Association of Lutheran Church Musicians
2013 Biennial Conference, June 30-July 3
God is
Here: Worship in a Wireless World
Valparaiso, Indiana
Wind, Pipe, and Voice
Unite: Leading Diverse Assembly Song from the Organ
Mark Mummert, workshop
leader
Christ the King Lutheran Church
(ELCA), Houston, TX
Monday, July 1, 1:30-2:30
Wednesday, July 3, 1:45-2:45
Organ Gallery at the
Chapel of the Resurrection
Inspired leadership
from musicians at organs requires attention to style, breath, pulse, context,
and images. In this time of worship renewal, organs can still lead a wide
variety of music for the worshipping assembly. This workshop will give
participants opportunity to hear, sing, and play hymns at the organ with
attention to introductions that invite, techniques that lead and support, and
sets of priorities that determine how hymns led from the organ can assist our
assemblies in proclaiming the gospel in song.
A musician at the organ leading hymns is a:
Curator of Style
Steward of Breath
Maintainer of Beat
Arbiter of Context
Seer of Images
The instrumental introduction of a hymn should:
establish the key
and pulse
inform the vocal
style
invite eager
participation
point to purpose
adapt to context
FIVE DIVERSE HYMNS
This Is My Song, ELW 887, finlandia
Text:
Lloyd Stone, 1912-1993, sts. 1-2; Georgia Harkness, 1891-1974, st. 3
Music: Jean
Sibelius, 1865-1957
Half note pulse =
50-60 (MGELW)
Aspiring, trusting
(MGELW); prayerful
Challenges:
fullness of long beats, phrases that begin off a downbeat, communal tempo
In Thee Is Gladness, ELW 867,
in dir ist freude (July 1)
Text:
Johann Lindemann, 1549-1631; tr. Catherine Winkworth, 1827-1878, alt.
Music: Giovanni
Giacomo Gastoldi, 1556-1622
Dotted half note
pulse = 50-56 (MGELW)
Energetic,
dance-like (MGELW); confident
Challenges:
communal tempo, implied hemiolas, assembly breathing, link between stanzas
The Risen Christ, ELW 390, woodlands (July 3)
Text: Nigel
Weaver, b. 1952
Tune: Walter
Greatorex, 1877-1949
Half note pulse =
62-70 (MGELW)
Majestic,
energetic (MGELW), prophetic
Challenges:
repeated notes, communal breath, tempo, shifts from legato to marcato
To You, before the Close of Day, ELW
567, iam lucis (July 1)
Text: Compline
office hymn, c. 6th century; tr. John Mason Neale, 1818-1866, alt.
Tune: Plainson
mode VI
Tempo: “A fluid
tempo that neither rushes nor moves too slowly works best.” (MGELW)
Comfort,
prayerful, expectant
Challenges:
fluidity, eighth note “rests,” the character of unaccompanied song
Thee We Adore, O Savior, ELW
476, adoro te devote (July 3)
Text:
Thomas Aquinas, 1227-1274; tr. Gerard Manley Hopkins, 1844-1889,
and
James R. Woodford, 1820-1885, alt.
Tune: Plainsong
mode V; Processionale, Paris, 1697
Tempo: “A fluid
tempo that neither rushes nor moves too slowly works best.” (MGELW)
Meditative
(MGELW), “As with all chant, this hymn flows according to the natural textual
accents. For chant, depending on the text, the
beats will be grouped in twos or threes.”
(MGELW)
Challenges: beat
groupings, phrase momentum, communal breath, fluidity
O Living Breath of God, ELW
407, vårvindar friska
Text:
Osvaldo Catena, 1920-1986; tr. Gerhard M. Catford, b. 1923
Tune: Swedish folk
tune
Quarter note pulse
= 80-100 (MGELW)
Joyful, prayerful
(MGELW), danceable
Challenges:
adapting combo, guitar, or piano accompaniment to organ, bolero style (MGELW)
Gracious Spirit, Heed Our Pleading,
ELW 401, njoo kwetu, roho mwema
Text:
Wilson Niwagila; tr. Howard S. Olsen, b. 1922 (d. 2012?)
Tune: Wilson
Niwagila; arr. Egil Hovland (1924-2013)
Quarter note pulse
= 82-92. A relaxed unhurried tempo works best. (MGELW)
Confident, joyful
(MGELW), imploring
Challenges:
adapting rhythms to organ, encouraging harmonies, avoiding the “pick-up”
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