song: psalm 107 with drum

Although Psalm 107 with drum  is associated with the season of Lent, it's a song of gratitude for any time of year. 

How to use this song
This song was originally written for those congregations with very limited musical resources. The key to success is that the songleader leads with confidence in the learning stages. All you really need is voices and a hand drum of some sort (the deeper the better), to beat a consistent pattern throughout. 

A simple drum ostinato adds gravity to the song. A guitar is great, but a drum is essential.  It is vital the songleader is very familiar with this song, making continual eye-contact with the community without peering into music. Guitar chords are provided for those with a band set up.
 
What rhythm does the drum play? 
Some suggestions for rhythms are to emulate a simple rhythmic ostinato from the rhythm of the text (eg: "Sat-is-fied").

A skilled percussionist ""all the marvellous" repeated over and over as a rhthmic ostinato is very effective. 

The simplest drum ostinato is often the most effective. Try striking the drum on the first and third beats of each bar, with a flourish to mark the end of the song. An extension of this ostinato would be to insert quavers between the first and third beats. Using the opening sung text as a guide, the drum would play LET - THANK THE LORD - HIS ENDUR -  etc...

What kind of drum?

Any type of hand drum is fine. The deeper the better. It is likely the drummer will need to concentrate on the ostinato, and refrain from singing to retain the integrity of the drum part.

The song may be used freely for worship/christian education with acknowledgement.

Please let me know if you use it in your faith community.

Print the music

How to read rhythm

How to teach a song in 4 steps

Praise to the Lord, the Almighty, the King of Cre-a-tion

This hymn has been included in the repertoire for many centuries, and is regarded by many as a 'classic'. The exact origin of this hymn tune 'Lobe den Herren' is unknown, other than that it came from the German region known as Stralsund, a trading centre that belonged to the Kingdom of Denmark in medieval times. It is quite possible this tune was a known folk tune before it was adopted as a chorale melody in the 1600s.

When the tune is allowed to stand on its own, much of its character is revealed. In triple time, it is less austere than many other old hymns, and suggests a dance-like quality.

Flavour
If you were to wander about the house singing this sing, you may well find it assumes a very different style and tempo than that we usually adopt. Traditionally this old hymn beats a grand and deliberate time, giving almost equal weight to each note and syllable. Try singing the opening now in the way your community commonly sings it, noting your pace and style.

Now try this: pick up the pace slightly, emphisising the first beat of each bar. Keep your singing light and dancy, skipping over the dotted rhythms in bars 2, 8 and 16. Clearly this old hymn has now taken on a new rhythmic character, invoking celebration rather than solemnity.

Re-thinking accompaniment
The rich chordal accompaniment is particularly beautiful, and yet to engage with this new style means the harmonic change on every note will hamper the flow. Give this hymn new life by adopting sparse accompaniment, thinking carefully about instrumentation. Brass instruments are grand, wheras tin whistle or recorder and bodhran will create an entirely different mood. By playing a simple rhythm on a hand drum, and a counter melody on tin whistle (you can use the tenor line for this) will reinvigorate this classic.

Breathing space
Now that we are all rollicking along in song we encounter a challenge. Singers will need some space at the end of the verse, similarly to that which a laong pause on the pipe-organ provided. But slowing down will damage the mood we are setting. Instead repeat the final four bars between each verse, or simply continue the rhythmic pattern on the hand drum. Songleaders can give clear non-verbal cues to the congregation for the next verse.

Introductions are vital
The purpose of an introduction is not only to remind people of the tune they are about to sing, but to set the mood and tempo. Don'tunder estimate the value of a great introduction which reveals the intention for the singing. When adopting an unfamiliar style, musical introductions become even more important. If not done with care, people will misunderstand the intention for the singing, and adopt the austere style. A short explanation at the appropriate time can alleviate confusion.

Shall we dance?
Consider using this song as an introit or processional song, and have someone dance the bible down the aisle. Consider whether the musicians themselves might be part of the procession. Don't assume this song will always be sung the same way, but refresh your approach.

Teaching the song
This is so well known and does not need teaching. As long as the instrumentalists and songleader are engaged in the style, a quick word about the different approach will be all that is required.

Let me know if you refresh this hymn in your community.

More like this in Revisting Old Treasures

About this hymn

History of chorales and use of folk tunes

For more on the region of Stralsund

Charles Wesley: hymns for labouring women and everyday suffering

It seems there was more to Charles Wesley's hymns than most of us realise. Hymns for women in labour, for smallpox sufferers, and those facing execution were amongst his collection of more than 6 000 hymns.

The reasons why these hymns of suffering dropped off the church's repertoire is the subject of a new book by Deakin University academic Dr. Joanna Cruickshank. Pain, Passion and Faith: Revisiting the place of Charles Wesley in Early Methodism.

In an era of no pain relief, such hymns may have helped to ease physical suffering in a world where women frequently died in childbirth, and fatal diseases meant a significantly shorter life expectancy than those living in the United Kingdom enjoy today.

Understanding the healing potential of music is not a new subject. Despite numerous scientific studies on the link between music and health, it remains an under-utilised practice.

Dr Cruickshank talks on radio national

More about Dr Cruickshank's book

For more on music and health, contact Australian Music Therapy Association

Starting a Band (and avoiding instrumental cacophony)

Some years ago I was invited to kick start a new church band in a tiny rural congregation in Victoria. It was a faith community that had previously been dependent on a small organ. When I arrived the prospective band members were waiting. It was possibly the most unusual instrumental combination I'd ever encountered: acoustic guitar, piano accordian, euphonium, pipe organ and clarinet.

Acknowledging the Challenges
The encounter raised some significant musical and theological challenges for me. The musicians were nervous. They had never played together before, and their previous public 'performance' experience could be recorded on one hand. The age-range of the particpants was vast, with the youngest in primary school and the oldest over 70.

Questions pinballed about in my brain as I listened to them talk:
Is it even possible to combine these instruments in a satisfactory way?
Is it possible to include people in musical leadership with such limited experience?
Is the musical result more or less important than engaging these musicians in the church's life, particularly as some had virtually no connection with the congregation in the past?
What is the minimum skill level advisable for participation in musical leadership?
When and how and should we say 'wait awhile' to those learning their instrument?


Getting Started

Learning to sit and wait for answers does not always come easily, but it often turns out to be quite fruitful. I decided to find out what each of them imagined their contribution would be. It is not unusual for the 'musical director' to have quite a different vision to that of the players. Rather than the process being director-driven,  the opportunity was offered for input from others.

We talked about the willingness and availablity of the musicians to rehearse together and to practise at home. They were all willing to work on improving their musical skills.

We explored the notion of being prepared NOT to play. For some songs, the piano accordian and clarinet would team up, for another the guitar would lead, and in the next the organist and euphonium. These various combinations not only enabled variety on accompaniment for the congregation, but meant the musicians only need to practise up one or two songs each week.

I encouraged them to make further connections with their local primary school and to invite participation from those in the school community.

What about you? 
How do you go about deciding who can and can't (yet) offer musical leadership in your faith community? How do you balance the theological imperative to encourage the developments of gifts, with the responsibilities that come with any form of leadership?
How does the musical life in your faith community reflect 'Kingdom' values?
How does your community blend unusual instruments?
Are there any instruments you regard as unacceptable for use in worship?

What to Play
For tips on how to use The King of Glory with a young band click here.

You may also be interested in
Virtual Music Barriers
How to Improve the Church Band by next Sunday

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World Music Day: singing the global church

Concerts and performances in 350 cities worldwide next Monday, will mark World Music Day (Fete de la Musique). Held June 21st each year, the festival aims to enhance the scope and diversity of all musical genres with an invitation to free and spontaneous music making. It encourages performance in non-traditional performance spaces such as museums, corporate foyers and public transport facilities, and is a non-profit enterprise.

The Global Church
Many congregations work intentionally to acknowledge their commitment to the global community through music and song. It is a powerful reminder that while our faith communities exist in a local area, they are part of an extensive network. Indeed, the irony of World Music Day is that the principles of participation, non-profit, musical diversity and spontaneity  and inclusivity are, or a least should, be the aspiration of all faith communties. Where these values are espoused, people of varying skill and expereince gather together in an spirit of generosity and goodwill, to make provision for and engage in participatory music in their faith community.


Music of the Global Church
If you'd like to recognise your community's connection to the global church, there are many music resources available. Here is just a sample:
Songs from World Council of Churches 9th Assembly (Brazil)
Global Worship Music
Freedom is Coming
For Everyone Born
Global Praise Music
Wild Goose Publications

Using Current Resources
Alternatively a leaf through any hymnbook will turn up songs of diverse origin. The key is to present these songs not as though they have western roots, but to recognise the song's origins principally by instrument choice. In other words, if you are sing a chant from Ghana, strong vocal leadership with rhythmic accompaniment on drum is preferable to a pipe organ!

In Your Community
Which songs of other lands do you sing?
How do you accompany them?
Are the songs you sing reflected by all the nationalities in your community?
Let me know how you enagage with the global church in your place.

You may also be interested in Exploring a Theology of Gratitude in the Land of Entitlement

EVENT NEXT WEEKEND - Hands, Feet and Voices

Those in Melbourne next weekend may like to register for
HANDS, FEET & VOICES
featuring Trish Watts

kicks off Ordinary Arts6pm Friday 18 June
Centre for Theology and Ministry
29 College Cres, Parkville, 3052
Melways Ref: 2B D3
Gather in the café at 6.00 pm for a movable feast of performance through the spaces of the Centre.
The following Ordinary Mortals will perform in various spaces through the building:
Jennie Gordon will speak her everyday poetry
Cameron Semmens presents
The Sweet Splendour of the Everyday
a moving meditation by Ian Ferguson
Katrina Dowling and Tony Toppi present cool,
contemporary music from Gordon Jacob’s Suite for Piano and Treble Recorder: English Dance, Lament and Burlesca alla Rumba.
Embodying the Ordinary by InterPlay® Melbourne
Julie Perrin Dog Hairs and Dressing Gowns
and featuring... Trish Watts Soul Voice
Book now by phone on 9340 8815 ASAP.
Tickets: $15.00 or $25.00 double
Enquiries info@ctm.uca.edu.auHands, Feet & Voices

New blog design

Hi Everyone,

Yes it is still 'Spirited and Singing' only I've given it a facelift.
Its a trial at this stage so let me know what you think. I reckon it a clear improvement. You will probably find some of the formatting is skewhiff. I'll be doing my best to sort this out as soon as poss.

Cheers,
Lucy

how to write a soundscape

Soundscapes are an effective way of entering into read text such as bible reading, prayers and reflections.

Choosing a text

Choose a reading that suggests concrete sounds people will readily identify with. Epistles are not going to work, but many of the parables and action stories will remain in people's memories after an effective soundscape. 

Getting started 

Type the text out for yourself.
If I am working on a bible reading, I like to allocate a separate line to each verse. This can be time consuming, but it helps me focus on parts of the text I didn't notice in my reading. It also helps to ensure sounds are spread well throughout.  

List the sounds you 'hear'.
This is not about dialogue, but other background sounds such as wind, water, footsteps, chains, crowd, animals, building etc..)  

Identify one unifying sound.
This sound may not be present the whole time, but may begin and end the soundscape. This sound is your starting point.  

Choose several other sounds from your list.  

Find a way to represent each sound.
Please don't resort to musical instruments - very few sounds will be effectively represented in this way. For example, claves (rhythm sticks) sound nothing like footsteps, but wearing shoes on your hands and 'walking' in a sandbox does. Raid your cutlery drawer, the shed, the toy box and see what you can come up with. Once a group of children I was working with used a couple of teapot coasters which, when clapped together, sounded just like wet sails on the Sea of Gallilee! Be ruthless. If it doesn't sound like the real thing, it will be a distraction.

Get rid of half your sounds
At this stage you will probably find there are some unsuccessful sounds. Lose half of them so that you have about four in total. Less definately IS more. Remember soundscapes are about leading people into the reading, not distracting them from it.

The Players
Work out how many players you will need. The reader should not play anything but should rehearse with the players, so that mutually agreed timing is decided.

Amplification
Work out how you will amplify the sounds  

Rehearse with amplification.  

Modify your plans as required.

Questions to ask

• Is the soundscape balanced?
• Do any sounds overpowering the reading.?(Remember this is not about making "sound effects".)
• Do any of the sounds detract from the reading? If so, they have to go! Be ruthless.
• How will you introduce the soundscape in the worship context?
• Where will he players be situated? My view is that soundscapes work best when the sounds are kept out-of-sight. This avoids the problem of people looking for the source of the sounds instead of engaging in the experience.

You may also be interested in Sounds Outside the Square

10 Ways to Fertilise Your Community's Musical Life

This list is a starting point, which will hopefully grow into a much more extensive list. Let's have your ideas.

1. Talk to people, and not just the musicians.
2. Don't make assumptions about which instruments can be included in the music program.
3. Find out what else your current musicians can do: can they play a second or thrid instrument, break-dance, juggle, balance-the-books, give a great massage, grow organic vegetables, fly light aircraft?
4. Run a poll to find out which songs are the community favourites.
5. Postpone the packing up and go for coffee.
6. Insist on rehearsal, resisting the time immediately before worship which impedes creativity or practice.
7. Find out who else plays a musical instrument in your faith community, or who learnt when they were younger. It can be a revelation!
8. Engage the whole community in larger musical undertakings like a sing-a-thon or a singing protest.
9. Use the money raised at the aforementioned sing-a-thon to fund a musical internship for a someone in your faith community. Perhaps a term of lessons for someone?
10. Encourage singing at meetings.

You may also be interested in Exploring a Theology of Gratitude in the Land of Entitlement