How to Re-harmonize Hymns

Used in moderation, playing hymn re-harmonizations on selected hymn stanzas can enliven an assembly’s singing, renew interest in older church repertoire, and draw attention to the text by musically underscoring certain words. Many hymn re-harmonizations are available for download through Prelude Music Planner—search by tune name and filter your results by instrument, this will allow you to see alternate harmonizations available for download. And here are some other resources for you to consider adding to your music library:

Have you ever tried writing your own hymn re-harmonization? It can be a rewarding exercise, and it is a way to begin learning how to improvise at the keyboard. Choose a hymn you love, one your local assembly enjoys singing, and set a goal to write your own setting of it.

I use a five-step process when writing hymn re-harmonizations, and you may find it useful to adopt a similar approach. To demonstrate, I am using the tune Gethsemane (Redhead), which appears twice in Evangelical Lutheran Worship: “Go to Dark Gethsemane” (ELW 347) and “Chief of Sinners Though I Be” (ELW 609). Here it is in its original harmonization:

Step 1: Play the hymn in the parallel minor mode. Here is Gethsemane in E-flat minor:

This has an entirely different sound, of course, and this is a great first step in opening your ears to different harmonic possibilities. Of the 42 melody notes in this tune, 29 of them can be harmonized with chords from the parallel minor mode (this is called “mode mixture”). Chords with ‘G’s and ‘C’s in the melody are not options since these tones are lowered a half-step when placed in the minor mode—these chords have an ‘X’ above them in the example. Chords marked with stars are ones that strike me as good candidates for inclusion in the final version.

Step 2: Consider other harmonic (chromatic) possibilities.

Play the tune in its original mode and look for opportunities to insert applied chords (sometimes called “secondary dominants” or “secondary leading-tone chords”). Here is an example of measure one, where an applied dominant progresses smoothly to the subdominant on beat one of measure two:

In addition to applied chords, make note of chords where you could insert added notes, or chord extensions: 2nds, 9ths, 11ths, etc. In the end, you won’t use everything—but keep your options open at this point!

Step 3: Write a strong alternate bass line.

The bass line is crucial to a successful hymn re-harmonization. Even the slightest change to the original bass line can have a huge payoff in your setting. I have found that descending (or ascending) scale patterns are especially useful. Pedal tones (despite their occasional overuse) can also effectively reshape bass lines.

Step 4: Add embellishing tones (sometimes called “figuration”).

While there are many types of embellishing tones, the three basic types can add a lot of interest to your hymn re-harmonization: passing tones, neighbor tones, and suspensions. They can help propel the music forward and fill in rhythmic gaps caused by longer melody notes.

Step 5: Review steps 1-4, decide what goes and what stays, then write your final version. Here is my setting of Gethsemane, with annotations (S = suspension, P = passing tone, N = neighbor tone):

One last thought about hymn re-harmonizations: they do not always have to be used in the final verse of a hymn. Playing this highly chromatic setting of Gethsemane on verse two of “Go to Dark Gethsemane” may help to capture musically these ideas in the text: judgment, wormwood, gall, pangs, suffering, shame, and loss.

Download a printable PDF of examples from this post: “How to Re-harmonize Hymns” Examples

Get a free download of my re-harmonization of Gethsemane that you can use in upcoming Lent and Holy Week services!

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Tim Shaw

Timothy Shaw studied theology and music as an undergraduate and graduate student, and he has enjoyed a multi-faceted career as composer, college professor, music engraver, and church musician. He has presented workshops, academic papers, hymn festivals, and reading sessions at numerous conferences, churches, and universities throughout the United States. His publishers include Augsburg Fortress, Beckenhorst, Choristers Guild, Concordia, Hope, Kjos, MorningStar, and Shawnee.

Two- and Three-Part Choir Music

Choosing repertoire for church choirs is one of the most difficult, time-consuming tasks of all choir directors, whether they direct larger or smaller choirs. There are some unique challenges facing those who direct smaller choirs, though. To support you in your work, this blog has many helpful posts on the subject. Find some time to read any one (or all!) of the following posts for inspiration and ideas:

To assist you even further, in this post I provide a list of 25 anthems for 2-part or 3-part mixed voices, arranged according to the liturgical calendar. I focus on mixed voices, since repertoire for SSA and TTBB are substantial topics in themselves. Not all of the pieces on my list are easy, so approach them as you would SATB anthems. Also, in my estimation, these anthems sound “complete”—you, your choir, and your assembly will not miss those other one or two vocal parts. Follow the links to the publishers’ websites, where you can listen to demo recordings and view sample pages. When you find something you like, most of these titles are available for download through Prelude Music Planner!

Advent

Comfort, Comfort Now My People,” arr. Richard Proulx. SAB, finger cymbals, and tambourine. MorningStar, AE-110.

Lo! He Comes with Clouds Descending,” arr. Sam Batt Owens. SAB, keyboard. MorningStar, 50-0203.

Rejoice, Rejoice, Believers,” arr. John Ferguson. SAB, organ. Augsburg Fortress, 9781451401684.

Stir Up Your Power, O Lord, and Come,” Carl Schalk. SAB, organ. MorningStar, 50-0205.

Christmas and Epiphany

A Christmas Roundelay,” Austin Lovelace. 2-part, keyboard. ECS, 7316.

O Lord of Light, Who Made the Stars,” Daniel Schwandt. 2-part, organ. MorningStar, 50-9932.

On Christmas Night,” arr. Hal Hopson. 2-part, keyboard, optional handbells. MorningStar, 50-1204.

We Praise You, Jesus, at Your Birth,” Timothy Shaw. SAB, piano. Concordia, 98-4170.

Lent and Holy Week

At the Cross,” arr. Patricia Hurlbutt. 2-part, solo. Augsburg Fortress, 9781451479317.

Create in Me a Clean Heart, O God,” C. F. Mueller. SAB, organ. G. Schirmer, 50303010.

Deep Were His Wounds,” Timothy Shaw. SAB, piano. MorningStar, 50-3125.

Out of the Depths,” Carl Schalk. SAB, organ. MorningStar, 50-3410.

Easter

Christ Is Risen,” Ronald Arnatt. SAB, organ. ECS, 7050.

Now Is Christ Risen from the Dead,” Frederick Frahm. 2-part, keyboard. Augsburg Fortress, 9780800678920.

The Day of Resurrection!” arr. Brian Wentzel. SAB, keyboard. Augsburg Fortress, 9781451451665.

Ascension and Pentecost

Gracious Spirit, Dwell with Me,” arr. K. Lee Scott. 2-part, organ. Augsburg Fortress, 9780800646134.

Jesus, My All, to Heaven Is Gone,” arr. Howard Helvey. 2-part, piano, oboe. Beckenhorst, 1562.

Spirit of God, Descend upon My Heart,” Robert Buckley Farlee. 2-part, keyboard. MorningStar, 50-5555.

General

Come, Thou Fount of Every Blessing,” Timothy Shaw. SAB, keyboard. MorningStar, 50-5310.

O How Amiable Are Thy Dwellings,” Carl Schalk. SAB, organ. MorningStar, 50-6204.

Praise the Lord, God’s Glories Show,” David Schelat. SAB, conga drum. Oxford, 9780193865518.

Psalm 150,” John Harper. 2-part, organ. Oxford, 9780193511200.

Put on Love,” Lee Dengler. SAB, keyboard. Augsburg Fortress, 9781451420784.

The Beautiful Land,” Scott Perkins. SAB, piano. Augsburg Fortress, 9781451485752.

The Lord Bless You and Keep You,” John Rutter. SAB, piano. Oxford, 9780193416598.

Do you have a favorite 2-part or 3-part anthem? Share your repertoire suggestions in the comment section below!

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Tim Shaw

Timothy Shaw studied theology and music as an undergraduate and graduate student, and he has enjoyed a multi-faceted career as composer, college professor, music engraver, and church musician. He has presented workshops, academic papers, hymn festivals, and reading sessions at numerous conferences, churches, and universities throughout the United States. His publishers include Augsburg Fortress, Beckenhorst, Choristers Guild, Concordia, Hope, Kjos, MorningStar, and Shawnee.

Choral Arranging in 10 Steps

Have you exhausted your budget for new music but find yourself in need of a few more pieces to round out the upcoming choral season? Have you been unable to find a choral setting of a hymn you love? Have you always been curious about how the creative process works? Now could be a great time for you to try writing your own music! Follow the 10-step process below, mix in a little inspiration, and you may be pleasantly surprised with what you’re able to create.

1. Determine why you want to arrange a piece for choir and make sure it’s a very good reason—while this process is rewarding, it’s not easy! Has someone asked you to write something special? Are there no settings of the text/tune already in print? Are you trying to save money? Is this a hobby that brings you pleasure?

2. Choose a text, then get to know it intimately. How does the text divide formally and grammatically? Is there any arcane language you would like to change? What possible meters (time signatures) could work with the text? What musical form does the text suggest: ABA, strophic, through-composed? Are there any words or phrases that seem like particularly good candidates for text-painting? How will these words be set: as high or low notes, over a chromatic chord, after a sudden dynamic shift?

3. Consider the tune. Do you want to use the tune that is already paired with the text, or do you want to use an alternate tune? Can/should you alter the meter and/or the tune’s rhythmic gestures? (Example 1: a tune in 3/4 can seem refreshingly expansive when adding a beat and placing it in 4/4. Example 2: a tune that begins with a half note can be given added vitality by changing that to quarter rest – quarter note.)

4. Think about voicing/accompaniment. Do you hear unison mixed voices, men, women, 2-part mixed, or SATB choir singing these words? Will there be accompaniment? If so, what instrument(s) will play, and what does the accompaniment sound like? Is it hurried, sustained, rhythmic, chorale-style? What is the general shape of the accompaniment: Alberti bass, arpeggiations in l.h. with chords or octaves in r.h., waltz-style? Keep in mind the basis of a nice accompaniment, whatever the pattern, is good SATB voice-leading.

5. Settle on a form. Here’s an easy approach to handling form: choose a piece you like and copy its form. Hymns with repetition (a refrain or an “Alleluia”) can be relatively easy to structure formally.

6. Find the right key. Does the tune need to be set in a different key, either higher or lower? Is a mode shift (major to minor, or vice versa) or modulation appropriate for any section or verse?

7. Begin (rather, continue!) to write. A potentially paralyzing reality is the blank page. In order to overcome this, fill your manuscript paper with as much detail as possible before you write a single note. Write out the title, author’s and composer’s names, and your name; group the staves; write out the clefs, key signature, and time signature. Some composers/arrangers feel like they need to include everything and the kitchen sink. Instead, stick with your initial musical ideas, repeating and developing them throughout the entire piece. Remember, it will take much less time to perform your piece than it will to arrange and edit it. In other words, your audience will not tire of a musical idea as quickly as you might think they will.

8. Do this, and then do it some more: revise. 90% of writing is rewriting (it’s true!). Remember, you are setting a text—as you work on the vocal lines, constantly sing them back to make sure they are musical and free of any awkward syllabic emphasis.

9. Now, the not so fun part: transcribe and print. Use Finale® or Sibelius®. Enough said!

10. Finally, the really fun part: practice and perform. Don’t be afraid to make changes to the score after hearing a choir rehearse or even perform your music—composers have been doing this for centuries! Enjoy and take pleasure in your work. You’ve worked hard and done well.

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Tim Shaw

Timothy Shaw studied theology and music as an undergraduate and graduate student, and he has enjoyed a multi-faceted career as composer, college professor, music engraver, and church musician. He has presented workshops, academic papers, hymn festivals, and reading sessions at numerous conferences, churches, and universities throughout the United States. His publishers include Augsburg Fortress, Beckenhorst, Choristers Guild, Concordia, Hope, Kjos, MorningStar, and Shawnee.

20 Time-Saving Tips for Church Musicians

Get organized. There is an old saying: “A place for everything, and everything in its place.” Being organized will, indeed, save time and limit frustration.

Reduce! Clutter can be overwhelming, and its very presence can eat up a lot of time. Clean out your music library. Once you have chosen new music, throw away catalogs from publishers and distributors.

Reuse! Church members have their favorites—program these pieces again and again . . . and again. Once you’ve found a composer/arranger you like, look for more titles by that writer.

Recycle! Donate unwanted music to another (perhaps smaller) church.

Be prepared. Try to sustain a plan for 12 months out (general ideas only), 6 months out, 3 months out, and 1 month out (very clearly defined).

Keep records. Maintain an accurate list of all the music you use throughout the year (preludes and postludes, anthems, interludes, etc.). This will make it easier to plan next year’s selections.

Update your files. Keep current items most visible in your filing system, and keep both your actual desk and your computer desktop clean and clutter-free.

Know what you like. Prepare a tabbed notebook (or a PDF to load onto your tablet) of repertoire you like to play for weddings, funerals, and communion. (Be sure to observe applicable copyright laws!)

Use technology effectively. Don’t be a slave to technology; make it work for you. If necessary, take a computer or software training course.

Become a better web surfer. Bookmark sites you visit frequently, keep multiple tabs open when browsing, and perfect your ability to search (place titles in quotes, use the minus sign to eliminate certain words, etc.).

Plan online. Take advantage of online planning tools like Prelude Music Planner. Make use of publishers’ websites containing liturgical planning calendars, demo recordings, and repertoire suggestions.

Respect other people’s time. Begin and end rehearsals on time—always!

Have a rehearsal plan. Know your “plan of attack” before you walk into rehearsal. List the anthems you’ll rehearse, so choir members can get their music in order. Before moving to the next piece, make notes on your score so you’ll remember what to work on next time.

Think like a parent. Choose your battles. Remember that perfection is not a reasonable goal—growth and development are, though. Anticipate problems before they arise and come up with possible strategies for solving them.

Be wise. Build on past successes and learn from past mistakes.

Learn to say no. Busy people always make time for more projects, but being able to say, “I’m unable to take that on right now” is a great skill to have. Another good response is, “That’s an excellent idea. I don’t have time to do it by myself, but maybe you’d like to help!”

Delegate. Don’t take advantage of other people’s time, but remember volunteers love to help—allow them to share some of your load. If someone is good at data entry, ask her to be your librarian. If someone enjoys social events, ask him to be your party-planner. Instead of photocopying the last page of your prelude, enlist a middle-school student to be your page-turner for the day.

Don’t go it alone. Collaborate with pastors, staff, and church members who may have wonderful ideas you can use—a favorite anthem, a thematic idea for a program, or the name of a substitute musician. If a church member has a favorite piece of music, and they purchase copies for the church, use it!

Get away. Attend at least one conference a year. Church music conferences are held nationally and locally, so you may not have to travel far. You might think you’re too busy to attend a conference, but doing so promotes rejuvenation, networking, brainstorming, and refreshment. Consider National Conference for Sacred Music as well as the Augsburg Fortress Summer Music Clinics.

Redeem time. Benjamin Franklin, who was full of sage advice, once wrote, “Lost time is never found again.” When members of your praise team are running late for rehearsal, use that time to practice, to pray, or to take a nap!

What time-saving tips have you learned from your experience in music ministry? Share your comments below!

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Tim Shaw

Timothy Shaw studied theology and music as an undergraduate and graduate student, and he has enjoyed a multi-faceted career as composer, college professor, music engraver, and church musician. He has presented workshops, academic papers, hymn festivals, and reading sessions at numerous conferences, churches, and universities throughout the United States. His publishers include Augsburg Fortress, Beckenhorst, Choristers Guild, Concordia, Hope, Kjos, MorningStar, and Shawnee.

Unison Choral Singing

Most church choir members love to sing in parts—the challenge of learning one’s notes is a truly enjoyable experience. Many choir directors choose repertoire because of good part-writing that leads to a rich choral sound. And, all choral composers love to explore the endless creative potential inherent in SATB texture. The vast repertoire of SATB choral music is, undeniably, one of the church’s greatest treasures. Used occasionally, though, unison choral singing offers several benefits to a church choir:

  1. Practical. Unison pieces may be performed by any number of singers—from few to many. This can be enormously helpful for those low-attendance Sundays!
  2. Pedagogical. Rehearsing a unison piece allows the director to focus on vowel formation (which leads to good blend) without having to spend time teaching parts.
  3. Ensemble Unity. Unison singing is not easy—one singer’s slightest variations from the group are clearly perceptible. Unison anthems require singers to be keenly attentive.
  4. Musical. Most unison pieces bring basses and altos into their higher registers, which produces a strong sound. In addition, unison pieces often feature finely crafted accompaniments.
  5. Aesthetic. Unison anthems provide a textural contrast to part singing, which helps listeners to take notice of them.
  6. Historical. Western music is rooted in unison singing, so unison choral music connects today’s worship with that of the distant past.
  7. Theological. Singing together in unison both underscores and illustrates the fact that we are individual members of one united body.

Programming unison choral music is a wonderful way to enhance your choral program. But, where can you find good unison pieces? The first place to look is in the hymnal. Alternating women and men, having a soloist sing one stanza, adding an obbligato instrument, and using an alternate harmonization are ways to create an improvised anthem from the hymnal. Here are several excellent choices:

DETROITThis may be performed effectively by singing unaccompanied!

  • Forgive Our Sins As We Forgive (ELW 605)

ENGELBERG

  • We Know That Christ Is Raised (ELW 449)
  • To Be Your Presence (ELW 546)
  • When in Our Music God Is Glorified (ELW 851)

LOVE UNKNOWN

  • My Song Is Love Unknown (ELW 343)
  • We Sing to You, O God (ELW 791)

PICARDY

  • Let All Mortal Flesh Keep Silence (ELW 490)

THAXTED

  • Let Streams of Living Justice (ELW 710)
  • O God beyond All Praising (ELW 880)

While unison anthems are not plentiful (aside from those for children’s choir), here are some well-written selections to consider adding to your library:

All My Hope on God Is Founded,” Herbert Howells/arr. John Rutter. COLLEGIUM, CCS-201. Liturgical use: Year C – 4th Sunday in Lent, Lectionary 21.
This hymn-like anthem features an accompaniment (stanzas 4-5) and outstanding descant written by John Rutter. Have only men sing stanza 2, to create contrast. The descant is difficult, but using only one or two sopranos will be sufficient.

*“Bow Down Your Ear,” Aaron David Miller. Augsburg Fortress, 9780800677954. Liturgical use: Year A – Lectionary 11 and 15.
Quoting selected verses from Psalm 86, this anthem is simple yet creative. Have full choir sing the outer ‘A’ sections. In the middle ‘B’ section, have AB sing the first statement of “Teach me your way, O Lord…,” and add ST on its repetition.

God Be Merciful unto Us,” Daniel Pinkham. E.C. Schirmer, 5394. Liturgical use: Year A – Lectionary 14 / Year C – 6th Sunday of Easter / Thanksgiving.
If you do not perform much modern music in your church, this setting of Psalm 67 by American composer Daniel Pinkham (1923-2006) will be a good introduction. The tune is strong, and the accompaniment is harmonically rich.

*“Jubilate Deo,” Dale Wood. Augsburg Fortress, 9780800645816. Liturgical use: Year A – Christ the King Sunday / Thanksgiving.
A lively setting of Psalm 100, accompanied by organ and percussion (optional), this piece includes an optional second vocal part.

*“Peace Came to Earth,” arr. Nancy Raabe. MorningStar Music, 60-1007. Liturgical use: Christmas.
The slightly disjunct melody provides an opportunity to work on legato singing. If you do not have an oboe player, substitute flute or violin on the obbligato.

*“Psalm 121,” Timothy Shaw. Choristers Guild, CGA-1209. Liturgical use: Year A – 2nd Sunday in Lent / Year C – Lectionary 29.
This children’s choir anthem works well with youth and adult choirs alike. Create contrast by having only men sing measures 17-27, only sopranos sing measures 19-41, and only sopranos sing Part II in measures 45-58.

 

* available for download through Prelude Music Planner

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Tim Shaw

Timothy Shaw studied theology and music as an undergraduate and graduate student, and he has enjoyed a multi-faceted career as composer, college professor, music engraver, and church musician. He has presented workshops, academic papers, hymn festivals, and reading sessions at numerous conferences, churches, and universities throughout the United States. His publishers include Augsburg Fortress, Beckenhorst, Choristers Guild, Concordia, Hope, Kjos, MorningStar, and Shawnee.

What Is Your Philosophy of Worship and Music?

Anyone who has interviewed for a church music position knows some questions are almost guaranteed to be asked: “How do you motivate volunteers? What style of music is your favorite? What does the ideal relationship between clergy and church musician look like? How do you feel about choir robes?” Tough questions, but not too difficult to answer. There is that one dreaded question, though, which is seemingly impossible to answer: “What is your philosophy of worship and music?” Whether you have been asked this question directly or not, you do have a philosophy that manifests itself in how you practice church music. Spending some time developing—even writing out—your own philosophy of worship and music is a valuable exercise that can have a direct, positive impact on your music ministry. Try this on your own, or together as a worship/music committee.

Here is a two-step approach I have used to develop my philosophy of worship and music. First, I answer the fundamental question, “What is worship?” One of my favorite biblical passages is Exodus 15:1-21, which describes the Israelites’ impromptu worship after crossing the Red Sea. We read first the Song of Moses, and then we read the Song of Miriam, who quotes her brother’s song. From this passage, five foundational principles of worship emerge:

  1. Worship is focused on (or directed toward) God; it is not focused on us.
  2. Worship is communal. In worship, women and men, children and adults, recount the shared salvation experience of God’s people.
  3. Worship is participatory; it is not simply a performance of one or a few.
  4. Worship is language-based and culturally intelligible.
  5. Worship is didactic. Worshipers of all ages are both instructed and edified by worshiping God.

Each point could be fleshed out further, and more could be drawn from this passage, of course. But, this five-part description of worship helps to lay the groundwork for my second step. Now I answer the more practical question, “How do you choose music for worship services?” Here is my ten-part approach to this issue (in no particular order!):

  1. All texts sung in worship should reflect the theology of the local church. (Denominational hymnals—and their supplemental resources—are an invaluable help in this regard.)
  2. Music used in worship should be rooted in the historic Church’s vast repertoire of psalms, hymns, and spiritual songs, springing forth into new expressions from the present day.
  3. Musical selections should fit the season of the liturgical year and should relate to the scripture readings, sermon theme, and other elements of the worship service.
  4. Each musical selection should be well-suited to its position in the worship service (prelude, opening hymn, offertory, closing song, etc.).
  5. Music used in worship should be culturally intelligible.
  6. Musical selections should be within the performing capabilities of those performing them. (However, there is always room for growth!)
  7. Music used in worship should foster participation by the assembly—familiarity, performance style, key/range, tempo, and dynamic threshold are critical factors to consider when preparing corporate worship music.
  8. The entirety of music used in a worship service should, ideally, exhibit both variety (of key, tempo, mood, instrumentation, etc.) and continuity (nothing should seem jarring or out of place).
  9. In all musical selections, text and music should be well-suited for each other. (Metrical indexes can help church musicians find more suitable tunes when necessary.)
  10. Not all music need be language-based. Instrumental music free of any textual association can be an effective means of grace to God’s people.

What would you add from your own philosophy of worship and music? Share your comments below!

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Tim Shaw

Timothy Shaw studied theology and music as an undergraduate and graduate student, and he has enjoyed a multi-faceted career as composer, college professor, music engraver, and church musician. He has presented workshops, academic papers, hymn festivals, and reading sessions at numerous conferences, churches, and universities throughout the United States. His publishers include Augsburg Fortress, Beckenhorst, Choristers Guild, Concordia, Hope, Kjos, MorningStar, and Shawnee.

Thanksgiving: The Antidote to Worry

When it comes to church music ministry, there is plenty to worry about! Will enough singers show up on Sunday morning? Will the assembly be pleased with the music I’ve chosen? Will the organ cipher sound during my prelude? Will my choir members notice I’m not well prepared for rehearsal? Will the sound system work right? Will next year’s budget be cut—again? Often, we who are in charge worry too much, and our worry spills over to our volunteers. But, is it healthy to approach our service to the church in this way?

In Matthew 6:25-33, a reading for Thanksgiving Day, Jesus encourages his followers not to be crippled by anxiety. He says, “…do not worry about your life, what you will eat or what you will drink, or about your body, what you will wear” (v. 25). He tells us to look at the birds and consider the lilies—God takes care of them, and God, who knows everything we need, will take care of us. Jesus speaks directly to the issue of worrying, asking pointedly, “And can any of you by worrying add a single hour to your span of life?” (v. 27). When we worry about things God has promised to provide, we doubt the sovereignty and goodness of God. What, then, are we to do? Jesus says, “But strive first for the kingdom of God and his righteousness, and all these things will be given to you as well” (v. 33). That sounds good, but what can we do practically to reduce anxiety in our lives and, in particular, in our church music programs?

First, we can plan ahead. Having a good plan is one of the best strategies for church musicians to adopt. But, even the best laid plans often go awry! Second, we can hope for the best but prepare for the worst. Anticipating problems that may arise and putting preventive measures in place can reduce last-minute complications. But, as you know from experience, something always goes wrong! We should do these things, for it is prudent to do so, but what else can we do to prevent worry from infiltrating our ministry?

Let me suggest that the most effective antidote to worry is thanksgiving—when we recount God’s blessings, we remember God is faithful and find renewed trust in God’s promise of future provision. Rather than working within a climate of anxiety, we can help to foster a culture of thanksgiving in our church music programs. Try taking these action steps:

  1. Choose a hymn of praise and thanksgiving to use as a choral warm-up. Sing the same hymn for a period of time (about four weeks) and then present it as a musical offering in a worship service. Here are some suggestions (these selections are also well-suited for use during a Thanksgiving service!):
    • For the Fruit of All Creation (ELW 679)
    • Praise and Thanksgiving (ELW 689)
    • Praise to the Lord, the Almighty (ELW 858)
    • Soli Deo Gloria (ELW 878)
    • Let All Things Now Living (ELW 881)
  2. Write an article for your church’s newsletter (or Sunday bulletin) in which you acknowledge the gifts and contributions of your volunteer musicians. Select a different volunteer to profile each month. Your volunteers will feel appreciated.
  3. If you like to bake, prepare a tray of baked goods to share after a weeknight rehearsal.
  4. In all written communication to your volunteers, include a scripture verse or a word of thanks acknowledging their sacrifice of time and talent.
  5. Give thanks to God for your church and ask God to bless your ministry.

How else can you cultivate a spirit of thankfulness in your ministry? Share your comments below!

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Tim Shaw

Timothy Shaw studied theology and music as an undergraduate and graduate student, and he has enjoyed a multi-faceted career as composer, college professor, music engraver, and church musician. He has presented workshops, academic papers, hymn festivals, and reading sessions at numerous conferences, churches, and universities throughout the United States. His publishers include Augsburg Fortress, Beckenhorst, Choristers Guild, Concordia, Hope, Kjos, MorningStar, and Shawnee.