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AcWriMo 8 & #10eleven12: Leyton DCM

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I completed this on Saturday, 10th November as my contribution to 10eleven12 but didn’t get a chance to transcribe it and upload it until today.

Words by Thomas Thurman:

Elijah thought he stood alone; you spoke of his mistake,
but took no form throughout the storm nor showed within the quake.
O Lord, whose peaceful whispering within the silence stirred
give now to those who bear your name an ear to hear your word.

You spoke to fishermen upon an uneventful day,
who left their nets without regrets and followed on the way;
O Lord of every working hour, whose voice the workers heard,
give now to those who bear your name an ear to hear your word.

When Mary wept for all you were and all that you became,
she thought you were the gardener until you spoke her name;
O Lord of happy endings, unexpected and absurd,
give now to those who bear your name an ear to hear your word.

AcWriMo 8 — Leyton — PDF
AcWriMo 8 — Leyton — MIDI robots

The whole lot is CC BY-SA. Here’s more about why. That means you don’t need to give me any money to use this hymn: you just have to make sure Thomas Thurman and I are both attributed, and if you make any derivative works (recordings et cetera) they need to also be released under the same license.

That said, if you’ve been enjoying my hymns, I’d love it if you could make a donation to the organ fund at St Andrew’s. We need to raise £25000 to repair the bellows, so far we have £5797.61 which is fantastic but only 22% of the way there.


AcWriMo 9: Poppleton 887 887

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This text by Ben Jonson is often sung to Melita:

1 I sing the birth was born tonight,
The Author both of life and light:
The angels so did sound it;
And like the ravished shepherds said,
Who saw the light and were afraid,
Yet searched, and true they found it.

2 The Son of God, th’eternal King,
That did us all salvation bring,
And freed the world from danger,
He whom the whole world could not take,
The Lord which heav’n and earth did make,
Was now laid in a manger.

3 The Father’s wisdom willed it so,
The Son’s obedience knew no “No,”
Both wills were in one stature;
And, as that wisdom hath decreed,
The Word was now made flesh indeed,
And took on Him our nature.

4 What comfort by Him do we win,
Who made Himself the price of sin,
To make us heirs of glory!
To see this Babe, all innocence,
A martyr born in our defense–
Can man forget this story?

The hymnody geeks among you will note that this tune is 887 887, and Melita is 88 88 88. Awkward, eh?

So I wrote this, instead:

AcWriMo 9 — Poppleton — MIDI robots
AcWriMo 9 — Poppleton — PDF

This has a calmer, gentler feel to it than Melita, and some slightly tricky corners which won’t be straightforward to begin with, but on the whole I like it.

The whole lot is CC BY-SA. Here’s more about why. That means you don’t need to give me any money to use this hymn: you just have to make sure I am attributed (Ben Jonson has been dead so long that his words are in the public domain anyway), and if you make any derivative works (recordings et cetera) they need to also be released under the same license.

That said, if you’ve been enjoying my hymns, I’d love it if you could make a donation to the organ fund at St Andrew’s. We need to raise £25000 to repair the bellows, so far we have £5797.61 which is fantastic but only 22% of the way there.

AcWriMo 10: Colworth CM

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Since I stumbled across them in the “confirmation” section of the New English Hymnal — in fact the one hymn makes up the entire section — I’ve liked these words by Matthew Bridges (1800-94):

1 My God, accept my heart this day,
And make it always Thine,
That I from Thee no more may stray,
No more from Thee decline.

2 Before the Cross of Him Who died,
Behold, I prostrate fall;
Let every sin be crucified,
And Christ be all in all.

3 Anoint me with Thy heavenly grace,
And seal me for Thine own;
That I may see Thy glorious face,
And worship near Thy throne.

4 Let every thought, and work, and word,
To Thee be ever given;
Then life shall be Thy service, Lord,
And death the gate of heaven.

The editors of NEH add another verse, which is probably still under copyright.

The tune in NEH is St James. It’s…well, it’s not terrible, but it’s unremarkable and unmemorable, I think. It seems as if all the really good Common Metre tunes are already strongly associated with other words: maybe by the time these ones were written the good ones were all gone?

Here’s my attempt at something a little more interesting, if perhaps less serviceable.

AcWriMo 10 — Colworth — PDF
AcWriMo 10 — Colworth — MIDI robots

This work is licensed under CC BY-SA. Here’s more about why. That means you don’t need to give me any money to use this hymn: you just have to make sure I am attributed, and if you make any derivative works (recordings et cetera) they need to also be released under the same license. (Matthew Bridges should also be attributed, but has been dead long enough that the words are public domain.)

That said, if you’ve been enjoying my hymns, I’d love it if you could make a donation to the organ fund at St Andrew’s. We need to raise £25000 to repair the bellows, so far we have £5797.61 which is fantastic but only 22% of the way there.

Good problems

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It’s getting near the time for the annual Carol Service at St Andrew’s Leytonstone, and rehearsals started last night. For the Carol Service we have a “Community Choir” — people from the community, and people from church who don’t usually sing in the choir, join us for four rehearsals (plus a run-through on the day) so that we can do some repertoire that just won’t work with lower numbers.

The first rehearsal is always a bit nerve-wracking for me: will people come? Will we have enough on each vocal part to have some semblance of balance, enough strong voices that those who are less confident can follow along despite rather short rehearsal time? How many copies of the music should I print? Will I get the choir vestry warm enough, has the “I might be able to play for you” accompanist found out whether s/he can play?

Last night was no exception. The light in the hallway is broken and I resorted to candles rather than headache-inducing flickering. I couldn’t get the door to the choir vestry unlocked for a bit, and worried it might be a rehearsal in the church with no music and inadequate heating. I realised as I was stapling the 20 music booklets together that I’d managed to omit one piece from the running order, so I’m going to have to print a supplement. Various people made their apologies and promised to attend later rehearsals. I fussed and I fretted. I rehearsed, with the “regular” choir, things for Sunday.

And people started to turn up. And they kept coming. I’d printed 20 music booklets but that included one for me, and twenty-one people turned up. That doesn’t include the three I’ve had apologies from, and the two who said they might come but weren’t sure. We nearly didn’t fit in the choir vestry.

I am delighted!

I can print more booklets, so that’s a slight inconvenience rather than a disaster. Another problem will be a lack of cassocks: we have enough for the children but certainly not enough for all the grown-ups present. So, we’ll need to decide whether to borrow some from somewhere, or have some of the choir in “smart civvies”.

These are wonderful problems to have, and I’m delighted to have them! If you’d like to add to them — especially if you sing alto or tenor/bass — the next rehearsal is Thursday 29th November at 7.30pm. It’s pretty much the most fun you can have in church, as far as I’m concerned.

If singing isn’t your thing, there’s still time to get along to the Christmas Bazaar if you’re in the area…

Post AcWriMo analysis

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At the beginning of November I set out to write and harmonise thirty hymn tunes in thirty days. The idea was that I would, at the end of November, have a body of work to point to, and also that I would brush up my rusty harmonisation skills.

I was behind on this almost from the beginning. Other considerations, like getting the music ready for Carols by Candlelight at St Andrew’s, and sorting out paperwork in advance of moving house, did need to take priority at times. And then there were the out-and-out distractions: church politics, mostly. I’m not going to go into a detailed analysis here of why I didn’t finish.

I did actually write thirty tunes. I haven’t put all of them on a computer yet. I’ve harmonised about half of them. The harmonising did start to get easier as time went on, but I do not feel I reached the level of fluency I once had. Nevertheless, I’m pleased with some of the work I’ve done, and I think that AcWriMo was a worthwhile exercise for me even if I didn’t

I’m in the new house now, but my computer isn’t, nor are most of my belongings. My hope is that once I’ve settled in (think January) I’ll be able to continue with harmonising, perhaps one hymn per week.

In the meantime, the work I did get online is available under the AcWriMo2012 tag.

Evensong at St Paul’s — from the inside

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This week I am singing with the Ontario Cathedral Singers as they are doing a “cathedral week”, singing services in cathedrals while the regular choristers are away. I met their director, and had an organ lesson with him, this past summer while visiting my parents in Canada.

We’ve sung two services in St Paul’s so far. Tomorrow (Wednesday) we’ll be at Southwark Cathedral for Evensong at 5.30pm, then on Friday back at St Paul’s for the 5pm Evensong there.

I am amused that by Friday I will have sung as many services inside St Paul’s as I did outside in October 2011. It is, of course, a very different experience, but there is a sort of stable core. The Magnificat remains revolutionary and challenging, the Nunc dimittis remains strange and wonderful, and these remain the prayers of the (wider) church.

It’s a wonderful way to bring in the New Year. I’m just sorry we aren’t doing Mattins too.

Transfiguration: updated

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I’ve corrected Transfiguration, which I wrote in 2012. The new edition corrects some slightly dodgy Italian and also one of those pesky errors where Sibelius thinks it’s okay to put two quaver rests instead of one crotchet rest.

I have also added the file to the Choral Public Domain Library.

This will be one of around five pieces performed at the Small Choirs Festival on 2nd February. We also plan to sing it at St Andrew’s Leytonstone on 10th February: it won’t be the date of the Transfiguration feast (that’s in August), but the readings are appropriate.

Transfiguration PDF

Two tunes for “Christ, whose glory fills the skies”

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Every time we sing “Christ, whose glory fills the skies” I despair a bit. The tune “Ratisbon” is… well, it’s okay, but it’s not anything to really write home about. The other tune suggested in New English Hymnal is just boring.

So I thought I’d write a couple of my own tunes for the same text. It is really a wonderful text, after all! I think that on reflection my tunes aren’t much to write home about either, but here they are anyway.

I wrote the first of these, Gordon Hill, for an RSCM hymn-writing workshop that took place on my birthday. I’ve changed the harmony since then, and I’m not entirely happy with it even now.

Gordon Hill PDF
Gordon Hill MIDI

The other, Farmer Road, I wrote in the final stages of AcWriMo2012, when I had given up on harmonising everything and was just cranking out tunes. I only harmonised it this afternoon, but technically it’s AcWriMo 28.

Farmer Road PDF
Farmer Road MIDI

CC BY-SA, of course, and the words are public domain.


Those Naughty Organists

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I read with some bemusement an article in the Telegraph. Beware the wrath of the church organist, it warns, and goes on to list various musical infelicities.

Slipping unexpected tunes into music is practically obligatory, as far as I’m concerned. Yes, I will play “We’re walking in the air” as a recessional voluntary when it is actually snowing (or at least for the first Sunday snowfall of the year); this past Sunday, I played variations on “The Sun Has Got His Hat On.” This is gentle humour, not wrathful revenge, and I am often thanked for it by congregation and clergy alike; sometimes people even make suggestions, and if I think they’re appropriate I’m very happy to oblige. Like any humour in churches, pastoral sensitivity is required and there are bound to be occasions where it goes wrong. I’ve heard wedding sermons with actually offensive jokes in them (not, I hasten to add, at St Andrew’s!), and I’m disinclined to make much of those rare occasions where a recessional turns out to be a little too close to the bone.

I’m more discreet with music during services, but if there is a hymn quoted in the sermon, I will try to work it into the improvisation after the Communion hymn. If there is an obvious theme for the day (a few weeks ago it was sheep) I will play something relevant. This isn’t humour as such; more drawing attention to connections between things. People learn in different ways and the tune of a hymn, for some, can reinforce something they’ve learned, or help them see a passage in a new light. And again, these allusions and musical puns are not always my idea: I’ve had the Dr Who theme requested for an All Age service involving a time machine before now.

I know that joke about the difference between organists and terrorists. I won’t repeat here the reciprocal equivalent for the clergy: it isn’t kind, and like its counterpart it is generally untrue. I’ll just say that organists and clergy both tend to care about liturgy, don’t always see eye to eye, and display the full range of human error in their interactions with one another; yes, this means that some working relationships can be difficult.

But let’s get real. If we were dealing with wrath, here, we wouldn’t be talking musical jokes. I play the loudest thing in the building — no, the loudest thing on the block — and if I wanted to be disruptive, the 16′ CONTRA FAGOTTO is at my disposal. Of course I would not use such weaponry in an argument with clergy or congregation: I would consider it unprofessional, very poor musicianship, very poor leadership, very poor discipleship. I can’t think of a single organist I know who would behave in such a manner.

I note that the Telegraph article has a link mid-way down the page to an “article” (I would call it an advertorial, really) for a sort of hymn karaoke machine, marketed to stressed-out vicars with a shortage of musicians and not enough musical training themselves to be able to lead hymns with confidence. I’ve seen various other versions of this spiel before, and it’s a bit tired, to be honest. Could it be that the “ooh, scary mean organists are going to MESS UP YOUR CHURCH” tone of today’s article is intended to provide a little boost to this apparently cost-effective solution?

I respectfully submit that live music, albeit appropriate to the context of the church in question and realistic for its resources, is usually going to be a better long-term investment.

Early Music Experiences

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Ruth of Moss and Jones asks:

What are your earliest music experiences? What do you remember, perhaps vaguely, being played in your house when you were a toddler / pre-school aged child?

This is interesting: I think for me, the first question and the second aren’t necessarily the same.

My instinctive answer to “What are your earliest music experiences”, you see, isn’t to do with listening to music but with making music. I remember going to some sort of group (possibly at a church?), sitting in a circle on the floor, singing. I have some memories of Suzuki-style violin lessons, of a bow control exercise where I had to thread the bow through a circle made with my father’s hands, of playing “Mississippi River” in a group with many other children. I remember piano lessons with a nice lady who also gave me green Jell-O to eat, and playing “Mister sun, show your face, frighten all the clouds away, please make haste!” on the two black keys of the piano above Middle C. I have vague recollections of another song, too, one about a rooster perhaps?

Listening is harder, but I remember my mother playing a song called “The Snowman” on the piano — no, not “I’m Walking On The Air” from this film, a different one. I liked to hold myself up on the arms of two adjacent chairs and swing my body back and forth in time to the music. There was also a song about a train that said “No, I choo, I choo choo choo choo choo”: a quick internet search shows it attributed to this book, which is now out of print; I’m sure I remember scribbling on it. I have a visual, but not aural, memory of my mother and father playing together: I imagine them playing the Fauré Berceuse they played at my wedding, but I have probably superimposed that on the image because I later played the piano part for it myself.

I remember “Hush a bye, don’t you cry” sung, I think by my paternal grandfather. My grandfather also sang “There was an old woman who had a little pig”, and had a grandfather clock which every hour played a tune that I remember as being the second quarter, and final scale, of the tune described here as “Whittington Tune Generally Used After 1950 Except by Herschede and Elliott”. (At the quarter hours it chimed gently, but I don’t remember a tune. I suppose I could ask my uncle to record it for me if the clock still works, and there’s no good reason it shouldn’t!). I remember getting ready for bed in time to hear the clock chime, then going upstairs to my dad’s old room to be tucked in. I have a vague memory of my grandmother playing the piano, too, but I do not remember what she played.

My dad sang “The grand old Duke of York” to me, and various other songs too, I think, and this afternoon visiting a friend whose child I teach, I had great fun with “There once was a man named Michael Finnegan” and “There’s a hole in my bucket”. I’m not sure when I learned those two, I may have been a little older, but car journeys with my father invariably involved singing, much to the embarrassment, once we were teenagers, of a friend who sometimes came with us.

My earliest musical experiences I don’t remember. While my mother was pregnant with me, she was an organist at St Andrew’s United Church in Moose Jaw, Saskatchewan, and I certainly would have heard hymns then from the 1980 red Hymn Book that was jointly produced between the United Church of Canada and the Anglican Church of Canada. It still has one or two of my favourites in it, and I haven’t found them anywhere else. Those hymns continued to be part of my soundscape until I was thirteen and we moved to a church that used another hymnal (and had an organist who wasn’t my mum!). Another thing I would have heard even in the womb would have been the six-volume series “Old English Organ Music for Manuals”, edited by C. H. Trevor, which I use today too. It certainly comes in handy when the pedals don’t work reliably!

I know there was a record (an LP, for you kids) of Peter and the Wolf about when I was very young, and I used to listen to it and follow along in the book. I don’t really have any memories of listening to the radio or other recorded music until I was a little older, maybe six or seven. Both my parents were CBC FM fans, which meant lots of classical music, especially on car journeys, and Choral Concert on Sunday mornings if we were home at the right time. But most of those memories are from later, when my mum and stepdad and I had moved to New Brunswick, not from my very early years. Also in New Brunswick I remember picking out hymn tunes by ear on the piano.

My earliest musical memories are of live music, not recorded. Some of it was professional-quality performance, some of it was grandparents singing and playing to a child, some of it was my own inexpert fumbling with a violin bow or trial-and-error attempts at playing the piano.

So it’s perhaps no wonder that these days, most of the music I hear, I play myself.

 

O Rex gentium

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O Rex Gentium, et desideratus earum,
lapisque angularis, qui facis utraque unum:
veni, et salva hominem,
quem de limo formasti.

O King of the nations, and their desire,
the cornerstone making both one:
Come and save the human race,
which you fashioned from clay.

I always feel the “you made us” argument is a bit petulant, almost. “Oi! God! You got us INTO this mess, you get us out of it! We didn’t ASK to be born!

But the flip side of that petulance is a strong desire for God, which must in turn acknowledge that God, and God alone, can indeed get us out of “this mess”. Humans have been trying since year dot, and we haven’t managed it. Maybe this hope is born out of desperation; but to trust in the God who fashioned us is a very different response to the world than simple despair.

O Emmanuel

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O Emmanuel, Rex et legifer noster,
exspectatio Gentium, et Salvator earum:
veni ad salvandum nos, Domine, Deus noster.

O Emmanuel, our king and our lawgiver,
the hope of the nations and their Saviour:
Come and save us, O Lord our God.

Emmanuel means God-with-us. The juxtaposition of God-with-us and imagery like “king” and “lawgiver” is a good one. This is not some lofty palace-dwelling ruler who has no idea how common people live, but rather, God who dwells with us, lives among us.

“Therefore the Lord himself will give you a sign. Look, the young woman is with child and shall bear a son, and shall name him Immanuel.” Isaiah 7:14

Early Music Experiences

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Ruth of Moss and Jones asks:

What are your earliest music experiences? What do you remember, perhaps vaguely, being played in your house when you were a toddler / pre-school aged child?

This is interesting: I think for me, the first question and the second aren’t necessarily the same.

My instinctive answer to “What are your earliest music experiences”, you see, isn’t to do with listening to music but with making music. I remember going to some sort of group (possibly at a church?), sitting in a circle on the floor, singing. I have some memories of Suzuki-style violin lessons, of a bow control exercise where I had to thread the bow through a circle made with my father’s hands, of playing “Mississippi River” in a group with many other children. I remember piano lessons with a nice lady who also gave me green Jell-O to eat, and playing “Mister sun, show your face, frighten all the clouds away, please make haste!” on the two black keys of the piano above Middle C. I have vague recollections of another song, too, one about a rooster perhaps?

Listening is harder, but I remember my mother playing a song called “The Snowman” on the piano — no, not “I’m Walking On The Air” from this film, a different one. I liked to hold myself up on the arms of two adjacent chairs and swing my body back and forth in time to the music. There was also a song about a train that said “No, I choo, I choo choo choo choo choo”: a quick internet search shows it attributed to this book, which is now out of print; I’m sure I remember scribbling on it. I have a visual, but not aural, memory of my mother and father playing together: I imagine them playing the Fauré Berceuse they played at my wedding, but I have probably superimposed that on the image because I later played the piano part for it myself.

I remember “Hush a bye, don’t you cry” sung, I think by my paternal grandfather. My grandfather also sang “There was an old woman who had a little pig”, and had a grandfather clock which every hour played a tune that I remember as being the second quarter, and final scale, of the tune described here as “Whittington Tune Generally Used After 1950 Except by Herschede and Elliott”. (At the quarter hours it chimed gently, but I don’t remember a tune. I suppose I could ask my uncle to record it for me if the clock still works, and there’s no good reason it shouldn’t!). I remember getting ready for bed in time to hear the clock chime, then going upstairs to my dad’s old room to be tucked in. I have a vague memory of my grandmother playing the piano, too, but I do not remember what she played.

My dad sang “The grand old Duke of York” to me, and various other songs too, I think, and this afternoon visiting a friend whose child I teach, I had great fun with “There once was a man named Michael Finnegan” and “There’s a hole in my bucket”. I’m not sure when I learned those two, I may have been a little older, but car journeys with my father invariably involved singing, much to the embarrassment, once we were teenagers, of a friend who sometimes came with us.

My earliest musical experiences I don’t remember. While my mother was pregnant with me, she was an organist at St Andrew’s United Church in Moose Jaw, Saskatchewan, and I certainly would have heard hymns then from the 1980 red Hymn Book that was jointly produced between the United Church of Canada and the Anglican Church of Canada. It still has one or two of my favourites in it, and I haven’t found them anywhere else. Those hymns continued to be part of my soundscape until I was thirteen and we moved to a church that used another hymnal (and had an organist who wasn’t my mum!). Another thing I would have heard even in the womb would have been the six-volume series “Old English Organ Music for Manuals”, edited by C. H. Trevor, which I use today too. It certainly comes in handy when the pedals don’t work reliably!

I know there was a record (an LP, for you kids) of Peter and the Wolf about when I was very young, and I used to listen to it and follow along in the book. I don’t really have any memories of listening to the radio or other recorded music until I was a little older, maybe six or seven. Both my parents were CBC FM fans, which meant lots of classical music, especially on car journeys, and Choral Concert on Sunday mornings if we were home at the right time. But most of those memories are from later, when my mum and stepdad and I had moved to New Brunswick, not from my very early years. Also in New Brunswick I remember picking out hymn tunes by ear on the piano.

My earliest musical memories are of live music, not recorded. Some of it was professional-quality performance, some of it was grandparents singing and playing to a child, some of it was my own inexpert fumbling with a violin bow or trial-and-error attempts at playing the piano.

So it’s perhaps no wonder that these days, most of the music I hear, I play myself.

 

Cheerful voices: As pants the hart

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This anonymous piece is one of my favourite settings of Psalm 42. I know it from playing and singing with London Gallery Quire, though I’ve recorded one more verse than we usually sing in order to better portray the hopeful tone of the psalm near the end. The setting is edited by Dr Francis Roads.

Psalm 42 is the sort of thing that many people think of as a bit miserable. It is a psalm of crying out to God from the depths of the soul, saying “Why have you left me alone and outcast?” and remembering happier times, particularly times of offering praise to God in the company of friends. But the psalmist ends by addressing their own soul, both a resolution to be faithful and continue in praise and a reminder that God will give the hopeful reasons to offer that praise. Such yearning combined with faith is also perhaps appropriate for today, when the Church remembers the life and work of St John of the Cross.

This is the first track on my most recent album, Cheerful voices.

O Sapientia

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The “O” Antiphons are traditionally sung with the Magnificat starting on 17th December (Roman use) or 16th December (Book of Common Prayer). I like the BCP use, so I start today.

O Sapientia, quae ex ore Altissimi prodiisti,
attingens a fine usque ad finem,
fortiter suaviter disponens que omnia:
veni ad docendum nos viam prudentiae.

(English:) O Wisdom, which camest out of the mouth of the most High, and reachest from one end to another, mightily and sweetly ordering all things: Come and teach us the way of prudence.

What does prudence mean in the context of waiting for God? What does prudence mean in the context of the Incarnation? Today I am struck by a practicality to this, an emphasis on ordering all things, not necessarily a lofty guru on a hilltop dispensing axiomatic wisdom but more “a stitch in time saves nine”. Maybe it’s just that my bicycle got yet another puncture last night, discovered this morning, and I hadn’t gotten around to ordering the new tyres needed to deal with all the glass on the roads here. I don’t feel particularly wise. Nothing deflates the ego like a puncture when you’re trying to get somewhere on time.

After all that trouble for pink yesterday, I’m back to purple hair today:

Purple. Again. People have been making noises about being concerned about all the bleach needed to keep this up. I won’t lie: I’m concerned too. I may yet fry my hair. But I’m committed to doing this until at least 11th January. After I get the purple out for Christmas I should be able to go easy on the bleach for a while, using red hair chalk or similar for the odd Red day. I would really like to make it to 2nd February. You can sponsor me here.


O Adonai

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O Adonai, et Dux domus Israel,
qui Moysi in igne flammae rubi apparuisti,
et ei in Sina legem dedisti:
veni ad redimendum nos in brachio extento.

(English:) O Adonai, and leader of the House of Israel,
who appeared to Moses in the fire of the burning bush
and gave him the law on Sinai:
Come and redeem us with an outstretched arm.

The photograph is from St Catherine’s Monastery in Sinai. I love the juxtaposition of Moses taking off his sandals, and the antiphon saying “Come, save us with an outstretched arm.” Perhaps taking off our shoes or sandals is not just something people do to honour God: it is something that highlights our vulnerability and God’s strength. What are our metaphorical sandals? What do we do to protect ourselves, from one another and from God? When might we risk being more intimate, more open? And how does that prepare us for the coming of Christ?

O Radix Jesse

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O Radix Jesse, qui stas in signum populorum,
super quem continebunt reges os suum,
quem Gentes deprecabuntur:
veni ad liberandum nos, jam noli tardare.

O Root of Jesse, standing as a sign among the peoples;
before you kings will shut their mouths,
to you the nations will make their prayer:
Come and deliver us, and delay no longer.

This is an interesting one to try and relate to, at first glance. Living as we do in a constitutional monarchy, where the Queen has relatively little political power, what difference do we think it makes if kings will shut their mouths?

Substitute the word “ruler” and things change. Who rules in our nation now, in our world today? The government? The mainstream media? The banks? Contractors like Serco, A4E and G4S? Multinationals?0 It is an interesting and revealing exercise to compare Jesse Tree artwork with diagrams of corporate power and control. One ends in the salvation of the whole world, the other in an illusion of freedom and choice.

Come and deliver us, and delay no longer.

O Clavis David

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O Clavis David, et sceptrum domus Israel;
qui aperis, et nemo claudit;
claudis, et nemo aperit:
veni, et educ vinctum de domo carceris,
sedentem in tenebris, et umbra mortis.

O Key of David and sceptre of the House of Israel;
you open and no one can shut;
you shut and no one can open:
Come and lead the prisoners from the prison house,
those who dwell in darkness and the shadow of death.

This feels like an extension of yesterday’s antiphon, O Radix Jesse. The same emphasis on provenance, though a generation or so later; the same emphasis on the power of Christ. And an extension of the idea of deliverance.

Two tunes for “Christ, whose glory fills the skies”

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Every time we sing “Christ, whose glory fills the skies” I despair a bit. The tune “Ratisbon” is… well, it’s okay, but it’s not anything to really write home about. The other tune suggested in New English Hymnal is just boring.

So I thought I’d write a couple of my own tunes for the same text. It is really a wonderful text, after all! I think that on reflection my tunes aren’t much to write home about either, but here they are anyway.

I wrote the first of these, Gordon Hill, for an RSCM hymn-writing workshop that took place on my birthday. I’ve changed the harmony since then, and I’m not entirely happy with it even now.

Gordon Hill PDF
Gordon Hill MIDI

The other, Farmer Road, I wrote in the final stages of AcWriMo2012, when I had given up on harmonising everything and was just cranking out tunes. I only harmonised it this afternoon, but technically it’s AcWriMo 28.

Farmer Road PDF
Farmer Road MIDI

CC BY-SA, of course, and the words are public domain.

Those Naughty Organists

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I read with some bemusement an article in the Telegraph. Beware the wrath of the church organist, it warns, and goes on to list various musical infelicities.

Slipping unexpected tunes into music is practically obligatory, as far as I’m concerned. Yes, I will play “We’re walking in the air” as a recessional voluntary when it is actually snowing (or at least for the first Sunday snowfall of the year); this past Sunday, I played variations on “The Sun Has Got His Hat On.” This is gentle humour, not wrathful revenge, and I am often thanked for it by congregation and clergy alike; sometimes people even make suggestions, and if I think they’re appropriate I’m very happy to oblige. Like any humour in churches, pastoral sensitivity is required and there are bound to be occasions where it goes wrong. I’ve heard wedding sermons with actually offensive jokes in them (not, I hasten to add, at St Andrew’s!), and I’m disinclined to make much of those rare occasions where a recessional turns out to be a little too close to the bone.

I’m more discreet with music during services, but if there is a hymn quoted in the sermon, I will try to work it into the improvisation after the Communion hymn. If there is an obvious theme for the day (a few weeks ago it was sheep) I will play something relevant. This isn’t humour as such; more drawing attention to connections between things. People learn in different ways and the tune of a hymn, for some, can reinforce something they’ve learned, or help them see a passage in a new light. And again, these allusions and musical puns are not always my idea: I’ve had the Dr Who theme requested for an All Age service involving a time machine before now.

I know that joke about the difference between organists and terrorists. I won’t repeat here the reciprocal equivalent for the clergy: it isn’t kind, and like its counterpart it is generally untrue. I’ll just say that organists and clergy both tend to care about liturgy, don’t always see eye to eye, and display the full range of human error in their interactions with one another; yes, this means that some working relationships can be difficult.

But let’s get real. If we were dealing with wrath, here, we wouldn’t be talking musical jokes. I play the loudest thing in the building — no, the loudest thing on the block — and if I wanted to be disruptive, the 16′ CONTRA FAGOTTO is at my disposal. Of course I would not use such weaponry in an argument with clergy or congregation: I would consider it unprofessional, very poor musicianship, very poor leadership, very poor discipleship. I can’t think of a single organist I know who would behave in such a manner.

I note that the Telegraph article has a link mid-way down the page to an “article” (I would call it an advertorial, really) for a sort of hymn karaoke machine, marketed to stressed-out vicars with a shortage of musicians and not enough musical training themselves to be able to lead hymns with confidence. I’ve seen various other versions of this spiel before, and it’s a bit tired, to be honest. Could it be that the “ooh, scary mean organists are going to MESS UP YOUR CHURCH” tone of today’s article is intended to provide a little boost to this apparently cost-effective solution?

I respectfully submit that live music, albeit appropriate to the context of the church in question and realistic for its resources, is usually going to be a better long-term investment.

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