tag:rmorehead.com,2005:/blogs/musical-bits?p=2Musical Bits2017-02-03T12:05:41-05:00Robert Moreheadfalsetag:rmorehead.com,2005:Post/37492622015-06-20T22:08:58-04:002022-03-29T02:59:14-04:00Musical Musings~ Reflections on Sunday’s Music<br><em>June 21, 2015</em>
<ol style="list-style-type:lower-roman;"> <li value="5"> Our Hymn of Response~Reflections from the lyricist</li>
</ol>"Jesus Sat and Watched The Crowd" is based on the story of the widow's offering.<br>Carolyn Winfrey Gillette states: "One of the wonderful Bible stories that many children learn in church school is " the widow's mite." It is one of the first stories we learn and perhaps one of the hardest to accept. As adults, we argue with the text: "Who would take care of her, if she gave everything away? Is it practical to give away everything? Isn't careful planning and saving a better approach?"<br>Sometimes people are reluctant to give to the church because they are not happy with how every penny is being spent by the institution. It is interesting that Jesus had problems with the Temple and yet he did not allow that to become an excuse for not giving to God. Jesus still commended the woman for her faithful and sacrificial gift. God knows what is in our hearts and our wallets. And we probably know, deep inside, that giving generously and trusting God completely will lead to the richness that the widow knew when she gave everything she had."<br><br><span style="color:#FF0000;">Sunday's Prelude: Scarlatti Piano Sonatas (L 457, L 217)</span><br><span style="color:#0000FF;">Sunday's Postlude: "Toccata" from <em>God Who Blesses Us, His Name Be Praised</em>-Richman</span><br><br> Robert Moreheadtag:rmorehead.com,2005:Post/37312672015-06-05T21:15:18-04:002020-11-21T01:29:43-05:00Musical Musings~ Reflections on Sunday’s Music<br><em>June 7, 2015</em>
<ol style="list-style-type:lower-roman;"> <li value="5"> Today's Musical Offering: E'en So, Lord Jesus, Quickly Come</li>
</ol>Today's offering music is an arrangement for trumpet of Paul Manz's 1953 motet "E'en So, Lord Jesus, Quickly Come." The text of the work was primarily adapted from Revelation 22: "And night shall be no more; they need no light nor lamp nor sun, for Christ will be their all."<br>Paul and Ruth Manz composed this motet during a severe illness of their three-year old son. Ruth Manz stated the following about this challenging valley of their lives: "I think we'd reached the point where we felt that time was certainly running out so we committed it to the Lord and said, 'Lord Jesus, quickly come.'"<br>Her husband Paul began composing the piece at his son's bedside setting it with a slow (<em>adagio</em>) tempo however allowing space for the phrases to "breathe."<br>The great news is that due to a dedicated spirit of prayer their son recovered.<br>We are not granted our next hour-when will we commit our time to the Lord completely by saying " E'en so, Lord Jesus, quickly come?"Robert Moreheadtag:rmorehead.com,2005:Post/37199202015-05-28T18:55:09-04:002021-01-20T02:34:08-05:00Musical Musings~ Reflections on Sunday’s Music<br><em>May 31, 2015</em>
<ol style="list-style-type:lower-roman;"> <li value="5"> Connecting today's organ works to the story of Paul</li>
</ol>As we study Paul's Final Days as part of our Story series, we are reminded that Paul never wasted a moment. As Adam T. Barr mentions, "whether writing letters or witnessing to Roman soldiers, Paul spent his entire life sharing the gospel and caring for the young, growing churches he had planted." Today's Gathering Music is based upon the creed of the church. The first version is an earlier work of Bach and is a fugue that includes a distinctive leap of a fifth which could possibly represent a type of <em>leitmotif</em> of faith. It is also of interest that this same leap characterizes the later work of Bach (BWV 680) and one can hear it right at the beginning. A <em>basso ostinato</em> is added to the voices of the fugue and its firm tread (listen for it in the pedals) signifies a reliance on faith. <br><br><span style="color:#FF0000;">Sunday's Prelude: Wir glauben all an einen Gott (BWV 1098, 680)- J.S. Bach</span><br><span style="color:#0000FF;">Sunday's Postlude: Allegro in B-flat- Felix Mendelssohn-Bartholdy</span><br> Robert Moreheadtag:rmorehead.com,2005:Post/37117552015-05-22T17:33:36-04:002020-10-19T02:56:32-04:00 Musical Musings~ Reflections on Sunday’s Music<section class="section" id="s3" style="box-sizing: border-box; float: left; width: 650px; font-family: Lato, Arial, sans-serif; font-size: 16px; line-height: 22.3999996185303px; background-color: rgb(245, 249, 250);"><div class="pane" id="ContentPane19" style="box-sizing: border-box; margin: 0px; padding: 0px; border: 0px; outline: 0px; vertical-align: baseline; background: 0px 0px;"><article class="article hw multimedia" data-currentpage="1" data-lastupdated="" data-metrics-module="art" data-pagetotal="1" id="dyn-art" style="box-sizing: border-box; clear: both; position: relative; width: 650px;"><div class="article-content" style="box-sizing: border-box; margin: 0px; padding: 10px 15px; border-width: 1px 1px 0px; border-top-style: solid; border-right-style: solid; border-left-style: solid; border-top-color: rgb(238, 238, 238); border-right-color: rgb(238, 238, 238); border-left-color: rgb(238, 238, 238); outline: 0px; vertical-align: baseline; clear: both; background: rgb(255, 255, 255);">
<br><em>May 24, 2015</em>
<ol style="list-style-type:lower-roman;"> <li value="5"> A Musical Offering: Come, Holy Ghost, Our Souls Inspire</li>
</ol>This ninth century hymn has been sung since the 11th century at ordinations, coronations, and confirmation services. The Holy Spirit with creative energy inspires the soul, lightens with celestial fire, imparts the sevenfold gifts (See Revelation 1:4), anoints with unction (oil) to comfort, illuminates our blinded sight, cheers our soiled face, guards us from spiritual foes, and guides our paths. The melody is ancient, having first been associated with an Ambrosian Easter hymn. <em>(notes from Austin Lovelace)</em>
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<br><span style="color:#FF0000;">Sunday's Prelude: Ashokan Farewell- Ungar/Arr. Welch</span><br><span style="color:#0000FF;">Sunday's Postlude: </span> <span style="color:#0000FF;">Toccata on "Come Holy Spirit"- Macchia</span>
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</div></article></div></section>Robert Moreheadtag:rmorehead.com,2005:Post/37032302015-05-11T16:48:53-04:002021-02-15T02:19:30-05:00Musical Musings~ Reflections on Sunday’s Music<br><em>May 17, 2015</em>
<ol style="list-style-type:lower-roman;"> <li value="5">In Christ Alone</li>
</ol>"In Christ Alone" was written by Stuart Townend and Keith Getty in 2002 and is considered a modern hymn that encompasses the themes of life, death and the resurrection of Christ. Townend and Getty capture biblical truth in this hymn which according to them "will not only cause people to express their worship in church, but will build them up in their Christian lives." Stuart Townend is particularly excited about the lyrics: "The lyric excites me because it places our hope, our assurance, our eternal destiny in the right place-on the solid foundation of Christ. I know in my own life I need reminding continually not to live by my feelings or my circumstances, but by the unchanging truth of the gospel."<br><br><span style="color:#FF0000;">Sunday's Prelude- All Who Are Thirsty (Brown)</span><br><span style="color:#0000FF;">Sunday's Postlude-"Allegro" from <em>Water Music </em>(Handel)</span>Robert Moreheadtag:rmorehead.com,2005:Post/36983032015-05-07T18:09:23-04:002020-06-09T02:14:39-04:00Musical Musings~ Reflections on Sunday’s Music<br><em>May 10, 2015</em>
<ol style="list-style-type:lower-roman;"> <li value="5">The transcendence of Handel's <em>Messiah</em>
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</ol>Today, we will hear 2 movements from Handel's masterpiece that was composed in only 24 days and initially exhibited a low number of compositional errors before its first performance on April 13, 1742 in Dublin. Handel stated the following on composing the oratorio with texts selected from the King James Bible by Charles Jennens: "I did think I did see all Heaven before me and the great God Himself." On composing the "Hallelujah Chorus" he exclaimed after weeping: "Whether I was in my body or out of my body as I wrote it I know not. God knows." When his assistant checked on him in his work area, Handel held up the famous chorus and proclaimed: "I have seen the face of God!" There is no doubt that <em>The Messiah </em> of the most performed works of any composer and interestingly enough Handel did not want the credit. At the end of his score, Handel wrote the letters "SDG" for Soli Deo Gloria, which means , "To God Alone The Glory."<br><br><span style="color:#FF0000;">Sunday's Prelude: Sonata-Cherubini (Arr. Chilla)</span><br><span style="color:#0000FF;">Sunday's Postlude: "Hallelujah" from <em>Messiah</em> -Handel</span>Robert Moreheadtag:rmorehead.com,2005:Post/36843352015-04-30T16:16:36-04:002020-11-11T00:28:25-05:00Musical Musings~ Reflections on Sunday’s Music<br><em>May 3, 2015</em>
<ol style="list-style-type:lower-roman;"> <li value="5">Ave Verum Corpus-A moment for Mozart to experience Christ?</li>
</ol>Mozart, to our knowledge, did not hold strong beliefs of the Christian faith throughout his life. However, during the sickness of his wife Constanze (who was pregnant with their 6th child), he composed a short Eucharistic motet titled: "Ave Verum Corpus." The text of this motet focuses on Jesus' sacrifice on the cross for all people and the symbolism of water and blood in correspondence to communion. Wolff states that this motet "foreshadows aspects of (Mozart's) Requiem such as declamatory gesture, textures, and integration of forward- and backward- looking stylistic elements." Interestingly enough, Mozart interrupted the composition of one of his most famous operas (<em>Die Zauberflöte) </em>to compose this motet. Quite possibly Mozart may have been relating his spouse's suffering to his own as is was only six months before his own death. Of particular note is the last line of the text: "O sweet Jesus, O holy Jesus, O Jesus, son of Mary, have mercy on me." <br><br><span style="color:#FF0000;">Prelude: Christ, der du bist der helle Tag (BWV 1120); Wir danken dir, Herr Jesu Christ (BWV 1096); Du Friedefuerst, Herr Jesu Christ (BWV 1102)-J.S. Bach</span><br><span style="color:#0000FF;">Postlude: "Minuet" from <em>Music For The Royal Fireworks</em>-Handel/Biggs</span>Robert Moreheadtag:rmorehead.com,2005:Post/36759282015-04-24T18:30:36-04:002022-05-10T05:02:09-04:00Musical Musings~ Reflections on Sunday’s Music<br><em>April 26, 2015</em>
<ol style="list-style-type:lower-roman;"> <li value="5">Jeanne Demessieux's short work "Tu Es Petrus"</li>
</ol>Today's short Act of Praise contains a chant that depicts Matthew 16:18: "And I tell you, you are Peter, and on this rock I will build my church, and the gates of Hades will not prevail against it. Listen for the following in Jeanne Demessieux's setting for the organ:
<ul> <li>Its march-like quality representing the beginning of the journey of the Church of Christ</li> <li>Its rigid, stationary and fixed bass line that represents the foundation of the Church</li> <li>Its loud, declamatory statement of the chant reminding us of the victory of the Church-that God has already acquired the victory!</li>
</ul><span style="color:#FF0000;">Prelude: Largo-Handel</span><br><span style="color:#0000CD;">Postlude: Paraphrase On A Chorus In <em>Judas Maccabeus</em> (handel), Op. 90, No. 16- Guilmant</span><br> Robert Moreheadtag:rmorehead.com,2005:Post/36625612015-04-16T22:39:26-04:002020-05-23T11:58:03-04:00Musical Musings~ Reflections on Sunday’s Music<br><em>April 19, 2015</em>
<ol style="list-style-type:lower-roman;"> <li value="5">A spiritual take on a motet of Handel</li>
</ol> Today, for our Introit, the Sanctuary Choir will sing a short vocal motet of the Baroque composer. This motet is a response to Psalm 141. Chris Juby via twitter summarizes it this way: "O LORD, may my prayer be as incense. Do not turn my heart to evil. Let the righteous rebuke me. Keep me from the traps of the wicked."<br>Handel's textual response reminds us that our only response to evil and sin is trusting alone in our Savior Jesus Christ. Set in a slow tempo and indicative of small dynamic shifts, I think Handel allows the believer to hear this in a different way:<br>1. The opening statement including its simple fugue-like imitation reminds us that much vies for our attention and trust other than Christ<br>2. The softer dynamic reminds us that trusting involves Jesus living in our hearts<br>3. The louder dynamic at the finish can be considered a statement of faith as we trust God through the times of trial ("The times we want to shout") but we still remain unwavering from our commitment to Jesus.<br>I invite you to try this interpretation today. <br><br><span style="color:#FF0000;">Sunday's Prelude: "I Know That My Redeemer Liveth" from <em>Messiah</em>- Gower/Handel</span><br><span style="color:#008000;">Sunday's Postlude: "The Rejoicing" from <em>The Music For The Royal Fireworks</em>-Biggs/Handel</span>Robert Moreheadtag:rmorehead.com,2005:Post/36145452015-03-20T18:49:07-04:002020-07-10T03:40:35-04:00Musical Musings~ Reflections on Sunday’s Music<br><em>March 22 2015</em>
<ol style="list-style-type:lower-roman;"> <li value="5">Hymn History: God of Grace And God Of Glory</li>
</ol>This hymn text was composed in 1930 by Harry E. Fosdick as an opening hymn for a worship service. The theme centers around the Church's role in the world. Fosdick was a controversial preacher as he refused certain church positions because he thought they were more concerned with their wealth than with worshiping Christ. Tiffany Shomsky states, "This hymn is a prayer for God's help for the church to live in God's power and love. Each stanza concludes with a two-line petition for wisdom and courage that was originally meant to be sung to one musical phrase." In fact, the original tune set to Fosdick's text was "Regent Square" and as the librettist, he was not pleased when churches began to select "Cwm Rhondda" as the tune instead. Maybe that is due to the fact that hymnal editiors considered it to have too much vigor to be a "proper hymn tune." Nevertheless, the tune and text remain today as a bold prayer asking for God's wisdom and courage to face the problems of the everyday.<br> Robert Moreheadtag:rmorehead.com,2005:Post/36024492015-03-15T14:27:49-04:002022-05-11T04:46:44-04:00Musical Musings~ Reflections on Sunday’s Music<br><em>March 15, 2015</em>
<ol style="list-style-type:lower-roman;"> <li value="5">Jesu, Joy Of Man's Desiring-A Classical Masterwork</li>
</ol>This chorale is the last movement of J.S. Bach's 32nd cantata (BWV 147) <em>Herz und Mund und Tat und Leben.</em> ("Heart, Mouth, Deed, Life") Bach regularly composed cantatas for his congregation that would correspond with the message preached for the day. Since the service began at 7:00AM and often ended at 12:00 PM, there was ample time to present the cantata. Most people identify this work by its beginning countermelody stated in triplets, however it is the chorale that was based on the gospel of the day that is the principal theme. Today, this will be sung by our Sanctuary Choir and includes long notes in the soprano underscored by contrasting, contrapuntal in the other voices. This piece highlights Bach's mastery of extending the cadence by often using the seventh scale degree and mediants to add interest to an infectious, lyrical theme. Additionally, this work relates to the story of Esther: it is derived from a cantata about how we respond to God with our hearts, mouths, deeds and lives, something that Queen Esther certainly practiced.<br> <br> Robert Moreheadtag:rmorehead.com,2005:Post/35829202015-03-07T17:43:52-05:002021-02-04T07:01:41-05:00Musical Musings~ Reflections on Sunday’s Music<br><em>March 8, 2015</em>
<ol style="list-style-type:lower-roman;"> <li value="5">Five Things You May Not Know About Bach's Famous Fugue (BWV 565)</li>
</ol>1. It is the most famous fugue of any composer.<br>2. According to Peter Williams, it was very likely originally composed for unaccompanied violin or cello.<br>3. The primitive harmonies of thirds and sixths in the countersubjects of the fugue point to another composer possibly filling in the harmonies and as a result the work may not be composed by Bach.<br>4. Although it is a 4-part fugue, it is often in 3 or 2 voices. One time the subject is completely stated in the pedals alone.<br>5. The fugue answers are in the subdominant key instead of the dominant key.<br> Robert Moreheadtag:rmorehead.com,2005:Post/35612122015-02-26T22:18:07-05:002022-01-26T14:51:24-05:00Musical Musings~ Reflections on Sunday’s Music<p><br><em>March 1, 2015</em></p>
<ol style="list-style-type:lower-roman;"> <li value="5">Faith-based questions to the story of Daniel</li>
</ol>
<p>Today we have 2 preludes that relate to the story of Daniel. Here are some faith-based reflections for each of them:<br> <br>1. Ach Gott und Herr ("O God And Father")<br> *How often do we cry out to God in prayer like Daniel did?<br> *How far are we willing to go to declare Jesus our God and Father?<br> *Ultimately what may be the only thing that brings us peace?<br> <br>2. Ach Herr, mich armen Sünder ("O Father, My Poor Sins")<br> * How easy is it to turn away from the lifestyle Jesus wants for me?<br> * How does the Lord protect us like he did Daniel in the lions'<br> den?<br> *Is there something I am clinging to more than God?<br> </p>Robert Moreheadtag:rmorehead.com,2005:Post/35267872015-02-12T22:38:05-05:002022-03-23T07:15:48-04:00Musical Musings~ Reflections on Sunday’s Mus<br><em>February 15, 2015</em>
<ol style="list-style-type:lower-roman;"> <li value="5">Finlandia- The background of a musical tune that connects us to the concept of relying on God</li>
</ol>Today's hymn of response shares a heritage between three nations: Germany, Scotland, and Finland. The librettist was likely a Lutheran nun who was connected with a small court in Köthen, Halle in Germany. Over a hundred years later, the text was translated to English by the Jane Borthwick, a member of the Free Church of Scotland. <br> <br>The text was later paired with Sibelius's tune "Finlandia," which was originally composed for the Peace Celebrations of 1899 as Finland was being threatened by Russia. The work begins with tumultuous and gripping chords which symbolizes the struggles of the Finnish people but then closes with the theme that we will be singing today that provides resolution, hope and peace.<br> <br>The editors of the 1933 hymnal for the Presbyterian Church (U.S.A.) included this hymn as it remains powerful and profound; despite all that vies for our attention the peace of God will override all of it. Psalm 119:165 states: "Great peace have they that love your law and nothing can make them stumble."<br> Robert Moreheadtag:rmorehead.com,2005:Post/35149022015-02-08T14:27:06-05:002022-04-21T17:53:01-04:00Musical Musings~ Reflections on Sunday’s MusicFebruary 15, 2015<ol style="list-style-type:lower-roman;"> <li value="5">Finlandia- The background of a musical tune that connects us to the concept of relying on God</li>
</ol>Today's hymn of response shares a heritage between three nations: Germany, Scotland, and Finland. The librettist was likely a Lutheran nun who was connected with a small court in Köthen, Halle in Germany. Over a hundred years later, the text was translated to English by the Jane Borthwick, a member of the Free Church of Scotland. <br> <br>The text was later paired with Sibelius's tune "Finlandia," which was originally composed for the Peace Celebrations of 1899 as Finland was being threatened by Russia. The work begins with tumultuous and gripping chords which symbolizes the struggles of the Finnish people but then closes with the theme that we will be singing today that provides resolution, hope and peace.<br> <br>The editors of the 1933 hymnal for the Presbyterian Church (U.S.A.) included this hymn as it remains powerful and profound; despite all that vies for our attention the peace of God will override all of it. Psalm 119:165 states: "Great peace have they that love your law and nothing can make them stumble."<br> Robert Moreheadtag:rmorehead.com,2005:Post/33343032014-11-26T22:47:21-05:002020-11-14T01:57:39-05:00Musical Musings~ Reflections on Sunday’s Music<br><em>November 30, 2014</em>
<ol style="list-style-type:lower-roman;"> <li value="5">Meet Christ personally- Come, Thou Long Expected Jesus</li>
</ol>Today, as we sing our Hymn of Praise, I invite you to meet Christ personally and to include Him in every part of your life including the joy of singing hymns. This same sentiment would have been shared by the librettist of our text-Charles Wesley approximately 300 years ago. In fact, Wesley provides a way for the singer to personally apply the coming of Christ throughout the hymn:<br> *"Christ is the desire of every nation"<br> * "Christ is the joy of every longing heart"<br> * Christ "is born to reign in us forever."<br>Might you agree that possibly Wesley may be providing this perspective to you today: Does this mean anything to you? Is the biblical story about long-ago events or is it really about what is going on in your life?<br>There is no doubt that through this text Charles Wesley is encouraging us to a personal encounter with Christ. Will you take the step (if you haven't already) and ask Him into your heart today?<br> Robert Moreheadtag:rmorehead.com,2005:Post/33160372014-11-21T21:36:45-05:002023-12-10T11:41:55-05:00Musical Musings~ Reflections on Sunday’s Music<br><em>November 23, 2014</em>
<ol style="list-style-type:lower-roman;"> <li value="5">Christ The King Sunday Choir sings: Let All The World In Every Corner Sing</li>
</ol>Today, during the Act Of Praise our Christ The King Sunday Choir will sing a tune penned by a British Reformed pastor who moved to the United States in 1975 Erik Routley became the visiting lecturer and director of music at Princeton University and then successively at Westminster Choir College in 1976. His leadership and expertise in selecting texts and music for various hymnals (i.e. <em>The Hymnal 1982)</em> has provided us with quality music for our worship services today. Two of those hymns are part of our hymnal : #468 and # 405. At times, Routley would compose a new tune to a text that he deemed significant for congregations to grow in their faith. Within the anthem, the composer explores a new approach of singing a hymn by including the refrain before, between, and after the two stanzas demonstrating excellent text painting. Listen for the repeating text: "Let all the world in every corner sing, my God and King!"<br> <br><span style="color:#FF0000;">Sunday's Prelude: Variations on Coronation-Hancock</span><br><span style="color: rgb(0, 0, 205);">Sunday's Postlude: Variations on Coronation-Hancock</span><br><font color="#008000">Sunday's Musicians: Christ The King Sunday Choir<br> </font>Robert Moreheadtag:rmorehead.com,2005:Post/32884912014-11-14T22:11:13-05:002021-10-23T06:54:21-04:00Musical Musings~ Reflections on Sunday’s Music<br><em>November 16, 2014</em>
<ol style="list-style-type:lower-roman;"> <li value="5">Spirit of Service: A text that describes our "Exceptional Friends"</li>
</ol>Today, during the Act Of Praise our Exceptional Friends will play a hymn tune composed by Rusty Edwards, Miriam Samuelson, and Alfred Fedak. When I first selected this music for our talented "Friends," I was struck by the following verse that so well depicts the atmosphere of our rehearsals:<br> "Give us the Spirit: hearts of pure gold. Lives born for servanthood cannot grow old. Your touch is sacred. We share this love. Sacrifice teaches us; there is enough!"<br>In other words: God's Spirit blesses and bonds us together as we serve Him through our playing. Our hearts do not grow old and in fact include a childlike approach to Jesus confirming God's sacred touch. This love carries over to others and reminds us of what is important in our lives.<br>What a blessing this group of talented people is -please take a chance to thank them today. <br><br><br><span style="color: rgb(255, 0, 0);">Sunday's Prelude: Revolution Team</span><br><span style="color: rgb(0, 0, 205);">Sunday's Postlude: "Toccata" from Toccata,Adagio and Fugue (BWV 564)-J.S. Bach</span><br><font color="#008000">Sunday's Musicians: Exceptional Friends<br> Tanya Marshall, piano<br> Kylee O'Donnell, flute<br> Revolution Team<br> Sanctuary Choir</font>Robert Moreheadtag:rmorehead.com,2005:Post/32609902014-10-31T19:11:16-04:002014-10-31T19:11:16-04:00Musical Musings~ Reflections on Sunday’s Music<br><em>November 2, 2014</em>
<ol style="list-style-type:lower-roman;"> <li value="5">Hymn history: From a teenager to a Bishop</li>
</ol>Today we will have two hymns that were composed by a teenager and a bishop.<br>"My Jesus I Love Thee" will be played by the Beulah Instrumental Ensemble for today's Introit. The original text of this hymn was constructed by sixteen-year-old William Featherson of Montreal after his conversion in 1862. The tune that we know today actually was inspired by A.J. Gordon, a Baptist minister from Boston who found the original text and melody in the <em>London Hymnbook of 1864 </em>and composed a new air to the text since he disliked the original tune. The text for our Hymn of Dedication was penned by Bishop William How who drew on chapter 11 of Hebrews for his stanzas laden with the faithful deeds of heroes of the Old Testament. One should also not forget the common underlying theme of the hymn is certainly faith and hence the original title cited Hebrews 12:1: Therefore, since we are surrounded by so great a cloud of witnesses, let us also lay aside every weight and the sin that clings so closely, and let us run with perseverance the race that is set before us."<br><br><span style="color: rgb(255, 0, 0);">Sunday's Prelude: River City Brass Quintet</span><br><span style="color: rgb(0, 0, 205);">Sunday's Postlude: River City Brass Quintet</span><br><font color="#008000">Sunday's Musicians: Beulah Instrumental Ensemble<br> Anat Kardontchik, violin<br> River City Brass Quintet<br> Sanctuary Choir</font>Robert Moreheadtag:rmorehead.com,2005:Post/32442782014-10-22T00:51:00-04:002021-12-29T05:57:42-05:00Musical Musings~ Reflections on Sunday’s Music<br><em>October 26, 2014</em>
<ol style="list-style-type:lower-roman;"> <li value="5">Faith based-questions to the story of Joshua</li>
</ol>Today we have 4 music selections that relate to the story of Joshua. Here are some faith-based questions for each of them:<br>1. Hymn of Praise: "A Mighty Fortress Is Our God"~ Do we trust God to be our mighty fortress even when we have to wait like the Israelites did for the wall of Jericho to fall?<br>2. Hymn of Response: "The Battle Belongs To The Lord"~How often do we fight a battle that Jesus has already won for us?<br>3. Choral Offering: "Joshua Fit de Battle"~How could Joshua be "strong and courageous" in such intimidating situations? (taken from <em>the Story</em> p. 476)<br>4. Postlude: "Joshua Fit The Battle of Jericho"~As the trumpet plays improvisatory lines beyond the basic melody, how much does our faith need to grow beyond the basics?<br>I encourage you to take these questions home and pray with them this week.<br> <br><br><span style="color:#FF0000;">Sunday's Prelude: Trumpet Voluntary I and Trumpet Voluntary II (Rowan)</span><br><span style="color: rgb(0, 0, 205);">Sunday's Postlude: Joshua Fit The Battle Of Jericho (Arr. Utterback)</span><br><font color="#008000">Sunday's Musicians: Breathe! Bells and Choir<br> Jerry Gaudi, trumpet<br> Sanctuary Choir</font><br> Robert Moreheadtag:rmorehead.com,2005:Post/32375372014-10-17T14:07:11-04:002014-10-17T14:08:35-04:00Musical Musings~ Reflections on Sunday’s Music<br><em>October 19, 2014</em>
<ol style="list-style-type:lower-roman;"> <li value="5">Woodman-Counterpoint and Fugue in C</li>
</ol>Today's postlude is modeled after the <em>Little Eight Preludes and Fugues </em>attributed to J.S. Bach but composed in a contemporary style. The creative touch of Woodman's pen is apparent throughout both movements through his judicious use of triplets, accents, and syncopated rhythms. The harmony movement is set in the Lydian mode (raised 4th scale degree)and is composed in <em>Baroque concerto form</em> where there is an alternation between a small groups of soloists and the orchestra. In this movement it is depicted by the change of manuals and dynamics. The counterpoint movement includes a fugal theme that Woodman eventually sets in augmentation in the pedal line. After a deceptive cadence, the composer constructs a stretto where the answer of the fugue begins before the subject is completed. The Baroque characteristic of the drive to the finish is easily heard throughout this work.<br><br><span style="color: rgb(178, 34, 34);">Sunday's Prelude: Arietta (Pachelbel)</span><br><span style="color: rgb(0, 0, 205);">Sunday's Postlude: Harmony and Counterpoint in C (Woodman)</span><br><font color="#008000">Sunday's Musicians: Sanctuary Choir</font>Robert Moreheadtag:rmorehead.com,2005:Post/32259512014-10-09T21:25:19-04:002014-10-09T21:25:19-04:00Musical Musings~ Reflections on Sunday’s Music<br><em>October 12, 2014</em>
<ol style="list-style-type:lower-roman;"> <li value="5">Preludes from the Bach family</li>
</ol>Today, we will hear music from Bach's first cousin once removed, his father-in- law, and the master himself. All of the preludes are based on the well-known German chorale: "These are the holy ten commands." J.C. Bach's version is very likely an attempt at a <em>chorale fughetta</em> and only includes the first line of the original tune. Fugue-like entries begin the work also titled "In God's Name we Go" and lead to imitative writing above a D pedal point. J.M. Bach's version is longer and includes colorful ornamentation and includes the entire chorale melody in the top voice interspersed by fugal episodes. J.S. Bach's version is the shortest with only twenty measures but also the most creative. J.S. Bach derives a figure from the first phrase of the chorale which includes 5 repeated eighth notes. One can listen for the repeated notes that refer to the Holy Ten Commandments and the importance of keeping the law.<br><br><span style="color:#B22222;">Sunday's Prelude: Dies sind die heilgen zehn Gebot (J.C. Bach, J.M. Bach, J.S. Bach (BWV 635))</span><br><span style="color:#0000CD;">Sunday's Postlude: Toccata in Seven (Rutter)</span>Robert Moreheadtag:rmorehead.com,2005:Post/32153322014-10-02T22:45:50-04:002014-10-02T22:45:50-04:00Musical Musings~ Reflections on Sunday’s Music<br><em>October 5, 2014</em>
<ol style="list-style-type:lower-roman;"> <li value="5">Hakuna Mungu and characteristics of African song</li>
</ol>As we'll sing "Hakuna Mungu" as our hymn of response today, I encourage each of us to listen and experience some of the common features of African music which will certainly enhance our worship of Jesus. First, "Hakuna Mungu" is set in strophic form and has a simple, repetitive melody that functions as an <em>ostinato</em>.<br>Second, this melody consists of small melodic intervals (usually 2nds or 3rds) and has a minimal compass. Third, often additional melodies are improvised while the original melody is still being sung; today, listen for the violin <em>heterophony </em>amongst the other lines. Fourth, often African music includes glissandos, whistles, swoops and sounds of a raspy or buzzy quality. Some of these sounds will come from the guitars of the Revolution team. Lastly, movement remains a vital aspect of this genre; clapping and/or hand motions are encouraged. Robert Moreheadtag:rmorehead.com,2005:Post/32055592014-09-26T16:09:47-04:002020-06-11T07:08:56-04:00Musical Musings~ Reflections on Sunday’s Music<br><em>September 28, 2014</em>
<ol style="list-style-type:lower-roman;"> <li value="5"> A take on the nicknames of Johann Sebastian Bach's Prelude and Fugue in E Minor (BWV 533)</li>
</ol>Today's postlude certainly dates from Bach's Arnstadt period and is thus considered one of the composer's earlier works for the organ. Normally, a prelude and fugue comprises of a slower section followed by a fast section, however in this work circumstances have changed. The prelude begins with vibrant <em>passagio</em> , developing significant intensity and drama which then shift to echo-like phrases. After the pedal line in tenths, the slow (not fast!) counterpoint-laden fugue follows.<br>Now to the nicknames- The mordent on the opening notes of the fugue represents the "Night Watchman," which could possibly represent the presence of God protecting us or the presence of safety. Robert Cummings offers this explanation for the nickname "Cathedral": The music of the fugue "also conveys a busier sense, a feeling the mood is evolving from the serene but earthbound to the inspiring and heavenly."Robert Moreheadtag:rmorehead.com,2005:Post/31858582014-09-13T19:09:28-04:002014-09-13T19:09:28-04:00Musical Musings~ Reflections on Sunday’s Music<br><em>September 14, 2014</em>
<ol style="list-style-type:lower-roman;"> <li value="5">175 years of the music of Josef Rheinbegrer</li>
</ol>Today's Introit features music of the German Romantic composer Josef Rheinberger ( 1839-1901), whose tonally pure music possessed expanded harmonies of the Romantic periods while generally maintaining a Classical form. Rheinberger was a compositional master at the art of text painting and today's Introit provides us with a few examples:<br> a) The slow moving <em>cantabile</em> (song-like) movement could relate to the<br> "sweetness" of Jesus' presence.<br> b) The <em>forte</em> (loud) sections could depict the "Fountain of Light" that exceeds every joy and need.<br> c) Expanded chords outside of the expected classical harmony are used for<br> expressive purposes only and not to be brusque or flashy. The composer<br> accomplishes this with the following words: memory, Jesus and joys.Robert Moreheadtag:rmorehead.com,2005:Post/30173182014-06-15T16:12:06-04:002021-04-03T05:28:48-04:00Musical Musings on the next 4 weeks of music-check them out!June 15, 2014<ol style="list-style-type:lower-roman;"> <li value="5">The Round: Music that reminds us of our faith</li>
</ol>Today's Introit consists of three parts and will be sung as a round. The musical characteristics of "Come Let Us Sing" can help elucidate aspects of our faith in Christ. First, the foundational harmony remains consistent and is the same four chords of tonic-mediant-subdominant-dominant. This consistency reminds us that the Bible is the Word of God and also does not change. Second, the interest in the round comes from the oscillating rhythms in parts two and three. This reminds us that Jesus is constantly shaping us and encouraging us to change and grow closer to Him. Third, all singers end together on the word "come." This resembles one of the first steps to ultimate peace and fulfillment: coming to Jesus!<br><br><br>June 22, 2014<ol style="list-style-type:lower-roman;"> <li value="5">John Dunstable's <em>Agincourt Hymn</em>
</li>
</ol>Today's Postlude is based on an English melody dating from the fifteenth century. The tune is a commemoration of the British army's victory over the French in Normandy about 1415. The text of <em>Agincourt Hymn </em>concludes with the words "Deo gracias" or "Thanks be to God." Listen for a pompous, stately feel and for a ternary form within the organ registration: trumpets- full organ without trumpets- trumpets. E. Power Biggs shares the following about Dunstables's music: "He was the first to write music of clear and pleasing contours, and we may credit him with the evolution of a melodious style and successful harmonic punctuation of musical sentences."<br><br><br>June 29, 2014<ol style="list-style-type:lower-roman;"> <li value="5">What is A Rigaudon?</li>
</ol>Today's Postlude encourages us to be joyful in our faith and is reminiscent of the preceding Hymn of Dedication, which is a prayer that rests in the promises of God's love, power and presence. The rigaudon is of French descent and was developed during the Baroque period. Its structure includes predictable eight bar phrases within a duple meter. The style characteristic of the <em>concerto grosso</em> (larger group) and <em>concertino </em>(smaller group) can be identified within Böhm's dance. Listen for the difference in dynamics while pondering this thought: Is God calling us to a big challenge within our faith or is God challenging us with a small step? And even more vital; what is our response to the words of our Shepherd, are they joyful like our postlude? <br><br>July 6, 2014<ol style="list-style-type:lower-roman;"> <li value="5">Hymn History: We Gather Together</li>
</ol>The author of "We Gather Together" remains unknown, however the background of this text can be traced to the Netherlands in the first quarter of the seventeenth century. According to William and Randy Petersen, the Dutch at this time were praying for freedom from Spanish oppression and the hymn text was a written statement of proof that victory was almost in sight. William and Randy Petersen continue stating: "For these Dutch believers, "the wicked oppressing" were the Spaniards, who would "now cease from distressing," because there was no doubt that God should receive the glory for the victory." And interestingly enough a golden age of prosperity followed for Holland with gifted people like Rembrandt and Leeuwenhoek. Today, as we commemorate the birthday of our country, this hymn encourages us to give thanks and continue to pray for the phenomenal blessing Jesus has for us in the eternal kingdom-a place free from distress and oppression!<br> Robert Moreheadtag:rmorehead.com,2005:Post/30003982014-06-07T18:09:08-04:002014-06-07T18:09:08-04:00Musical Musings~ Reflections on Sunday’s Music<br><em>June 8, 2014</em>
<ol style="list-style-type:lower-roman;"> <li value="5"><span style="color:#800000;">All of our musicians collaborate for "Stir Up The Flame"</span></li>
</ol>Today's Introit was arranged with the following key words in mind: stir, ablaze and breathe. It is interesting to recognize how each of these words comes to life throughout the arrangement. First, the "stirring of the flame" is presented in the handbell part as it is set within a minimal range of toggling, neighboring pitches that gradually ascend depicting the energy the Holy Spirit provides for us. Second, it is when the choir joins the singing at the refrain that the word "ablaze" comes to life. Singing remains one of the paths that we can draw close to God and after the revolution Team sings the verse, the entry of the choir keeps the "fire ablaze." So, please remember frequently: keep the fire of the Holy Spirit through singing songs of worship to God and the added benefit is that we will draw closer to our Savior!<br><br><span style="color:#0000CD;">Other music selections:<br> <br>Gathering Music: Holy Spirit, Rain Down (Fragar)<br> Light The Fire Again (Doerksen)<br>Hymn Of Praise: Holy Spirit, Rain Down (Fragar)<br>Act of Praise: God's Gonna Set This World On Fire (Arr. Moses/Edwin Hogan)<br>Children’s Song: The Spirit Is Here (R.Morehead/Leah)<br>Hymn of Response: Come Down, O Love Divine (#313)<br>Choral Offering: O Hail This Joyful Day, arr. Schweizer (Christopher Tye)<br>Hymn of Dedication: Glorify Thy Name (Adkins)<br>Postlude: "Toccata" from <em>Symphony No. 5, </em>Op. 42 No. 5 (Widor)</span><br> <br><span style="color:#FF0000;">Sunday’s musicians:<br>1 Jeff Gamza, percussion<br>2 Anat Kardontchik, violin<br>3 Miranda Morehead, handbells<br>4 Revolution Team<br>5 Sanctuary Choir<br>6 Michael Wallace, piano and slapstick</span><br> Robert Moreheadtag:rmorehead.com,2005:Post/29661762014-05-22T22:11:13-04:002014-05-22T22:11:13-04:00Musical Musings~ Reflections on Sunday’s Music<br><em>May 25, 2014</em>
<ol style="list-style-type:lower-roman;"><li value="5">Singing Poetry~ Vulnerability that can draw us closer to Christ</li></ol>Our Introit this morning is a work of sacred poetry. Michael Hawn, Professor of Church Music at the Perkins School of Theology has the following to say about Rusty Edwards' music: "When a sacred poet shares a creation with a wider audience , it is risky business. First of all, it is risky for the poet. They have chosen to share a personal spiritual revelation with the world. "<br>Michael Hawn asks the following questions about "I Am Thankful" which I believe can help us grow closer to Christ and allow for a vulnerability that at times can come with music:<ul>
<li>What if the poet articulates a feeling that has been buried in the singer's soul so deeply that they do not want to uncover it?</li> <li>What if the poet's challenge is a prophetic word of God that makes us uncomfortable?</li> <li>What if singing the poet's creation offers delight, purpose, release, hope, peace or community?</li>
</ul> <br><span style="color:#008000;">Other music selections:<br> <br>Gathering Music: Sonata No. 1 in F Major, Op. 1 (Eugene Thayer)<br> Allegro maestoso<br> Alla pastorella<br> Variations 4+3<br>Hymn Of Praise: Come Ye Faithful, Raise The Strain (#115)<br>Act of Praise: You Have Put On Christ (Hughes)<br>Children’s Song: Alive (R.Morehead/Leah)<br>Special Music: Come Into God's Presence (Anonymous)<br>Hymn of Response: Arise, Your Light Is Come! (#411)<br>Instrumental Offering: Sonata No. 1 in F Major, Op. 1 (Eugene Thayer)<br> Variation 2+ Andante<br>Hymn of Dedication: The Star Spangled Banner <em>(INSERT)</em><br>Postlude: Andante Sonata No. 1 in F Major, Op. 1 (Eugene Thayer)<br> Variation 1+ Finale </span> <br><span style="color:#FF0000;">Sunday’s musicians:<br>Sanctuary Choir</span>Robert Moreheadtag:rmorehead.com,2005:Post/29532542014-05-17T00:40:55-04:002021-12-26T09:10:28-05:00Musical Musings~ Reflections on Sunday’s Music<br><em>May 18, 2014</em>
<ol style="list-style-type:lower-roman;"><li value="5">Jesus Christ: Our Savior!</li></ol>We continue the celebration of Jesus’ resurrection with today’s postlude by J.S. Bach. Amidst the series of countersubjects a chorale prelude with four variations take shape. In the first variation, tied notes create pungent harmonies that may possibly depict the pain Jesus went through before He rose from the dead. The interest in variation two comes from the two <em>anbasis</em> (“upward”) passages which very likely represent Jesus rising from the dead. After the chorale is introduced, the third variation <em>groppo</em> (“notes decorated with their neighbors”) forges a unique chromaticism that could possibly relate to the Jesus’ suffering for all of the world. Finally, in the fourth variation the loud pedal point below the virtuosic scalar patterns symbolizes Jesus’ defeat over death and the breaking of sin. Robert Moreheadtag:rmorehead.com,2005:Post/29360372014-05-09T21:37:33-04:002014-05-09T21:37:33-04:00Musical Musings~ Reflections on Sunday’s Music<br><em>May 11, 2014</em><br> <ol style="list-style-type:lower-roman;"><li value="5">Jesus’ resurrection-Musically Revisited</li></ol>We usually commemorate Easter Sunday with loud, upbeat and joyful music, however when we really think about it, Jesus’ resurrection was quite silent. The tomb was empty-there was no sound. Jesus was gone. Today’s introit attempts to capture this through reflective alleluias sung softly and lyrically. In Martin’s work each voice is gradually added, one by one. The simplicity and transparency of its chord progression possibly represent the beauty of Jesus’ defeat over death. “Alleluia” is derived from the Hebrew word Hallelujah and means “Praise Yahweh” “Praise Ye Jehovah” or even “Praise The Lord.”<br> <br>Other music selections:<br> <br>Gathering Music: Toccata Brevis (Gawthrop)<br>Hymn Of Praise: The Strife Is O’er (#119)<br>Act of Praise: Jesus Loves Me (Phillips)<br>Children’s Song: Alive (R.Morehead/Leah)<br>Hymn of Response: O God For Saints And Servants (<em>Insert</em>)<br>Choral Offering: Trust In The Lord (Gawthrop)<br>Hymn of Dedication: Wonders of Wonders, Here Revealed (#499)<br>Benediction: Thank You For The Love That Is In This Place (Patriquin)<br>Postlude: Andante (Litzau)<br> <br>Sunday’s musicians:<br> 1 Jeremy Bosse, organ<br>2 Credo Quintet<br>3 Sanctuary Choir<br><br> Robert Moreheadtag:rmorehead.com,2005:Post/29144322014-05-01T23:14:14-04:002014-05-01T23:14:14-04:00Musical Musings~ Reflections on Sunday’s Music<br><em>May 4, 2014</em><br> <ol style="list-style-type:lower-roman;"><li value="5">Alive- song written by Carolyn Leah and Robert Morehead</li></ol>A year ago, two Beulah staff developed a compendium of songs that would highlight the joys and truths of children growing in their faith. The Easter song of this set concerns itself primarily with two things: hearing and sharing the news. Consequently, rests were inserted after these statements to allow the singer to ponder just a bit longer about these two important aspects of the Christian faith. The music brings out the joy(!) of Christ living in believers today. First, the rhythmic movement of the melody includes dotted patterns declaring the joy of the resurrection. Second, the harmonic movement includes the mediant and a deceptive cadence, reminding us that with Christ living in us, there is always something that changes and sometimes even unexpectedly! Finally, the fermata at the end of the song is purposefully placed above the word “is” to declare that Jesus lives today!<br> <br>Other music selections:<br> <br>Gathering Music: Trumpet Rondeau in G Major (Lasky)<br> “Fanfares” from <em>Sinfonies de Fanfares </em> (Mouret)<br>Introit: The Rejoicing (Handel/Arr. Thompson)<br>Hymn Of Praise: O God, Our Help In ages Past (#210)<br>Act of Praise: Jesus Loves Me (Arr. Glasgow)<br>Hymn of Response: My Hope Is Built On Nothing Less (#379)<br>Choral Offering: For The Bread Which Thou Hast Broken (Roberts)<br>Communion Music: First Morning: Fantasy on “Morning Has Broken” (Fletcher)<br> Open Thou Thy Gates Of Beauty (Davis)<br>Hymn of Dedication: Song Of Hope (#432)<br>Postlude: “Rondeau” from <em>First Suite </em> (Mouret/Weekley/Arganbright)<br> <br>Sunday’s musicians:<br> 1 Debby Carberry, piano<br>2 Chancel Bells<br>3 Embellishments<br>4 Miranda Morehead, flute<br>5 Sanctuary Choir<br><br> Robert Moreheadtag:rmorehead.com,2005:Post/28992532014-04-25T16:03:50-04:002020-07-17T01:59:36-04:00Musical Musings~ Reflections on Sunday’s Music<br><em>April 27, 2014</em><br> <ol style="list-style-type:lower-roman;"><li value="5">With A Voice Of Singing-Martin Shaw</li></ol>Martin Shaw was a student of Charles Stanford and a friend of John Ireland, Gustav Holst and Vaughan Williams, which coincidentally if one searches for the composers’ names within pages 682-686 of our hymnal, one will find numerous hymn-tunes each of the musicians composed. This genre of English hymnody has carried over to Martin Shaw’s anthem “With A Voice Of Singing.” Composed for the Rochester Diocesan Church Choirs Association Festival in 1923, this short work features the “cathedral sound” through inclusion of the organ and its warm, consonant organ harmonies, in addition to its artful elision materialized through the juxtaposing textures of choir and organ; however it also highlights the folk genre through its altered intervals and scale degrees.<br> -‘til Sunday-Robert Morehead<br> <br>Other music selections:<br> <br>Gathering Music: “Largo” from <em>Spring</em>, Op. 8 No. 1 (Vivaldi/Wolff)<br>Introit: Improvisation on “Spirit Of The Living God”<br>Hymn Of Praise: Spirit Of The Living God (#322)<br>Act of Praise: Praise God, From Whom All Blessings Flow (#592)<br>Children’s Song: Alive<br>Hymn of Response: We Walk By Faith And Not By Sight (#399)<br>Hymn of Dedication: Spirit (#319)<br>Postlude: “Allegro” and “Allegretto” from <em>Spring</em>, Op. 8 No. 1 (Vivaldi/Wolff)<br> <br>Sunday’s musicians:<br> Sanctuary Choir<br><br> Robert Moreheadtag:rmorehead.com,2005:Post/28616672014-04-10T21:38:57-04:002020-08-13T08:09:57-04:00Musical Musings~ Reflections on Sunday’s Music<br><em>April 13, 2014</em><br> <ol style="list-style-type:lower-roman;"><li value="5">Texts for meditation</li></ol>Today, I present to you two texts to meditate on at special points during the service:<br><u>Baptism improvisation immediately following the message:</u><br> <ul><li>Christ’s resurrection is to us as the crossing of the Red Sea into new freedom;It is a baptism, this resurrection, deep into blue water to new life; it is a spring rain that springs green; it is a drink of cool water in a thirsty land; this resurrection, it is a fountain pouring forth at the center of life. A fountain. Come, all who are thirst, And drink. <em>(Susan Cherwien)</em>
</li></ul><u> During the playing of the postlude:</u><br> <ul><li>Ride on! Ride on in majesty! In lowly pomp ride on to die; O Christ, thy triumphs now begin, o’er captive death and conquered sin. Ride on! Ride on in majesty! In lowly pomp ride on to die; Bow thy meek head to mortal pain, Then take, O God thy power, and reign. <em>(Henry Hart Milman)</em>
</li></ul> -‘til Sunday-Robert Morehead<br> <br> <br> <br> <br> <br> <br> <br>Other music selections:<br> <br>Gathering Music: Valet will ich dir geben (BWV 736) J.S. Bach<br>Introit: The Children of The Hebrews (Palestrina)<br>Hymn Of Praise: The Palms (Fauré)<br>Act of Praise: Hosanna Filio David (Schubert)<br>Offertory: Hosanna In The Highest (Anonymous)<br>Hymn of Dedication: All Glory, Laud And Honor (#88)<br> <br>Sunday’s musicians:<br>1 Credo Quartet<br>2 Sanctuary Choir<br> <br>Musical musings will return Apr. 27<sup>th</sup>- Robert wishes you a spirit-filled Easter and invites you to come to Beulah on Easter Sunday to celebrate Jesus’ resurrection-<br>Music of Clarke, Christopher, Czerny, Handel and Mendelssohn will be featured.<br><br> Robert Moreheadtag:rmorehead.com,2005:Post/28461632014-04-04T20:11:50-04:002021-03-09T06:22:11-05:00Musical Musings~ Reflections on Sunday’s Music<br><em>April 6, 2014</em><br> <ol style="list-style-type:lower-roman;"><li value="5">Maurice Duruflé’s Lord’s Prayer</li></ol>The famous French organist Marie Claire-Alain said the following about Duruflé- the composer of today’s choral offering: “He did not seek to innovate; he was searching only to be sincere with himself.” Therefore, it is interesting to note that the “Lord’s Prayer” was the last work Duruflé composed, after a severe car accident in 1975 and before his eventual death in 1986. Quite possibly, Duruflé was searching for Christ’s comfort and peace. Originally composed monophonically for male voices only, the composer released a four-part version in 1978. The beauty of this work may lie within the composer’s emotional output: James Frazier states that Duruflé only composed a dozen of opus numbers, however often his music was so emotional that sometimes he was brought to tears by its melodies. <br>Musically, one can listen for the following amalgam of styles :<br> <ul>
<li>Gregorian chant within the theme</li> <li>Harmonic structures reminiscent of Impressionist composers Ravel and Debussy</li> <li>Organ influences of his teachers Dukas, Tournemire and particularly Vierne</li>
</ul> -‘til Sunday-Robert Morehead<br> <br> <br>Other music selections:<br> <br>Gathering Music: Choral Dorien (Alain)<br>Introit: Prayer Of St. Francis (Temple)<br>Hymn Of Praise: Dear Lord And Father Of Mankind (#345)<br>Act of Praise: Just As I Am (Bradbury)<br>Children’s Song: God’s Love and Guidance<br>Hymn of Response: Lord I Pray (<em>INSERT</em>)<br>Communion: Tierce en Taille (Marchand)<br> Come, Risen Lord (# 503)<br> Deck Yourself, My Soul, With Gladness (#506)<br> Now To Your Table Spread (#515)<br>Hymn of Dedication: Lord, Who Throughout These Forty Days (#81)<br>Postlude: Improvisation, Op. 1 No. 12 (Joseph Callaerts)<br> <br>Sunday’s musicians:<br>1 Exceptional Friends<br>2 Tanya Marshall, organ<br>3 Sanctuary Choir<br><br> Robert Moreheadtag:rmorehead.com,2005:Post/28291502014-03-29T17:20:22-04:002014-03-29T17:20:22-04:00Musical Musings~ Reflections on Sunday’s Music<br><em>March 30, 2014</em><br> <ol style="list-style-type:lower-roman;"><li value="5">Appalachian Lord’s Prayer</li></ol>Today ‘s choral offering sung by the Sanctuary Choir is derived of an Appalachian heritage, which has its musical influences from English ballads, Irish and Scottish fiddle music, African-American blues and hymnody. The text is also slightly altered as God’s power is seen through nature: “Beloved God, beyond the mountains, hallowed be Thy name…for thine is the kindom, the pow’r of morning, the sunset glory. According to Rick Sowash the word kin-dom is “consistent with Jesus’ teachings about being ‘kin’ with God, that is, being in the family of God as ‘kinfolk,’ a term and a concept which Appalachian persons cherish.”<br>Musically, one can listen for the following influences:<br> <ul>
<li>The beginning theme sung in unison emulates the sound of the fiddle</li> <li>The omission of the subdominant scale degree in addition to the flowing phrases point to the style of the English ballad.</li> <li>The last verse moves in homophonic motion, much like a hymn</li>
</ul> -‘til Sunday-Robert Morehead<br> <br><br> <br>Other music selections:<br> <br>Gathering Music: Vater unser im Himmelreich Georg Böhm <br>Introit: Canon-Caldara<br>Hymn Of Praise: Savior Like A Shepherd Lead Us (#387)<br>Act of Praise: Excerpts from Madrigal Sonatas 1+4 –Craig A. Penfield<br>Children’s Song: God’s Love and Guidance<br>Special Music: Lead Me, Lord- Arr. Noel Clive<br>Hymn of Response: Let All Who Pray The Prayer Christ Taught (#349)<br>Hymn of Dedication: His Eye Is On The Sparrow<br>Postlude: Sparrow Blues (Arr. Utterback)<br> <br>Sunday’s musicians:<br>1 Beulah Brass Trio<br>2 Sanctuary Choir<br><br> Robert Moreheadtag:rmorehead.com,2005:Post/27912362014-03-21T23:33:12-04:002021-07-08T12:24:42-04:00Musical Musings~ Reflections on Sunday’s Music<p><br><em>March 23, 2014</em><br> </p>
<ol style="list-style-type:lower-roman;"> <li value="5">A devotional approach to today’s Introit</li>
</ol>
<p>Today the <em>BREATHE! Bells </em>will play Ah, Holy Jesus as the Introit. The Presbyterian <em>Hymnal Companion </em>suggests that the composer of this hymn tune , Johann Crüger, “may have been influenced by the Genevan Psalter setting of Psalm 23 while composing this tune while composing it for the Augsburg confessions in 1640.”<br>Utilizing psalm 23, one can find many musical elements within the introit that relate to the truths of the scriptural text (I encourage you to listen for these):<br> </p>
<ul> <li>Whole note<em> ostinato</em> on every measure in the upper notes : Jesus’ care for us is constant and always (Psalm 23:1)</li> <li>The instrumentation of the chimes: Jesus restores our soul. (Psalm 23:3)</li> <li>Step-wise motion within the theme: Jesus guides our paths (Psalm 23:3)</li> <li>Open fifth intervals: Righteousness echoes His name (Psalm 23:4)</li> <li>Points of dissonance: Jesus is with us throughout the dark times (Psalm 23:4)</li>
</ul>
<p> -‘til Sunday-Robert Morehead<br><br>Other music selections: <br>Gathering Music: Christus, der uns selig macht (BWV 620) J.S. Bach <br> In dich hab ich gehoffet, Herr (BWV 640)<br> Vater unser im Himmelreich (BWV 636)<br>Hymn Of Praise: Kum ba Yah (#338)<br>Act of Praise: Joyful, Joyful We Adore Thee (Hager/Beethoven)<br>Children’s Song: God’s Love and Guidance<br>Hymn of Response: Lord of Light, Your Name Outshining (#425)<br>Offertory: Our Father, Lord Of Heaven and Earth (J.S. Bach)<br>Hymn of Dedication: Lead On, O King Eternal (#448+ #447)<br>Postlude: Allabreve (BWV 589) (J.S. Bach)<br><br><br> </p>Robert Moreheadtag:rmorehead.com,2005:Post/27482812014-03-14T15:25:13-04:002020-04-20T03:43:27-04:00Musical Musings~ Reflections on Sunday’s Music<br><em>March 16, 2014</em><br> <ol style="list-style-type:lower-roman;"><li value="5">Celebrating 300 years of the music of C.P.E. Bach</li></ol>On March 8<sup>th</sup> we celebrated the birthday of Carl Philipp Emanuel Bach, the son of J.S. and Maria Barbara Bach. C.P.E. Bach writes in his autobiography the following: “For composition and keyboard-playing, I have never had any teacher other than my father.”<br>It appears that J.S. Bach’s strong faith also carried over to his son, as C.P.E. composed an organ setting of a prayer titled “Out Of The Depths I Cry To You.”In today’s postlude, one can listen for the style that C.P.E. Bach perfected-some title it “mercurial Romanticism”while others simply term it <em>Empfindsamkeit</em> (Sensitivity).<br>As the selection is played, listen first for the harmonization of the chorale melody in full chords followed by its “sensitive” treatment-an accompaniment layered with syncopations, colorful scalar passages, and artistic arpeggiated chords.<br>However, compositional characteristics of C.P.E.’s Bach father are also apparent:<br> <ul>
<li>Augmented sixth chords</li> <li>Cadential treatments</li> <li>Obbligato-like textures</li>
</ul>Today, one can safely identify this work as identical to the “Allemande” of C.P.E. Bach’s Suite in E minor (Wq 62/12).<br> -‘til Sunday-Robert Morehead<br> <br> <br> <br> <br>Other music selections:<br> <br><br>Gathering Music: Like a Lion (Bashta)<br> Our Father in Heaven (Doerksen)<br>Introit: Come To Me, O Weary Traveler (Dunstan/Rowan)<br>Hymn Of Praise: What Wondrous Love Is This? (#85)<br>Act of Praise: Medley of "i LOve The Lord" and "Come To Me(Rowan/arr. Smallwood)<br>Children’s Song: God’s Love and Guidance<br>Hymn of Response: The Lord’s Prayer- <em>INSERT</em><br>Offertory: The Lord’s Prayer (Haugen)<br>Hymn of Dedication: Glorious Things Of Thee Are Spoken (#446)<br><br> <br>Sunday’s musicians:<br>1 Exceptional Friends<br>2 Tanya Marshall, organist<br>3 Keith Michael, narrator<br>4 Revolution Team<br>5 Sanctuary Choir<br>6 Michael Wallace, soloist<br><br> Robert Moreheadtag:rmorehead.com,2005:Post/27130912014-03-08T17:58:57-05:002014-03-08T17:58:57-05:00Musical Musings~ Reflections on Sunday’s Music<br><em>March 9, 2014</em><br> <ol style="list-style-type:lower-roman;"><li value="5"> 3 different ways to experience the Lord’s Prayer musically</li></ol>As we focus on the Lord’s Prayer during the season of Lent, here are three different musical approaches for you to try:<br> <ol><li>Meditative: During today’s Gathering Music, I invite you to meditate and reflect on the following scripture passages for each movement of the prelude.</li></ol>Variation 1: “On earth as it is in heaven”Matthew 6:10c<br>Variation 2: “Your will be done”Matthew 6:10 b<br>Variation 3: “Give us this day our daily bread.” Matthew 6:11<br>Variation 4: “Your kingdom come.”Matthew 6:10 a<br> <ol><li value="2">Unified: During today’s Introit, I encourage you to watch and listen to the Sanctuary choir as we present a cappella music that demands a strict focus on dynamics, tuning and timing and will require strict teamwork. Traditionally, Russian Orthodox music is sung in the church with all in attendance, since there is no choir and no director.</li></ol> 3. Lively: As the Credo Quartet sings the offertory music by Billings listen for the strong accented notes and animation which remind us as stated in the Lord’s Prayer that “Thine is the kingdom, power and glory, forever, Amen.” Also, listen for the four square sound that can possibly point out that Jesus fits everything together-all of the pieces of our broken lives.<br> -‘til Sunday-Robert Morehead<br> <br> <br> <br> <br>Other music selections:<br> <br>Hymn Of Praise: O Worship The King, All Glorious Above (#476)<br>Act of Praise: O Jesus, I Have Promised (#389)<br>Children’s Song: God’s Love and Guidance<br>Hymn of Response: The Lord’s Prayer- <em>INSERT</em><br>Offertory: The Lord’s Prayer (Billings)<br>Hymn of Dedication: More Love To Thee, O Christ (#359)<br>Postlude: Nachspiel, Op. 143 (Rinck)<br> <br>Sunday’s musicians:<br>1 Credo Quartet<br>2 Sanctuary Choir<br><br> Robert Moreheadtag:rmorehead.com,2005:Post/26683142014-02-28T21:50:58-05:002014-02-28T21:50:58-05:00Musical Musings~ Reflections on Sunday’s Music<br><em>March 2, 2014</em><br> <ol style="list-style-type:lower-roman;"><li value="5"> 3 different ways to experience “Fairest Lord Jesus”</li></ol>As part of the <em>Münster Gesangbuch </em>(“Hymnal”) of 1677, this hymn can be traced back to the reformer John Hus. According to Petersen Hus and his followers were “expelled from Bohemia and traveled to Silesia, where they became weavers and cobblers, maintaining their faith in secret.” <a href="#_ftn1" name="_ftnref1" title="">[1]</a> It is important to mention that this hymn contains no comments on persecution but instead praises a wonderful Savior during a time of distress. Here are three different ways to experience this treasured hymn:<br>First, today’s prelude contains variations of this tune: In the <strong>Chorale in baroque style</strong>, listen for the decorated beauty of the top line accenting God’s amazing creation. The <strong>Melody in Retrograde</strong> presents the hymn tune in reverse signifying Jesus as the Alpha and the Omega, the beginning and the end. Finally, the <strong>Finale </strong>will be played with gusto to remind us of the inner joy we have as Christians and that, yes, we can dance and celebrate God’s kingdom!<br>Second, the Introit played by the Chancel Bells will begin freely reminding us of the freewill God provides us out of love. After the theme is introduced above a steady, block accompaniment, contrary motion scales follow possibly depicting the bowing down of us to Jesus-how worthy of honor He is and how we are not.<br>Third, during the Hymn of Praise listen for the organ to blossom into a burst of joy and sound at the end of the third verse of the hymn: “Jesus shines brighter, Jesus shines purer, Than all the angels heaven can boast.”<br> <br> -‘til Sunday-Robert Morehead<br> <br> <br>Other music selections:<br> <br>Act Of Praise: Adoration (Handel)<br>Children’s Song: This Is Where Children Belong<br>Hymn of Response: O Wondrous Sight, O Vision Fair (#75)<br>Offertory: Ave Verum (Mozart)<br>Communion Music: “Largo” from <em>Clarinet Quintet </em>(Mozart)<br> Adagio, K. 356 (Mozart)<br>Hymn of Dedication: To God Be The Glory (#485)<br>Postlude: Celebration No. 4 in F (Keller)<br> <br>Sunday’s musicians:<br>1 Chancel Bells<br>2 Sanctuary Choir<br> <div>
<br><hr align="left" size="1" width="33%">
<div id="ftn1">
<a href="#_ftnref1" name="_ftn1" title="">[1]</a>Petersen and Petersen. <em>The One Year Book Of Hymns. </em>Wheaton: Tyndale, 1995.</div>
</div><br> Robert Moreheadtag:rmorehead.com,2005:Post/26194352014-02-21T01:07:02-05:002021-08-25T05:57:48-04:00Musical Musings~ Reflections on Sunday’s MusicFebruary 23, 2014<ol style="list-style-type:lower-roman;"><li value="5">Noel Clive’s “I Am Listening Lord”</li></ol>We sing hymns about listening for the voice of God, but I’ve never yet come across a hymn in which we could actually do that: be silent and listen for God’s still, small voice. Here is an unconventional approach for centering, stilling our spirit, and listening for the voice, <em>right in the hymn.</em> There is room to personalize the hymn, by singing or speaking one’s own name, which “forces” the worshipper to take personal ownership, and not ‘hide’ in an anonymous corporate body. Thus, we can be in joint worship, and still identify ourselves individually to the holy One. –Noel Clive<br> <br>Other music selections:<br> <br>Gathering Music: Renaissance Dances (Tyler Susato)<br>Hymn of Praise: The Church’s One Foundation (#442)<br>Act Of Praise: I Give You Praise (Berry)<br>Children’s Song: This Is Where Children Belong<br>Special Music: The Word Of God (Coleman)<br>Hymn of Response: Let Us Break Bread Together (#513)<br>Offertory: La Grace (Telemann)<br>Hymn of Dedication: Leaning On The Everlasting Arms<br>Postlude: Sonata (Speer)<br> <br> <br>Sunday’s musicians:<br>1 Beulah Instrumental Ensemble<br>2 Jeremy Bosse, organ<br>3 Anat Kardontchik, piano<br>4 River City Brass Quintet<br>5 Sanctuary Choir<br> <br><br><br> Robert Moreheadtag:rmorehead.com,2005:Post/25852232014-02-14T20:57:13-05:002014-02-14T20:57:13-05:00Musical Musings~ Reflections on Sunday’s Music<br><em>February 16, 2014</em><br> <ol style="list-style-type:lower-roman;"><li value="5"> Joe Utterback’s “Balm In Gilead”</li></ol>What is the power of the African-American spiritual? The easiest answer may be that this genre of music is a statement of hope and quite possibly faith. The wonderful news proclaimed in the text is that only Jesus brings healing and makes relationships right. “Balm in Gilead” meets the characteristics of many spirituals: sung while slaves toiled for their masters in a “working rhythm,” provided codes for slaves to escape, sung individualistically while still remaining group oriented. The text is a response to Jeremiah 8:22: “Is there no balm in Gilead? Is there no physician there?”<br>Historian James Cone states the following: “Black hope accepts history, but believes the historical is in motion, moving toward a divine fulfillment.” Joe Utterback in his arrangement accomplishes exactly this by having a soloist sing the theme in a declamatory style, commemorating history. However, the composer also accentuates the new (quite possibly a divine fulfillment) through the following: a meandering , lyrical flute countermelody; group unity through background vocal textures; jazz harmonies (seventh chords in particular) and innovative “Ivesian” compositional approaches. Let us not forget that our history is important, however the Holy Spirit can encourage us to grow at any time.<br> -‘til Sunday-Robert Morehead<br>Other music selections:<br> <br>Gathering Music: I Will Boast (Paul Baloche)<br>Wonderful, Merciful Savior (Rodgers/Wyse)<br>Introit: My Spirit Longs For Thee (Dowland)<br>Hymn of Praise: Brightest And Best Of The Stars Of The Morning (#67)<br>Act Of Praise: Above All Praise And Majesty (Mendelssohn-Bartholdy)<br>Children’s Song: This Is Where Children Belong<br>Hymn of Response: Forgive Our Sins As We Forgive (#347)<br>Hymn of Dedication: He Is Exalted (Paris)<br>Postlude: This Little Light Of Mine (Arr. Joe Utterback)<br> <br> <span style="color:#008000;"> Sunday’s musicians:</span><br> <ul>
<li>1 Credo Quartet</li> <li>2 Matt Dooley, bass soloist</li> <li>3 Anat Kardontchik, accompanist</li> <li>4 Miranda Morehead, flute</li> <li>5 Revolution Team</li> <li>6 Sanctuary Choir</li>
</ul><br> Robert Moreheadtag:rmorehead.com,2005:Post/25426592014-02-07T20:44:13-05:002022-03-19T23:15:57-04:00Musical Musings~ Reflections on Sunday’s Music<br><iframe class="justify_inline" data-video-type="youtube" data-video-id="3u6pOOkSyEY" data-video-thumb-url="http://img.youtube.com/vi/3u6pOOkSyEY/0.jpg" type="text/html" src="https://www.youtube.com/embed/3u6pOOkSyEY?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="200" width="320" allowfullscreen="true"></iframe><br><br>February 9, 2014<br><br> <ol style="list-style-type:lower-roman;"><li value="5"> Hymn History: When Morning Gilds The Skies</li></ol>The composer of this hymn is unknown, however we do know that its text was included in the <em>Catholisches Gesangbuch </em> (Catholic Hymnal) of the Roman Catholic church in Germany in the early 19<sup>th</sup> century. This hymnal originated in Würzburg, Germany. The video I attached for you above is of the area around this lovely city in the tip of Bavaria.<br>Logically, it would make sense that the river, hills, and streams of Würzburg would inspire a poet to construct a hymn that praises God of his natural wonders.<br>However, this hymn celebrates more than natural wonders. Richard Neill Donovan states that it “calls us to praise God whether we are at work or at prayer-whether in the night or the day-even when faced with the powers of darkness, which lose their power when subjected to praise to God. It calls us to praise God “thro’ all the ages long.”<br>If you haven’t watched the video yet-here is another one (Only 14 seconds) that gives you a glimpse of this location.<br><br><iframe class="justify_inline" data-video-type="youtube" data-video-id="fopy0DMSsFk" data-video-thumb-url="http://img.youtube.com/vi/fopy0DMSsFk/0.jpg" type="text/html" src="https://www.youtube.com/embed/fopy0DMSsFk?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="200" width="320" allowfullscreen="true"></iframe><br><br>Maybe, this is why the hymn was originally 28 stanzas! Please rest assured. On Sunday we will sing only four verses for our Hymn of Dedication - -‘til Sunday-Robert Morehead<br><br><br><br>Other music selections:<br> <br>Gathering Music: An Wasserflüssen Babylon ( Rinck)<br> Jesu, meine Freude (Rinck)<br>Introit: I Sing The Mighty Power of God<br>Hymn of Praise: Awake My Soul, And With The Sun (#456)<br>Act Of Praise: Doxology<br>Children’s Song: This Is Where Children Belong<br>Hymn of Response: Bring Forth The Kingdom<br>Postlude: Improvisation VII, Op. 150 No. 7 ( Camille Saint-Saëns)<br> <br>Sunday’s musicians:<br>1 BREATHE! Bells<br>2 Sanctuary Choir<br><br><br><br> Robert Moreheadtag:rmorehead.com,2005:Post/25060862014-02-01T17:28:58-05:002014-02-01T17:28:58-05:00Musical Musings~ Reflections on Sunday’s Music<br><em>February 2, 2014</em><br> <ol style="list-style-type:lower-roman;"><li value="5"> Characteristics of César Franck’s music to listen for</li></ol>This coming Sunday music of the French-Belgian composer César Franck will be played. Quite possibly the easiest way to understand this composer’s music is through his personality. Many of César Franck’s friends considered César humble, simple and reverent. I encourage you to listen for these wonderful qualities of this music from the Romantic period:<br>1.Wagnerian chromaticism and harmonies derived from the school of Franz Liszt: These harmonies can be heard during the “Quasi Andante” Gathering Music. Franck composed this work five years before his death, so as a result his harmonic language is fully developed. Franck aptly explores various combinations of chords, keys and harmonies. Listen for how the “Quasi Andante” modulates from C minor to E-flat major to F major and then to B-flat major before returning to C minor.<br>2. Structural Innovation: In Sunday’s Offertory titled “Panis Angelicus, “ Franck utilizes the technique of canon. Listen for the canon between the manuals and the pedal. The novelty can be heard in the inner voices that sound alongside the canons. <br>3. Graceful Modulations through a pivot chord or melody: During Communion, music from Franck’s collection <em>L’Organiste </em> will feature this characteristic. It is the melody in the “Poco allegretto” that creates the modulations. Next, after a modulation to the parallel minor through a pivot chord for the “Poco lento”, the “Quasi lento” follows with the melody located in the bass line that establishes the key changes and interest.<br> <br>So, why does César Franck’s remain relevant for the worship service today? I personally believe it is the humility, simplicity and reverence of it that reminds us that our lives can contain a brokenness, but they can also have a beauty because of the power of Jesus. Nothing will ever be perfect, however Christ does promise to never leave us as believers.<br> ‘til Sunday-Robert Morehead<br> <br>Other music selections:<br> <br>Gathering Music: Quasi Andante ( César Franck)<br> Prélude (Saint-Saëns)<br>Introit: Praeambulum (Scheidemann)<br>Hymn of Praise: From All That Dwell Below The Skies (#229)-Arr. Clive<br>Act Of Praise: Da Pacem Domine (Melchior Franck)<br>Children’s Song: This Is Where Children Belong<br>Special Music: Andante, Op. 39 (Tschaikovsky)<br>Instrumental Offering: Panis Angelicus ( César Franck)-Arr. Gouin<br>Communion Music: Da Pacem Domine (Melchior Franck)<br>Hymn of Dedication: Blest Are The Uncorrupt In Heart (#233)<br>Congregational Response: Blest Are The Uncorrupt In Heart (#233)<br>Postlude: <em>Pièces Posthumes</em>, No. 8, 7, 8 (FWV 24) ( César Franck)<br> <br> <br> <br>Sunday’s musicians:<br>1 Beulah Brass Trio<br>2 Tom Fitzpatrick, horn<br>3 Sanctuary Choir<br><br> Robert Moreheadtag:rmorehead.com,2005:Post/24643012014-01-24T23:13:15-05:002022-03-16T02:31:25-04:00Musical Musings~ Reflections on Sunday’s Music<br><em>January 26, 2014</em><br><br> <ol style="list-style-type:lower-roman;"><li value="5"><strong> The Parable of The Sower musically realized</strong></li></ol>This coming Sunday this important parable from scripture will be depicted musically in four different places.<br>1. The Introit “A Sower Came From Ancient Hills” : This text of Herman Stuempfle, Jr. will be sung and played by the Revolution Team and Sanctuary Choir. Women and men will alternate phrases to create the effect of the sowing of the seed. The seed will "die and rise" during Michael Wallace's solo with finally the choir singing the last verse in unison and accapella to depict Christ coming among us.<br>2. The Hymn of Praise “Discipleship Song” : This text written by Noel Clive ends with the phrase :From seeds wide- scattered , fruit may we see.<br>3. The Parable Of The Sower And The Soils: The Beulah Drama Team will mime the scripture reading of Mark 4:1-20, in addition to small musical “vignettes” throughout. Be ready for the big diminished seventh chord on the word “choke” and also listen for the final hymn tune played after the seed is sown on good soil. Can you recognize the tune or maybe the text?<br>4. The Hymn of Response “ A Sower’s Seed Fell On A Path”: This hymn allows us to turn part of the the Parable of the Sower into a prayer: “Lord give us ears to hear your Word and hearts where seed can grow.” Also, the organ will “textpaint” the following words and phrases: rocky ground, tangling snare, choke, fell and grow.<br> ‘til Sunday-Robert Morehead<br> <br> <br> <br> <br>Other music selections:<br> <br>Gathering Music: Ever, Only All for Thee (David Ward)<br> Across The Lands (Townend/Getty)<br>Act Of Praise: Shine Jesus Shine (Kendrick)<br>Children’s Song: This Is Where Children Belong<br>Choral Offering: Jubilate Deo (Berthier)<br>Hymn of Dedication: Come , Sing O Church In Joy (#430)<br>Congregational Response: Discipleship Song (Clive)<br>Postlude: Allegro Moderato Maestoso (Mendelssohn-Bartholdy)<br> <br>Sunday’s musicians:<br>1 Beulah Drama Team<br>2 Revolution Team<br>3 Sanctuary Choir<br><br><br> Robert Moreheadtag:rmorehead.com,2005:Post/24228772014-01-17T23:13:14-05:002014-01-17T23:13:14-05:00Musical Musings- Reflections On Sunday's MusicJanuary 19, 2014<br> <ol style="list-style-type:lower-roman;"><li value="5"> 5 Text painting moments in “Trust and Obey”</li></ol>This Sunday, the Sanctuary Choir will present an anthem composed for the Biola University Chorale by Edwin T. Childs. I believe there are many ways the composer makes the text “come alive” in the music and I would like to point some of these out to you. <br>1. The piano accompaniment shifts between flowing triplets and strictly metered eighth notes possibly symbolizing our journey with God and how it is quite unexpected at times<br>2. Clearer enunciation and a slight separation at “not a doubt nor a fear”: I believe Christ does not want us to fear and certainly we should have no doubt that Christ has promised to never leave us as Christians.<br>3. “But we never can prove the delights of his love…: Here, the men will sing this text with a delay to represent a moment of reflection. Sometimes we need to ponder about how Christ changes everything once we surrender to Him.<br>4. Consistent legato generally throughout: Legato means “smoothly connected” and this articulation can represent the beauty of Christ living within us throughout the journey.<br>5. Tenuto markings (slight hold) at “for There’s No other way..: This slight lengthening and accent of the following text possibly represents the truth that Jesus is the only answer for our lives.<br>Ok, I will admit that to listen for all five of these may seem difficult, however, it should be manageable to listen for one or two of these five. May God’s presence become more real to you as you listen to this anthem on Sunday.<br> ‘til Sunday-Robert Morehead<br> <br> <br>Other music selections:<br> <br>Gathering Music: <em>Arietta</em> (Pachelbel)<br>Introit: “Variatio 5” from <em>Arietta</em> (Pachelbel)<br>Hymn of Praise: What Star Is This, With Beams So Bright (#68)<br>Act Of Praise: You Raise Me Up (Graham/Lovland)<br>Children’s Song: This Is Where Children Belong<br>Hymn of Response: We Are Called<br>Hymn of Dedication: Fight The Good Fight (#307)<br>Postlude: “Carillon” from <em>An American Organ Mass </em>(Purvis)<br> <br>Sunday’s musicians:<br>1 Beth Hurrell, vocalist<br>2 Nathan Hurrell, vocalist<br>3 Bob Mc Adams, guitarist<br>4 Sanctuary Choir<br><br> Robert Moreheadtag:rmorehead.com,2005:Post/23208742014-01-02T21:49:16-05:002021-06-09T03:51:55-04:00Musical Musings~Reflections on this Week's MusicJanuary 5, 2013<br> <br> <ol style="list-style-type:lower-roman;"><li value="5">Jazz for the New Year</li></ol>This Sunday, we will be starting the new year of 2014 off with some lovely jazz. The prelude will feature Debby Carberry and I on the piano playing duets composed by Catherine Rollin.<br>A swaying lilt begins the waltz of “We Three Kings Of Orient Are” and it is the notes placed on off beats and seventh chord extensions that give this selection a “jazzy flavor.” In “Angels We Have Heard on High,” Catherine Rollin utilizes the technique of swinging the notes and the judicious and profound placement of rests. I encourage you to listen to them very carefully as they may easy to miss. Finally, “Joy To The World” rounds off the set with swung eighth notes within a C major scale. Listen for the walking bass in the lower portion.<br>To create a cyclical effect, we will begin our worship service with a jazz waltz and end it with one as well. The postlude, crafted by Dr. Joe Utterback, is titled “Song of Magi” and is based on the popular Christmas Carol “We Three Kings.” This work is a great example of how music can describe various methods of walking. Added embellishments (i.e. slides and tremolando) color the theme throughout. Listen closely for the articulation in the left hand, that will at times be staccato. After the theme is introduced twice, a two-part blues follows in the manuals and pedals with the pedals depicting the walking bass. The end of the piece emulates a processional that could take place in New Orleans as it swings and hops and slides. <br> <br> ‘til Sunday-Robert Morehead<br> <br> <br>Other music selections:<br> <br>Introit: Who Would Think That What Was Needed (John Bell)<br>Hymn of Praise: Joy To The World (#40)<br>Act Of Praise: ‘Twas In The Moon Of Wintertime (#61)<br>Children’s Song: This Is Where Children Belong<br>Hymn of Response: All Things Bright And Beautiful (#267)<br>Choral Offering: A Stable Lamp Is Lighted (Wilbur/Hurd)<br>Communion Music: The Nativity, Lullaby Medley, Pastorale (Arr. Ann Buys)<br>Hymn of Dedication: Good Christian Friends Rejoice (#28)<br> <br>Sunday’s musicians:<br>1 Debby Carberry, pianist<br>2 Sanctuary Choir<br> <br>Musical Musings will take a one week break and return for the week of 1/22 <br><br> Robert Moreheadtag:rmorehead.com,2005:Post/22324602013-12-14T17:21:41-05:002013-12-14T17:21:41-05:00Musical Musings~ December 15, 2013Musical Musings~ December 15, 2013<br> <ul><li>5 reasons why “Wie soll ich dich empfangen” is my favorite Carol</li></ul> <br> <ol>
<li>Growing up in Germany, I remember this tune and how much joy it added to the Advent and Christmas season.</li> <li>The melody is beautiful and sits in a comfortable range.</li> <li>I remain fascinated by the alternation of the duple to triple to duple time signatures. Maybe it is by chance, however I find it quite interesting that the triple meter accompanies the words “O Jesus…”. Often it was customary to refer to the Trinity when something was composed in triple meter particularly at the time of Johann Crueger.</li> <li>The text is the best way to prepare for Christmas: “How shall I receive You and how will I meet You? O, (You), the desire of the world and the longing of my soul? O Jesus, give me the torch (the light) so that what brings You joy can be known to me.”</li> <li>It transfers magnificently to the organ.</li>
</ol> <br> <br>By the way, listen for this carol, as it will be our introit for this week, sung by the Credo Quartet. -‘til Sunday<br> <br>Robert<br> Robert Moreheadtag:rmorehead.com,2005:Post/21756072013-12-05T22:06:30-05:002020-10-14T00:33:52-04:00Musical Musings~ Reflections on Sunday’s Music<br><em>December 8, 2013</em><br> <ol style="list-style-type:lower-roman;"><li value="5">The oldest surviving complete example of a musical composition</li></ol>This Sunday, there are so many musical moments to look forward to and experience (i.e. our Candlelight Carol service at 5 PM), however, I’d like to focus on something more unique for this blog.<br>Our Postlude at the 11 AM service on Sunday will feature Tanya Marshall playing the organ and our Exceptional Friends adding tone colors to the Song of Seikilos.<br>Older music does exist, however these works are primarily in fragments. The text of the Seiklos score is the following: “While you live, shine, don’t suffer anything at all; life exists only a short while, and time demands its toll.” George Landels dates this score from around 200 BC to 100AD. What is truly compelling is that this music may have been around at the time of Jesus or even at the time of Paul. <br>Portions of the text can apply for Christians- Jesus does call us to “shine our lights” and it is important to remember how short life can be and that it truly is a gift of God. <br>On Sunday , listen for the Exceptional Friends to add their talented ringing to the score that sounds similar to a hydraulic organ.<br> ‘til Sunday-Robert Morehead<br> <br>Other music selections:<br> <br>Gathering Music: Two Preludes on <em>Divinum Mysterium</em> (Arr. Held/Ragatz)<br>Advent Candle: Kindle This Flame Of Peace<br>Hymn of Praise: O Come, O Come Emmanuel (#9)<br>Act Of Praise: While We Are Waiting, Come (Cloninger/Cason)<br>Children’s Song: We Are Waiting<br>Hymn of Response: Of The Father’s Love Begotten (#309)<br>Choral Offering: Divinum Mysterium (Arr. Robert Morehead)<br>Hymn of Dedication: People Look East(#12)<br> <br>Sunday’s musicians:<br>1 Ed Bryson, organist<br>2 Exceptional Friends<br>3 Tanya Marshall, accompanist<br>4 Miranda Morehead, flute<br>5 Sanctuary Choir<br> Robert Moreheadtag:rmorehead.com,2005:Post/21266742013-11-28T00:24:47-05:002021-02-18T06:35:18-05:00Musical Musings~ Reflections on Sunday’s MusicDecember 1, 2013<br> <ol style="list-style-type:lower-roman;"><li value="5">Picardy</li></ol>This Sunday, the message will be based on the hymn “Let All Mortal flesh Keep Silence” sung normally to the tune of <em>Picardy.</em><br>Our Gathering Music will begin with a jazzy arrangement of the tune by Joe Utterback. After chord streams over various pedalpoints, Utterback introduces the theme over descending and rising chordal patterns. Towards the middle of the work it is eighth note patterns , now found in twos, that increase the drama below the chimes that state the theme. After Utterback, Te Velde’s arrangement will be played. This version of <em>Picardy </em>includes a pedalpoint at times including two notes in the pedal line within a basic trio structure where the cantus firmus is present in the tenor range.<br>At the Offering the Sanctuary Choir will present Gustav Holst’s choral arrangement of the same tune. Each subsequent verse occupies a significance:<br>Verse 1 will be a solo above humming voices, verse 2 will be a solo only, verse 3 will include the choir singing in parts singing chords Renaissance-like and often in fifths, verse 4 will include a final, declamatory statement of the choir that will build to a rousing climax and “Amen.”<br>The postlude by Frühauf will shift between loud and soft dynamics as the tune of <em>Picardy </em>is once again presented in all of its grandeur. Listen for stylistic techniques of the toccata: running, repeated triplets; big chords; French harmonies, variations of touch between legato, staccato, and marcato, and even at times portato.<br> ‘til Sunday-Robert Morehead<br> <br>Other music selections:<br> <br>Advent Candle: Kindle This Flame Of Hope<br>Hymn of Praise: O Lord How Shall I Meet You? (#11)<br>Act Of Praise: On Jordan’s Bank The Baptist Cry (#10)<br>Children’s Song: We Are Waiting<br>Hymn of Response: Let All Mortal Flesh Keep Silence (#5)<br>Communion Music: Veni Emmanuel and wie soll ich dich empfangen- arr.Rübsam<br>Hymn of Dedication: Rejoice! Rejoice Believers (#15)<br> <br>Sunday’s musicians:<br>1 Anat Kardontchik<br>2 Miranda Morehead, soloist<br>3 Graham Morehead, soloist<br>4 Sanctuary Choir<br> Robert Moreheadtag:rmorehead.com,2005:Post/20926492013-11-21T18:04:43-05:002021-12-29T05:53:32-05:00Musical Musings~ Reflections on Sunday’s Music<br><em>November 24, 2013</em><br> <ol style="list-style-type:lower-roman;"><li value="5">Christ The King Sunday: Songs and Genres to Honor The King!</li></ol>This Sunday, all of our music will be royal and honoring to our King and Savior Jesus. A sprite introit for organ composed by Rebecca Te Velde will commence our morning service of worship. Functioning at times as a <em>bicinium</em>, the tune of John Darwall appears in fragments. The “bubbly” and bright registration of 8’ and 2’ flutes will be used. Our hymns will be played in a spirit of praising the King and will include <em> Coronation, Darwall’s 148<sup>th</sup> and Marion.</em> Expect a few more decorations, trills, and colorful additions as the music will burst forth with joy!<br>Additionally, our Christ The King Choir will sing one of the gospel songs that has swept the nation within the last three decades titled “Hallelujah, Salvation, and Glory” composed by Jeffrey La Valley. This song will begin by introducing the three sections and then finally layering each one of them. Improvisation and congregational responses will be encouraged. Also, expect a reprise of the tune at some point during the service. <br>Composer Noel Clive has fashioned the text for our Choir Offering and I include his notes here: "Perhaps because I grew up in the vicinity of <em>Christ The King</em> elementary school, this festal Sunday in the liturgical calendar has always had a Roman Catholic feel about it for me. Various branches of the body of Christ celebrate Jesus’ lordship differently; it’s not often that we take time to praise Christ directly.<br>Because of the Roman Catholic, “latin-ate” sense of the occasion, I cast the text as a kind of ‘macaronic’ song: Latin and English. Christ reigns, Christ is victorious, Christ is King: these are all truths we profess. Pairing the text with Beethoven’s tune seemed appropriate as well, Christ’s triumph being the core of our joy in faith."<br> ‘til Sunday-Robert Morehead<br> <br>Other music selections:<br> <br>Gathering Music: <br>A Fugue or Voluntary-William Selby<br>Voluntary- Mason&Webb’s <em>Musical Library</em><br>Voluntary “Before Service”- Charles Zeuner<br>Hymn of Response: Seek Ye First (#333)<br>Postlude: “Toccata” from Symphony No. 5- Widor<br> <br>Sunday’s musicians:<br>1 Christ The King Choir<br> Robert Moreheadtag:rmorehead.com,2005:Post/20586872013-11-15T21:08:25-05:002023-12-10T11:32:47-05:00November 17, 2013-Hymn HistoryMusical Musings~ Reflections on Sunday’s Music<br><em>November 17, 2013</em><br> <ol style="list-style-type:lower-roman;"><li value="5">Hymn History: Be Thou My Vision (<em>Slane</em>)</li></ol>The text for this hymn is derived from an ancient Irish poem, “Rob tu mo bhoile, a Comdi cride” dating from around A.D. 700. Mary Elizabeth Byrne first translated this text and included it in the journal <em>Erin </em> in 1905. Mary Bryne was also the coauthor of the <em>Old and Mid-Irish Dictionary. </em> Eleanor Hull versified it several years later.<br>At the time of A.D. 700, the Irish church was missional in outreach and with much fervor. At times ,some thought that the missional outreach “absorbed all national thought and passion.” So, I find it no coincidence that this beautiful Irish text arose at this time. <br>Bryne’s text was matched with an Irish ballad tune named for Slane, a hill near Tara, Ireland. There is a wonderful connection for this tune with our theme for Sunday which is “Stewardship of the Heart.” The text speaks of yearning for the presence and leadership of God in our lives. It is these tender phrases that follow that I believe can begin to awaken our focus to Stewardship of the Heart:<ul>
<li>Lord of my heart</li> <li>Thy presence my light</li> <li>Bright heaven’s Sun</li> <li>Heart of my heart</li>
</ul>Kenneth W. Osbeck has found the best way to summarize this hymn: “The text states that when we allow God to have first place in our lives, He becomes our treasure, we care no more for the pursuit of riches or ‘man’s empty praise.’”<br> ‘til Sunday-Robert Morehead<br> <br>Other music selections:<br> <br>Gathering Music: <br>Come, Holy Spirit, Come-David L. Ward<br>Take My Life-Giglio/Tomlin<br>Introit: Westminster Chimes-Exceptional Friends <br>Act Of Praise: “Quoniam Tu Solus Sanctus” from <em>Gloria</em>- Vivaldi<br>Special Music: Now Thank We All Our God (NUN DANKET)<br>Hymn of Response: God Whose Giving Knows No Ending<br>Instrumental Offering: “Adagio” from Sonata No. 3 in C Major (BWV 1005)-<br>J.S. Bach<br>Hymn of Dedication: Lord Of All Good (#375)<br>Postlude: <em>Concertino For Trumpet And Strings</em> – Handel/Arr. R. Morehead<br> Finale<br>Sunday’s musicians:<br>1 Exceptional Friends<br>2 Anat Kardontchik<br>3 Tanya Marshall<br>4 Revolution Team<br>5 Sanctuary Choir<br>6 Michael Wallace<br> <br> Robert Moreheadtag:rmorehead.com,2005:Post/19954982013-11-05T21:56:34-05:002022-02-17T03:27:01-05:00Musical Musings~ Reflections on Sunday’s MusicMusical Musings~ Reflections on Sunday’s Music<br><em>November 10, 2013</em><br> <ol style="list-style-type:lower-roman;"><li value="5">Magnificent Bells</li></ol>The handbell choirs of Beulah will take a key part in this Sunday’s worship service at 11 AM. “All Creatures Of Our God And King” will be played at 11 AM sharp and is arrangement of the popular tune <em>Lasst uns erfreuen</em>. The theme can be found in the lower bells while the upper bells decorate the theme through triplets, cluster chords and rhythmic patterns. <br>Next, the bells will enhance our hymn of praise titled “Christ Is Made The Sure Foundation.” Here, the bell techniques of the shake and thumb damp are featured.<br>“Amazing Grace” is a favorite of many Christians and this Sunday this arrangement will not disappoint as it will begin with the Singing Bell Technique. I encourage everyone to carefully listen for the resonant, hollow sound that will fill the room to begin the work. The piece is set in 4 verses. Verse 1 includes the theme in chimes and bells above the singing bell technique. Verse 2 is a setting of the theme in extended block chords. Verse 3 continues the block chords but now also the composer incorporates the echo technique, a light tapping of the bell to the pad. Verse 4 is similar to the first verse but ends with suspended bells being struck. As you watch the bells play, it is helpful to remember that the teamwork that each of the ringers employs is a result of the grace of God. God has redeemed all of us through His death and resurrection and as a result we receive what we do not deserve-eternal life. Playing the handbells is a wonderful way to celebrate our eternity in Christ!<br> ‘til Sunday-Robert Morehead<br> <br>Other music selections:<br> <br>Gathering Music: <br>Variations on <em>America </em>–Arr. Giamanco<br>Introit: The Lord Is The Only Strength-Babawi/Campbell <br>Special Music: Lord, Whose Love In Humble Service-Arr. Ingram<br>Hymn of Response: A Living Sacrifice<br>Instrumental Offering: Simple GIfts<br>Hymn of Dedication: My Country, “Tis Of Thee (#561)<br>Postlude: <em>Variations On The Star Spangled Banner</em> – Dudley Buck<br> Fughetta-Allegro Assai<br>Sunday’s musicians:<br>1 BREATHE! Bells<br>2 Jeremy Bosse, organist<br>3 Chancel Bells<br>4 Embellishments<br>5 Linda Miller, rainstick<br> Robert Moreheadtag:rmorehead.com,2005:Post/19675232013-10-31T23:40:40-04:002020-08-13T00:57:24-04:00Musical Musings~ Reflections on Sunday’s MusicNovember 3, 2013<br> <ol style="list-style-type:lower-roman;"><li value="5">Celebrating All Saints’ Sunday</li></ol>This coming Sunday we have various selections that commemorate the festival of the Saints who have gone before us and are now in heaven for eternity. The introit titled “If You Will Only let God Guide You” reminds us of the absolute need of God’s leadership in our lives and how the many Saints practiced this before us. The arrangement is a chorale setting in G minor which ends with an interesting cadence of : bVI-iv-V-i. “Prayer” by Humperdinck will feature the “ebb and flow” of the romantic period amidst chromaticism and short phrases that cadence on surprising scale degrees.<br> The Sanctuary Choir will present the anthem “Sing Me To Heaven” by Daniel Gawthrop. This generally through-composed choral classic explores contemporary harmonies ranging from seventh chords to light dissonances. The text reminds us of the role that music plays in our lives as a form of comfort: It can be in the form of a lullaby as we are young children, it can be a love song when we fall in love and it can also be a requiem when death confronts us. On this Sunday we celebrate those souls that are now home with Jesus and have lived through these events. More importantly, the anthem reminds us that music can be used as an evangelistic tool to lead someone to take a step of faith. Yes, we cannot officially sing someone to heaven, however we can offer our song and music as a prayer to lead others to Jesus Christ which will ultimately bring them to heaven and to eternity with Jesus. This question remains for all Christians: Who do we know that does not have a relationship with Jesus and how can we pray (or sing) for them-so they can have the eternity that we share with our King, Jesus Christ?<br> ‘til Sunday-Robert Morehead<br> <br>Other music selections:<br> <br>Gathering Music: <br>La Réjouissance from <em>Music For The Royal Fireworks</em>-Handel/Fennell <br>Salvation is Created-Tschesnokov/Thompson<br>Psalm XIX: The Heavens Declare-Marcello/Fennell <br>Hymn of Praise: Open Now Thy Gates Of Beauty (#489)<br>Special Music: Come All Christians Be Committed (BEACH SPRING)<br>Hymn of Response: Come All Christians Be Committed<br>Choral Offering: Sing Me To Heaven-Daniel E. Gawthrop<br>Communion Music: My Beloved-Kari Jobe<br>I Worship You, Almighty God-Arr. Berry<br>Hymn of Dedication: For All The Saints (#526)<br>Postlude: Marche Royale-Charpentier <br>Sunday’s musicians:<br>1 Beulah Instrumental Ensemble<br>2 Jeremy Bosse<br>3 Terry Lee, organist<br>4 River City Brass Quintet<br>5 Sanctuary Choir<br>6 Sharon Smeltzer, soloist<br>7 Linda Yorkshire<br><br><br><br> Robert Moreheadtag:rmorehead.com,2005:Post/19297692013-10-25T21:54:36-04:002020-06-12T05:40:55-04:00Musical Bits-Music coming this Sunday!<br><em>October 27, 2013</em><br> <ol style="list-style-type:lower-roman;"><li value="5">Celebrating the music of Richard Purvis</li></ol>This year we celebrate the centenary of Purvis’ music. Purvis is the most famous organist from California and is widely known throughout the world as one of the most influential organists of the 20<sup>th</sup> century.<br> On Sunday, I will have the pleasure of playing “Three Novelettes” from Purvis’s published collection titled: “Organ Music From Grace Cathedral.” For almost twenty-five years Purvis was the Organist and Masters of Choristers at Grace Cathedral in San Francisco.<br>Purvis’ music is a delight to play for many reasons: its lyrical nature, its chromaticism, its harmonic color and above all else this music is written for the organist to enjoy and play.<br>Each of the Three Novelettes exhibit the same form of A-B-A’ and are composed in keys with no accidentals. The theme of Novelette I is a creative rewriting of the C major scale placed with a few leaps. The rhythm remains exactly the same in the theme from phrase to phrase. The pedal plays the C major scale up to the leading tone. In the B section, the composer creates interest by moving the key to its relative minor, by including triplets and finally, by placing rests between the phrases that do go over the bar lines.<br>In Novelette II, Purvis’ fascination with theater organ is apparent. The A section functions like a wheel that oscillates between these pieches: A, F, E-flat. The B section is a theater organ sound at its best for the pipe organ. In fact, it is tempting at times to play the pedal line with the left foot and keep my right foot on the swell box. Here in this section, the chromaticism develops the interest.<br>Novelette III is a trumpet tune and will be a delightful postlude. Once again, Purvis composes a pedal part within the C scale, however this time he chooses at a time to add a blue note or modulate the dominant key. The manual parts need to remain legato while the theme is played in a marcato manner. The middle section “pops” and “bursts” as the once again, the composer sequences the rhythmic motive through keys that would be “at home” on a theater organ.<br> ‘til Sunday-Robert Morehead<br>Other music selections:<br> <br>Introit: Do not be afraid-I am with you- Arr. Barnard <br>Hymn of Praise: My Faith Looks Up to Thee (#383)<br>Act of Praise: Laudate Nomen Domini- Christopher Tye<br>Special Music: God Is Our Refuge And Strength-Mozart<br>Hymn of Response: Faith Begins By Letting Go<br>Choral Offering: Do Not Be Afraid-I Am With You- Arr. Barnard<br>Hymn of Dedication: Take My Life (#391)<br>Congregational Response: Do Not Be Afraid-I Am With You- Arr. Barnard<br> Robert Moreheadtag:rmorehead.com,2005:Post/18769392013-10-18T00:09:01-04:002022-04-29T07:43:10-04:00Musical Bits~ Reflections on Sunday’s Music~ Amazing GraceOctober 20, 2013<br> <ol style="list-style-type:lower-roman;"><li value="5"><strong>The hymn Amazing Grace</strong></li></ol>It is the tomb stone of the Rev. John Newton, the writer of “Amazing Grace,” that displays the story of the treasured hymn of the church: “John Newton, clerk, once an infidel and Libertine, a servant of slavers in Africa, was, by the rich mercy of our Lord and Savior Jesus Christ, preserved, restored, pardoned, and appointed to preach the faith he had so long labored to destroy.”Yes, this is correct. After many years of practicing slave trading, that “wretch” met Jesus Christ and suddenly changed. Now, Newton would defend the gospel he had so long despised. Newton realized the truth of two important attributes: he was a great sinner and that Christ is a great Savior!<br> The first arrangement of this tune will be part of the Gathering Music and played on the piano. John Carter sets his arrangement in a 9/8 meter and utilizes a simple sequence of five eighth notes to drive the piece forward. A development section in B-flat major completes the rounded binary work. <br>The introit will feature the second arrangement of “Amazing Grace” now for organ. Listen for the lovely registration of the string family amongst a G pedalpoint.<br>The offertory will feature the third arrangement of “Amazing Grace” now composed by Arlen Clarke. Two note slurs define the movement of a theme that naturally rises a seventh moving to a half cadence. The 2/2 meter, selected by the composer, allows the work to rise to a climax which is found in the last measure of the piece. I often find that (for me) this meter juxtaposed with the lyrical choral parts represents a bowing down and surrendering to the throne of Jesus.<br> ‘til Sunday-Robert Morehead<br>Other music selections:<br> <br>Gathering Music: Meditation on “How Great Thou Art”-Arr. Carter<br> My Shepherd Will Supply My Need-Arr. Carter<br> Brethren, We Have Met To Worship-Arr. Carter<br>Hymn of Praise: Amazing Grace, How Sweet The Sound (#280)<br>Act of Praise: O Morning Star, How Fair And Bright (#69)<br>Hymn of Response: Brother Jude’s Advice<br>Hymn of Dedication: Love Divine All Loves Excelling (#376)<br>Postlude: Praeludium in c, Op. 37- Mendelssohn-Bartholdy<br> Robert Moreheadtag:rmorehead.com,2005:Post/18390352013-10-11T22:41:13-04:002021-12-30T03:10:27-05:00Musical Bits~ Reflections on Sunday’s MusicMusical Bits~ Reflections on Sunday’s Music<br><em>October 13, 2013</em><br> <ol style="list-style-type:lower-roman;"><li value="5">Celebrating the music of Flor Peeters (1903-1986)</li></ol>This Sunday’s worship service will feature the music of Belgian organist Flor Peeters, who was a pupil of Dupré and Tournemire, and was the organist at Malines Cathedral. Peeters managed to compose music that was a synthesis of French and Flemish styles.<br>The “Prelude and Fugue in F Dorian” demonstrates Peeters’ ability to understand and compose chant and streams of chords outside of western tonality. Most of the prelude contains long chords that explore the facets of harmony within its church mode, however the chords also provide exciting resolutions and retardations of the dissonance throughout. It is important to listen to the registration selected for both movements as this further clarifies the composer’s compositional style. The prelude requires a mélange of 8’ sound with a 4’ principal in the manuals and pedals. This principal sound is one of the characteristics of Peeters’ style. However, the listener is encouraged to listen to the 2’ principal stop (common in Belgian organs) that is in the pedal. Peeters does certainly write a fugue with most of the rules, however it is the required registration that allows the bleeding of lines to be more audible to the listener.<br>The “Aria” is Peeters best known organ work and has a plaintive melody set against pulsating chords.<br> ‘til Sunday-Robert Morehead<br>Other music selections:<br> <br>Hymn of Praise: Greet Thee, Who My Sure Redeemer Art (#457)<br>Act of Praise: Holy, Holy, Holy! Lord God Almighty! (#138)<br>Hymn of Response: He Who Began A Good Work In You<br>Offertory Music: There Is A Redeemer-Arr. R. Morehead<br>Hymn of Dedication: Lord Dismiss Us With Your Blessing (#538)<br>Postlude: Hyfrydol-Vaughan Williams<br><br><br> Robert Moreheadtag:rmorehead.com,2005:Post/17808542013-10-03T18:55:00-04:002022-02-03T10:07:36-05:00Musical Bits~Reflections on Sunday's Music~World Communion Sunday<br>
October 6, 2013<br><br>
Celebrating World Communion Sunday<br><br>
The musical focus for this worship service will be the genres of gospel and world music and I can assure you that this will be a unique celebration as we will include quite a group of talented musicians. This worship service will feature the Beulah Brass Trio, Chelsea Dawn, Jeff Gamza, Beth Hurrell, Anat Kardontchik, the Revolution Team, the River City Brass Quintet, P.J. Roup, the Sanctuary Choir and Michael Wallace.<br>
“Lift Up Your Voice” is composed by the well-known Canadian choral composer, arranger and director. Composed in a lively and energetic gospel style, the Sanctuary Choir will present this anthem in a rhythmic, accented manner rather than lyrically. You may catch yourself singing along by the end of this anthem or even clapping with the musicians as the chorus is extremely infectious: “Lift up your voice, higher, higher ev’ry day! Lift up your voice, higher; rejoice in ev’ry way!” After a series of modulations and a few musical moments for soloists and sections, the work rises to its climax through improvisation. Listen for a rousing, declamatory finish. <br>
A song from Sierra Leone will begin our celebration of communion. “We Are Coming, Lord, to the Table” will have a bright sound in addition to its rhythm. As is often in world music, improvised percussion parts are basically required. The SATB choral parts possibly represent a bowing down to the Lord through their strategically selected rhythms. <br>
It is important to mention that traditional styles will not be forgotten in this worship service. As a fresh, innovative approach to the “Great Prayer of Thanksgiving,” the liturgical responses will be sung to the tune of ville du havre or “It Is Well With My Soul.” The hymn classic “Great Is Thy Faithfulness,” composed by Chisholm and Runyan will begin our service of worship. Our brass musicians will accompany us on the refrains. <br>
‘til Sunday-Robert Morehead<br><br>
Other music selections:<br><br>
Gathering Music: Maurer-Three Pieces, Stölzel-Bist du bei mir (brass)<br>
Introit: Free Harmonization on “Praise To The Lord” (brass)<br>
Hymn of Response: Thanking You, Jesus<br>
Offertory Music: Hakuna Mungu (Revolution Team)<br>
Communion Hymn: Let Us Talents And Tongues Employ (#514)<br>
Hymn of Dedication: In Christ There Is No East Or West (#439)<br>
Benediction: May The Love Of The Lord-Poh/Lim <br>
(Revolution Team and Sanctuary Choir)<br>
Postlude: Sonata from Bänkelsängerlieder-Speer (brass)<br>
Robert Moreheadtag:rmorehead.com,2005:Post/16996662013-09-24T17:10:07-04:002021-06-28T10:20:17-04:00Musical Bits~ Reflections on Sunday’s MusicSeptember 29, 2013<br><br>
Celebrating the music of Alfred Fedak<br><br>
We continue commemorating composers that have anniversaries this month and for Sunday the 29th we will celebrate eighty years of Fedak’s music. Alfred Fedak is the Minister of Music and Arts at Westminster Presbyterian Church on Capitol Hill in Albany, NY. As one of America’s leading church musicians, he was also part of the committee that assembled the new hymnal for the Presbyterian Church. <br>
“Faith Is The Yes of The Heart” is one of Fedak’s compositions for the church choir. The hallmarks of this work are facets of Fedak’s style: unexpected harmonic progressions, creative leaps and beautiful, lyrical melodies. Although the piece is scored for organ accompaniment, it is the violin parts that create the sustaining lines. As we heard a few weeks ago with the music of Henry Smart, Fedak utilizes the proper accentuation and expression of words within the anthem, thus verifying a text that comes to life to the listener. The interludes between the verses provide the listener with a chance to contemplate the true meaning of faith.<br>
Sunday’s postlude, “A Trumpet Processional,” sparkles with rhythmic joy. Set in a rondo form (A,B,A,C,A) it is the primary section that is infectious to the ear. Just as in his choral selection, it is the unexpected harmonic progressions and creative leaps that develop the interest for the listener. The composer oscillates between major and minor chords and even at times “throws” in a few mediants. The second part of the A section shifts the theme to the left hand, while the right hand includes rhythmic imitiation which at times may appear to be canonic. <br>
Because Fedak has been an advocate and instrumental in assembling and developing hymnody for the church, I will also play a harmonization composed by Fedak for our Hymn of Response: Stand Up And Bless The Lord. Once again it is the harmonic twists that make this a great match for verse 3 of the hymn: “O for the living flame from his own altar brought, to touch our lips, our minds inspire, and wing to heav’n our thought.”<br>
‘til Sunday-Robert Morehead<br><br>
Other music selections:<br><br>
Gathering Music: Handel-Largo, Stölzel-Bist du bei mir (organ+violin)<br>
Hymn of Praise: Give Thanks, O Christian People (#552)<br>
Act of Praise: This Is The Feast Of Victory (#594)<br>
Hymn of Response: Stand Up And Bless The Lord (ST. MICHAEL)<br>
Hymn of Dedication: Ye Servants Of God, Your Master Proclaim (#477)<br>
Robert Morehead