporary worship music that was not included in these indices because the lyrics contain broad themes that, while valid and useful, do not expound upon the theological tenets of each category.

We have starred the pieces that fit particularly well with children’s voices, and can be used with children alone or in combination with youth or adult choirs. Often the choruses to contemporary songs, rather than the verses, are more suitable for children’s voices in terms of melodic contour and rhythmic complexity, so linking the chorus of several songs together can be an excellent way for children to experience this music. These song lists are not intended to be comprehensive in each category, as new worship songs are being created every day, but we hope this will be a starting point for incorporating these well-written and liturgically sound songs into the life of your church. This third installment will cover music for Baptism Sunday and Transfiguration.

USER GUIDE NOTES

BY DR. FRANCES T. SINCLAIR AND KIRSTEN ELLEFSON FOYLES

INDEX OF CONTEMPORARY MUSIC RESOURCES:

We evaluated songs based on theological connection to the theme rather than copyright date; therefore, the term “contemporary” in this article refers not only to Christian music made popular by current artists, but also includes hymns, world music and praise songs.

Some of the songs contain verses that are not conducive to congregational singing, but the chorus merited inclusion in these indices.

Many of these songs are applicable to numerous dates on the liturgical calendar; however, in order to introduce a broad spectrum of songs, we avoided duplication as much as possible.

We are all one in the body of Christ, so we have been intentional about including songs from different cultures and heritages, to include Native and African American songs, songs from the Taizé and Iona communities, and songs of Hispanic and Asian origin.


SEASON OF EPIPHANY (Feast of the Epiphany through Ash Wednesday)

BAPTISM SUNDAY(Sunday after Epiphany)

In our last article, we stated that Epiphany is both a date on the liturgical calendar as well as a season. The Feast of the Epiphany generally celebrates the journey of the Magi to the manger and the revelation of Jesus to the world. The songs we included in our previous index were primarily for use during the Feast of the Epiphany, or Epiphany Sunday. The liturgical season of Epiphany begins with the Feast of the Epiphany and extends through Ash Wednesday.i The season of Epiphany includes the celebration of three primary events which manifest, or reveal, Jesus as the Son of God. The first revelation was conveyed through the visit of the Magi, when it was revealed to the nations that a Savior had been born for all people. The second revelation came through the baptism of Jesus at the Jordan River when, as Matthew wrote, the voice of God announced, “This is my Son, whom I love; with him I am well pleased.” (Matthew 3:17). The third revelation happened through Jesus’ first miracle at Cana, where he turned water into wine. His miraculous ability to transform the things of our world demonstrated that Jesus’ power was divine, rather than human. The season of Epiphany spans many themes and events, but each of these themes reveal God’s power through Jesus, the Messiah, and serve as confirmation that God is with us.

The Baptism of Jesus was originally included in the Feast of the Epiphany; however, over time, the story of the Magi became the focus of that liturgical celebration and Baptism of the Lord was no longer included. Therefore, in order to continue recognizing the significance of Jesus’ Baptism, Pope Pius XII dedicated a separate liturgical date for Baptism Sunday in 1955.ii Since then, the date has changed several times, but Pope Paul IV established the first Sunday after Epiphany – the one currently used by most denominations – to celebrate the Baptism of the Lord.iii

The musical themes commonly associated with Baptism Sunday are: water, renewal, claiming identity as children of God and recognition of the Holy Trinity. Jesus’ baptism was the first introduction of the Holy Spirit, which according to all three synoptic Gospels, visibly manifested and descended, “like a dove.”.iv That moment was also the first presentation of the Holy Trinity; Father, Son and Holy Spirit as One. “The Father’s voice from heaven (declares) that Jesus of Nazereth is the eternal Son (of God) and the descent of the Holy Spirit . . . shows the Trinitarian nature of the Christian God.”v It was through His baptism that Jesus’ identity as the Son of God was revealed and baptism today is universally recognized as a Holy Sacrament by which Christians claim their identity as children of God.vi

All My Fountains (Chris Tomlin, Christy Nockels, Daniel Carson & Nathan Nockels, 2011)All Who Are Thirsty (Brenton Brown & Glenn Robertson, 1998) All Who Are Thirsty** (Brian Wentzel, 2014) As Children (Jeremy Riddle, 2006)Awakening (Chris Tomlin & Reuben Morgan, 2010) Baptize Us With Your Spirit** (Words: Brian Wren, Music: Hal H. Hopson, 2005) Baptized in Water** (Words: Michael A. Saward, Music: Gaelic Melody, 1982)Be Not Afraid (Robert J. Dufford, 1978)Beneath the Waters (I Will Rise) (Brooke Ligertwood & Scott Ligertwood, 2010) Born Again (Michael Tait, Seth Mosley, Juan Otero & Wes Campbell, 2010) Born Into Love** (Words: Brian Wren, Music: Anthony Fedell, 1995)By Water and the Spirit (Words: Carl P. Daw, Jr., Music: Betty Carr Pulkingham, 1996)Children of God** (Stephen Curtis Chapman, 2007)Children of the Living God** (Fernando Ortega, 1999)Come As a Child (Gary Alan Smith, 1982)Come, Be Baptized** (Gary Alan Smith, 1982) Come Just as You Are** (Joseph Sabolick, 1994)Come Home Running (Chris Tomlin & Jesse Reeves, 2002)

Come, Then to the Waters** (Words: Mary Kay Beall, Music: John Carter, 2013) Come to the Water** (John Foley, 1978)Dear Child, By Water Born and Blessed (Daniel Charles Damon, 1998) Father of All (Mike Herron, 1996)Father Spirit Jesus (Chad Cates, Dave Hunt & Mark Hall, 2005)Fear Not (Phil Pringle, 1984)God Almighty** (Chris Tomlin & Ed Cash, 2008)God Claims You (Child of Promise)** (Stanley M. Farr, 1981)God Leads Us Along** (George A. Young & Patti Drennan, 2012)God of Brilliant Lights** (Aaron Shust, Ed Cash & Scott Cash, 2013)God of Wombing, God of Birth (Words: Carl P. Daw, Music: Harmonia Sacra, 1996)Healing Rain (Martin Smith, Michael W. Smith & Matt Bronleewe, 2004) Ho, All Who Thirst** (Alexander M. Peters, 1997)How Great (Mac Powell & Trevor Morgan, 2009)I Am (David Crowder & Ed Cash, 2013)I Am God’s Child (Words: Shirley Erena Murray, Music: Rusty Edwards, 1996)I Was There to Hear Your Borning Cry** (John Ylvisaker, 1985)In Water We Grow** (Words: Brian Wren, Music: C. Hubert Parry, 1993) Let the River Flow (Darrell Evans, 1995)

INDEX OF CONTEMPORARY MUSIC RESOURCES: FOR EVERY SEASON THERE IS A SONG, PART 3



Little Children, Welcome!** (Words: Fred Pratt Green, alt, 1973; Music: John W. Semingson, 2007) Little One, Born to Bring Us Such Love** (Words: Shirley Erena Murray, Music: Rusty Edwards, 1999) Many Gifts (Steven B. Eulberg, 1992)New Child of God, Come To Be Blessed (Words: Shirley Erena Murray, Music: T. B. Southgate, 1992)Oceans (Where Feet May Fail) (Joel Houston, Matt Crocker & Salomon Ligthelm, 2012)One (R. Loren Sandford, 2005)One Small Child** (Words: Shirley Erena Murray, Music: Jenny McLeod, 2002) Orphans of God (Joel Lindsey & Twila LaBar, 2006)Redeemed (Benji Cowart & Michael Weaver, 2011)Rejoice, All Children of the Faith** (Constance M. Cherry, 2001)Remember Me (Mark Schultz, 2000)Sing! A New Creation (Text: James Hart Brumm, Music: Thomas J. Williams, 2000)Something In the Water (Chris Destefano, Carrie Underwood & Brett James, 2014)Song for Beginnings** (Words: ad. Kevin R. Riehle, Music: Kevin Riehle, 1989)Song Over the Waters (Marty Haugen, 1987)Song to the Savior** (Chris Lockwood, Jay Speight & Tyrus Morgan, 2012)Take Me to the Water (Afr. Am. Spiritual)That Christ Be Known (Marty Schaefer, 1999)

The Compassion Hymn (Keith Getty, Kristyn Getty & Stuart Townend, 2008)The Fruit of Love** (Words: Gregory E. Asimakoupoulos, Music: Engl. Melody, ad. Hal H. Hopson, 1996)The River Is Here (Andy Park, 1994) The Spirit and the Bride (Teresa Muller, 1992)There Is One Lord** (Taize Community, 1984)There Is One Reason (Doug Plank, 2011)Thrive** (Mark Hall & Matthew West, 2013)Washed By the Water (Bear Rinehart & Bo Rinehart, 2007)Water, River, Spirit, Grace (Words: Thomas H. Troeger, Music: by O. I. Cricket Harrison, 1995)Waterfall** (Chris Tomlin & Ed Cash, 2014)This I Believe (Matt Crocker & Ben Fielding, 2014)We Believe** (Travis Ryan, Richie Fike & Matt Hooper, 2013)Waterlife (Handt Hanson, 1991)Welcome As a Child of God** (Words: Brian Wren, Music: Susan Heafield, 2012) Welcome the Child** (Words: Shirley Erena Murray, Music: Joy F. Patterson, 1996)Wonder of Wonders** (Words: Brian Wren, Music: Gaelic Melody, 1995) You Are Mine** (David Haas, 1991)Your Grace Is Enough** (Matt Maher, 2003)Your Love Is Like a River (Tai Anderson, David Carr, Mac Powell & Mark Lee, 2012)

TRANSFIGURATION(Date varies)

The celebration of the Feast of the Transfiguration is a more recent addition to the liturgical calendar. The celebration began in Asia in the 4th or 5th century but was not widely celebrated until Pope Callistus III added it to the liturgical calendar in 1457.vii The accounts of the Transfiguration, where Jesus’ face became radiant with light on the mountaintop, are told with little variation in the books of Matthew, Mark & Luke.viii This event is universally celebrated across all Christian denominations, however, the date and observance of the celebration varies between eastern and western traditions and across denominational lines. The Roman Catholic Church and several other denominations celebrate the Transfiguration on August 6th. There are two theories as to why this date was chosen. The first theory is based on the fact that August 6th was the date of the dedication of the first church built on Mount Tabor, which was traditionally thought to be the location of the Transfiguration.ix The second theory is that August 6th was selected to commemorate the Christians defeating the Turks at Belgrade halting the advancement of Islam into Europe, which occurred on that date in 1456.x

At the time of the Reformation, the observance of the Feast of the Transfiguration was still considered a “recent innovation” to many, so this date was not included in many early reformed calendars.xi Today, the denominations that follow the Revised Common Lectionary celebrate the Transfiguration on the Sunday before Lent (between Epiphany Sunday and Ash Wednesday).xii The Book of Common Prayer suggests this placement allows the revelation of Christ’s glory to strengthen believers through the season of Lent until the joy of Easter.xiii An excerpt from the Companion to the Book of Common Worship states that: “The Sunday immediately prior to Ash Wednesday is an appropriate time to celebrate the Transfiguration of the Lord, because this event marked a transition in Jesus’ ministry in which he ‘set his face to go to Jerusalem’ (Luke 9:51), where he would die.”xiv Regardless of the date on which the Transfiguration is celebrated, the themes are the same: revelation, light, transformation, glorification of Jesus and the hope that the lives of Christians are transfigured into a Christ-like example.

SEASON OF EPIPHANY AND BAPTISM SUNDAY CONTINUED


TRANSFIGURATION CONTINUED


Almighty God (Jason Ingram, Jon Thatcher, Paul Mabury & Stuart Garrand, 2006)Arise, Shine (Steven Urspringer & Jay Robinson, 1983) Arise, Shine, for Your Light Is Come** (Words: Isaiah, para Eric Glass, Music: Eric Glass, 1974) Awakening (Chris Tomlin & Reuben Morgan, 2010)Awesome In This Place (David Billington, 1992)Be Still, For the Presence (David Evans, 1986)Better Is One Day (Matt Redman, 1995)Bring Forth the Kingdom** (Marty Haugen, 1986)Build Your Kingdom Here (Rend Collective Experiment, 2012)City of God (Dan Schutte, 1981)Come Like the Dawn (Ryan Williams, 2012)Come to the Mountain (Words: Scott Tunseth, Music: Kathy Donlan Tunseth, 1996)Come! Live in the Light! (David Haas, 1988)Draw Me Into Your Presence (Teresa Muller, 1992)Dwell (Aaron Keyes & Jess Cates, 2011)Face to Face (Paul Baloche, Marc Byrd & Steve Hindalong, 2001)Forever Reign (Jason Ingram & Reuben Morgan, 2009)From the Inside Out (Joel Houston, 2005)Glorious One (Steve Fee, 2006)Go Light Your World (Chris Rice, 1993)God Has Smiled On Me** (Isaiah Jones, 1973) God You Reign (You Are Holy) (Brandon Collins, Jennie Lee Riddle, Richie Fike & Travis Ryan, 2014)Great I Am (Jared Anderson, 2011)Halle, Hallelujah (Marty Haugen, 1990)Hear Our Praises (Reuben Morgan, 1998)Heaven Is In My Heart (Graham Kendrick, 1991)Heaven Is Singing for Joy (Pablo Sosa, 1958)Here Are Praises** (Reuben Morgan, 1998)Here in Your Presence (Jon Egan, 2006)Holy Ground (Geron Davis, 1983)Holy Love, Holy Light (Bill Batstone, 1990)Holy Spirit (Bryan Torwalt & Katie Torwalt, 2011)Holy Spirit, Rain Down (Russell Fragar, 1997)Honor and Praise (Twila Paris, 1996)Hope of the Nations (Brian Doerksen, 2002)Hosanna (Praise Is Rising) (Brenton Brown & Paul Baloche, 2006)I See Heaven (Bryan Torwalt & Katie Torwalt, 2011)I Stand Amazed in the Presence (Charles Hutchinson Gabriel & Don Chapman, 2002)I Stand in Awe (Carl Tuttle, 1985) I Turn to You (Chris Eaton & Todd Smith, 2004)I Want to Walk As A Child of the Light** (Kathleen Thomerson, 1975)I Will Follow (Chris Tomlin, Reuben Morgan & Jason Ingram, 2010)In the Presence of Greatness (Chris Machen & Diane Machen, 1999)In the Presence of Jehovah (Becky Davis & Geron Davis, 1985)In Your Presence, God (Lynn DeShazo, 1994)Jesus Loves Me (Ben Glover, Chris Tomlin & Reuben Morgan, 2014)Jesus, You Are My Life (Steve Fry, 1994)Joyous Light of Glory (Ralph C. Sappington, 1999)

Let the Redeemed of the Lord Say So (Walt Harrah & John A. Schreiner, 1992)Let the Weight of Your Glory Fall (Steve Merkel, 1999)Light of the World** (Michael Card, 1981)Light of the World (Matt Redman, 2000)Magnified (Jason Ingram, Jon Egan & Paul Mabury, 2011)Make Your Face to Shine** (Jay Weldon Wilkie, 2002)May the Lord Bless You and Keep You (John Illg, 1993)Mighty to Save (Reuben Morgan & Ben Fielding, 2005)Morning Star (Dan Burgess, 1993)No One Higher (Heath Balltzglier, Seth Condrey & Steve Fee, 2012)None But Jesus (Brooke Ligertwood, 2005)Now the Day Has Drawn to a Close (Ben Houge, 1999)O Laughing Light (Words: Sylvia G. Dunstan, Music: Rouen Church Melody, 1991)Oh Lord, You’re Beautiful (Keith Green, 1981)Oh, the Glory of Your Presence (Steven L. Fry, 1983)Only By Grace (Gerrit Gustafson, 1990)Open My Eyes (Braden Lang & Reuben Morgan, 2009)Open Our Eyes, Lord (Bob Cull, 1976)Open Our Eyes (Kevin Keil, 1998)Open the Eyes of My Heart, Lord (Paul Baloche, 1997)Overwhelmed (Michael Weaver & Phil Wickham, 2011)Praise God For This Holy Ground** (John L. Bell, 2002)Shine On Me (Richard K. Carlson, 1989)Shine, Jesus, Shine (Graham Kendrick, 1989)Shine On Us (Michael W. Smith & Deborah D. Smith, 1995)Show Me Your Glory (Marc Byrd, Mac Powell, Mark Lee, Brad Avery, Tai Anderson & David Carr, 2001)SMS (Shine) (David Crowder & Jack Parker, 2009)Surely the Presence of the Lord (Lanny Wolfe, 1977)The Light in Me (Brandon Heath & Daniel Muckala, 2010)The Lord is My Light** (Words: Walt Harrah, Music: Taize Community, 1987)The Lord Is My Light (Text: Iona Community, Music: Czech Hymn Tune, 1990)This Is Our God (Reuben Morgan, 2008)This Little Light of Mine** (African Am. Spiritual, adapt. William Farley Smith, 1989)This Little Light of Mine** (African Am. Spiritual)Turn Your Eyes Upon Jesus (Helen H. Lemmel, 1922)Until the Whole World Hears (Jason McArthur, Roger Glidewell, Bernie Herms & Mark Hall, 2009)We Are (James Tealy, Chuck Butler, Hillary McBride & Ed Cash, 2011)We Are Called (David Haas, 1988)We Are Singing (Text: Zulu, Music: based on the South African freedom song “Siyahamba.”, 1984)We Are the Light of the World** (Jean Anthony Greif, 1966)Welcome In This Place (Miriam Webster, 2005)When I Look into Your Holiness (Wayne Perrin & Cathy Perrin, 1980)You Never Let Go** (Matt Redman & Beth Redman, 2007)You Said (Reuben Morgan, 1998)Your Love is Changing the World (John Polce, 1979)


“Baptism of the Lord.” calendarlabs. Calendarlabs.com. n.d. Web. 3 Jul. 2015.

Bennett, David. “Epiphany (Theophany)” churchyear. 15 Apr. 2011. Web. 4 May 2015.

Bower, Peter C. Ed. The Companion to the Book of Common Worship. Louisville, KY: Geneva Press, 2003.

Bratcher, Dennis. “The Season of Epiphany.” crivoice. CRI/Voice Institute. 2014. Web. 3 July 2015.

Cowie, L.W. & Gummer, John Selwyn. The Christian Calendar. Springfield, MA: G&C Merriam Company, 1974.

Dues, Greg. Catholic Customs & Traditions. Mystic, CT: Twenty-Third Publications, 1989.

“Feast of the Baptism of the Lord Sunday After the Epiphany of the Lord.” instituteforchristianformation. 11 Jan. 2015. Web. 5 Jul. 2015.

“Feast of the Transfiguration.” episcopalchurch. Domestic and Foreign Missionary Society. 2012. Web. 5 Jul. 2015.

Katski, David. “What is Epiphany?” sharefaith. n.d. Web. 4 May 2015.

Kiefer, James E. “Feast of the Transfiguration.” justus.anglican. Society of Arch Bishop Justus. 29 Aug. 1999. Web. 5 Jul. 2015.

Klein, Patricia S. Worship Without Words. Brewster, MA: Paraclete Press, 2000.

“Pope Callixtus III.” cruxnow. Boston Globe Media Partners, LLC. n.d. Web. 5 Jul. 2015.

“The Feast of the Baptism of the Lord.”, excerpted from Congregation for the Clergy. catholicculture. Trinity Communications. 2015. Web. 5 Jul. 2015.

“Transfiguration Sunday: Why Do We Celebrate It Before Lent?” umcdiscipleship.org. Discipleship Ministries, an agency of the United Methodist Church. 2015. Web. 5 Jul. 2015.

Vryhof, David Br. The Risks of Baptism. ssje. Society of St. John the Evangelist. 11 Jan. 2015. Web. 5 Jul. 2015.

i D Bratcher, Dennis. “The Season of Epiphany.” crivoice. CRI/Voice Institute. 2014. Web. 3 July 2015.ii “Baptism of the Lord.” calendarlabs. Calendarlabs.com. n.d. Web. 3 Jul. 2015.iii “Baptism of the Lord.” calendarlabs. Calendarlabs.com. n.d. Web. 3 Jul. 2015.iv “Feast of the Baptism of the Lord Sunday After the Epiphany of the Lord.” instituteforchristianformation. 11 Jan. 2015. Web. 5 Jul. 2015.v “The Feast of the Baptism of the Lord.”, excerpted from Congregation for the Clergy. catholicculture. Trinity Communications. 2015. Web. 5 Jul. 2015.vi Vryhof, David Br. “The Risks of Baptism.” ssje. Society of St. John the Evangelist. 11 Jan. 2015. Web. 5 Jul. 2015. vii Kiefer, James E. “Feast of the Transfiguration.” justus.anglican. Society of Arch Bishop Justus. 29 Aug. 1999. Web. 5 Jul. 2015. viii Cowie, L.W. & Gummer, John Selwyn, The Christian Calendar (Springfield, MA: G&C Merriam Company), p. 122.ix “Feast of the Transfiguration.” episcopalchurch. Domestic and Foreign Missionary Society. 2012. Web. 5 Jul. 2015.x “Pope Callixtus III.” cruxnow. Boston Globe Media Partners, LLC. n.d. Web. 5 Jul. 2015.xi Kiefer, James E. “Feast of the Transfiguration.” justus.anglican. Society of Arch Bishop Justus. 29 Aug. 1999. Web. 5 Jul. 2015. xii “Transfiguration Sunday: Why Do We Celebrate It Before Lent?” umcdiscipleship.org. Discipleship Ministries, an agency of the United Methodist Church. 2015. Web. 5 Jul. 2015.xiii “Transfiguration Sunday: Why Do We Celebrate It Before Lent?” umcdiscipleship.org. Discipleship Ministries, an agency of the United Methodist Church. 2015. Web. 5 Jul. 2015.xiv Bower, Peter C. Ed., The Companion to the Book of Common Worship, (Louisville, KY: Geneva Press), p. 150.

BIBLIOGRAPHY

Kirsten Foyles is a Ministry Associate at Community Presbyterian Church in Pinehurst, North Carolina where she is Director for Children and Youth Music. She currently directs a children's choir (grades K-5) and a Youth Worship Team (grades 6-12). She holds a BA from the University of Wisconsin and a law degree from the University of Louisville and works as in-house counsel for First Bank. Foyles has published articles in the Chorister, North Carolina Lawyers Weekly and various section newsletters for the North Carolina Bar Association. She is a graduate of The Choristers Guild Institute. [email protected].

Dr. Frances T. Sinclair is Associate Professor and Director of Choral Activities at Coastal Carolina University as well as Director of Music at Community Presbyterian Church in Pinehurst, NC. She holds the DMA Choral Conducting from UNC-Greensboro and the MM in Choral Conducting from Florida State University. Her choirs have performed at the Washington National Cathedral, the Lincoln Center, and the North and South Carolina Music Educators (SCMEA) conventions. They have been selected for performance at Piccolo Spoleto Festival in Charleston, SC this summer. She has twice been selected as a conductor for MidAmerica Productions Carnegie Hall Concert Series and has been the invited clinician for the SC American Choral Directors Association (SCACDA) High School Women¹s Honor Choir. She is past President and current Vice President for SCACDA and serves as an adjudicator for SCMEA State Choral Festival. She has led workshops and reading sessions at professional conferences including the ACDA Southern Division Convention. She has published articles in scholarly journals including the Choral Journal, The North Carolina Music Educator, the Chorister and is in high demand as a choral conductor/clinician. [email protected].


Contact: Dr. Gregg Porterphone: 1-800-943-9458 • fax: 1-708-748-8911 • email: [email protected]

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