spirited & singing

Spring Sing-Up Anyone?

2013-08-14T14:06:00.000+10:00

Singing anyone?

As winter draws to a close it feels just the time to do it?

To that end I'll be running a Spring Sing-Up on September 9th. While it will not be a church songs event (please don't come with that expectation) I will be aiming for a spiritually secular repertoire of rounds and harmony songs.

You can book here

You'd be most welcome.

Exploring a Theology of Gratitude in the Land of Entitlement

2012-10-18T11:39:00.000+11:00

[Transcription of public reflections made on Sunday 14th October at Ringwood Uniting Church after a week at Hosana Church in Dili, East Timor. It is also posted on matters of life, my writing blog.]

I'd like to share two stories from my time in Timor-Leste that have made an indelible impression - not so much because I have learnt something new, but because they highlight a personal inadequacy that I have been reflecting on since.

Firstly let me say thankyou to those people who were able to donate the nine recorders for our trip. In Australia it’s true to say the recorder is a much-maligned instrument, and there were many jokes flying around about whether it was fair to burden the East Timorese with the instrument that drives so many parents to distraction. When we left for Dili we did not know whether anyone would be interested in them, and so by way of introducing the instrument, decided to include recorder in our presentation at the Saturday night concert on our first evening in Dili.

The following day we were told there were some young women who were interested in the ‘flute’ I had played, and I said I happened to have some instruments with me and would be happy to give some lessons while we were in Dili. The following evening, the first of three consecutive nights, seven young women who I guess were aged between 16 and 20 arrived for the first lesson, and with the two Tims building a fan-base amongst the young men next door with their guitar prowess, I began teaching the girls to play the recorder. I have to say I have never had such polite, quiet, determined, disciplined students – but I also felt they were unconvinced of their capacity to learn a musical instrument.

I have no idea how long that first lesson went, but it was much longer than the planned hour. We worked together overcoming the language barriers via translations by two of the young women who understood English, and by lots of sign language, nodding and smiling, and physical demonstration. Several times I thought the lesson was coming to an end, but the girls urged me on.

At the end of the lesson, as I was packing up, the girls got into a kind of huddle, and then a representative said, We are wondering if we would be able to borrow the recorders overnight to practice? It is hard to adequately describe their reaction to you when I told them they could keep the recorders – they were a gift from this congregation. If I were Enid Blyton, perhaps I might describe their eyes being like saucers and their voices squealing and pealing with glee as they jumped up and down hanging onto one another. Mostly plastic, second-hand recorders that I imagine had been forgotten at the bottom of wardrobes, toy boxes and under beds in Australia, were now prized possessions. I will never, ever, be able to forget their response as long as I draw breath.

What happened next was also very revealing. Some girls ran outside where the guitar lads were emerging and literally waved the recorders in their faces - Now we have our own musical instruments too. We can play music just like you, so there.

The boys were as gobsmacked as boys can be, and two of them immediately came to me and asked if I had any more, so I gave them the remaining two. I learned later some of the young men had expressed doubts that the girls were really up to the challenge. My feminist sensibilities were, you might say, ignited!

As we arrived over the coming days at Hosana Church’s training centre to take respective recorder and guitar lessons, we could all hear the recorders playing, practicing somewhere, in the distance around the grounds. One girl reported practicing all day and while this was encouraging I’d have to say I’m eternally grateful she wasn’t living in close quarters with me.

Two of these wonderful young women have decided to continue the recorder group, and I have promised to send music to them once they have exhausted the supplies.

So to the second story: On one other day we travelled up to Manluana, north of Dili. We are talking poor here people, houses with dirt floors made with whatever the people can come by. At the church we met Francesco. He is a songwriter. Francesco’s father was a farmer who died when he was a young boy. His mother brought him up in the Catholic church out in the country, but he decided to leave her and travel to Dili, leave the Catholic church and get involved at Hosana. Many years have passed and Francesco is now nineteen. He did not go to school because he had no one to pay for it. He has no work. He lives from house to house wherever he can find a bed amongst friends. Francesco’s story is one like many others, but the thing that struck us all about him is the sentiments in the songs – they centre around a loving God who is a great Father who has been gracious and generous to him. It’s hard to reconcile Francesco’s story with his heightened faith of gratitude.

These are not merely nice stories about a bunch of young women learning recorder, and an orphaned boy who writes great songs. Though that alone would have been enough for me. This encounter has heightened in me an awareness of how weak my theology of gratitude is. Of course I am thankful for what I have, the opportunities I have, education, and all that stuff. I am. But in terms of faith I’m not sure I truly demonstrate a grateful heart – you know for all those things God has done for me. I’m much more likely to reflect on how lucky I am.

I reckon the lucky country has now become the land of entitlement. In Australia we believe we are entitled to an education, to shelter, to work – or else unemployment benefits, to a pay rise, access to power 24/7, to clean drinking water, to healthcare, vaccinations, early childhood care, legal advice. When we buy stuff, most of us don’t consider getting second-hand. When it breaks, we chuck it out. We expect our workplaces to be safe, and if we incur and injury at work or as a result of our work activity we look for someone to blame. If we get sick we expect on-the-day care, and we expect to recover. If we are overweight, or unfit, or tired, or broke, it is often the case that self-denial rules the roost. If someone is poor, as a society we often look for reasons why it is their fault, and why we shouldn’t help. If we are fined for speeding, we look for loopholes rather than accepting responsibility. When travelling on roads there is a veritable uproar over a pothole, and yet people regularly speed in 40km zones past schools.

Timor-Leste is the poorest country in Asia. While I knew something of Timorese struggle for independence (I even attended a few protest rallies in my student days) I had no conception of the extent of the suffering endured by the Timorese during the period of occupation. We are talking about genocide people – concentration camps, and period in which it is believed the population of Dili was almost halved. So in that context, how is it that there is such an overwhelming sense of gratitude?

I’m not sure I will ever have a really grateful faith, because I’m unconvinced God intervenes or acts for some people over others. What I do hope for is courage and openness to explore gratefulness further.

Can I close by saying how great it was to share this experience with Stan and ‘The Tims”. I reckon we have different and complimentary skills, and the evening de-brief was always revealing and delightful. I'd also like to thank this congregational for trusting us with this particular segment of the ongoing journey. It has been an adventure and a privilege none of us will ever be able to forget.

You may also be interested in
World Music Day: Singing the Global Church
Meeting Dili
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MPG12: Power of Partnership (Sept 14-16)

2012-09-05T16:54:00.000+10:00

When: Sept 14-16

Where: Clifford Park Scouts camp site – Clifford Rd, Wonga Park VIC (Melways 24 J6) - 45 mins from Melbourne CBD

Come and sing with me, or soak up something else on offer at MPG12: Power of Partnership.

Keynote Presenter is Pastor Berlin Guerrero from the United Church of Christ in The Philippines who was abducted, arrested and tortured in 2007. He spent 15 months as a political prisoner before he was released. He's been described as 'a modern day Mandela'.

Workshops
Reflect - Songs of Hope and The Kingdom (Lucy Graham)
Think - Partnership, Discipleship and Justice (Pastor Guerrero)
Act - Just Act (Jill Ruzbacky)

Alt Worship - led by Darren and Holly Wright
Lightning Talks

Program and more info here.

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

Event: Roses Music Camp (Grampians, Victoria)

2012-07-09T11:37:00.000+10:00

Now this looks like big fun. What better way to learn a new instrument, extend current skills, relax, breathe in bush air and meet up with friends, than at Roses Music Camp in the Grampians (Victoria, Australia).

The camp will be held on the weekend of Friday 28th September until Monday 1st October - and no, it's not officially a long weekend, but who says you can't make it into one?

Workshops include beginner and intermediate tin whistle, fiddle and guitar, as well as marimbas, gypsy brass, art, song writing, ukulele, youth band, dance, plunkestra, singing, bass and yoga.

According to the website, "all you need to bring is a love of music & dance, an interest to learn, and the energy to have a good time. All levels of experience are catered for. Over the years, Roses Gap Music Camp has offered a varied program of workshops, dances, bushwalking, art and craft, yoga and concerts, for children and adults alike. The camp is always bursting at the seams these days, so be sure to book early to ensure your place."

Accommodation is in a bush setting on unpowered and powered campsites and bunkhouses. BBQ facilities, and an outdoor camp kitchen are available, and the camp caterer "specialises in hearty, healthy and affordable fare for the weekend".

Perhaps this is an opportunity to send a budding musician or two from your faith community. For the full wrap and registration, visit the Roses Music Camp website

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10 Ways to Recruit Church Musicians
Virtual Music Barriers

Spirited & Singing is on Facebook - Join the Conversation

2012-06-08T10:44:00.002+10:00

'Spirited and Singing' now has a dedicated Facebook page. Yeah!

By 'liking' it you will be able to regularly hear what others are exploring musically for worship from week to week. It's global nature will be a major strength.

My hope is that Spirited and Singing's FB friends will share their ideas. This may simply mean a song suggestion for the current week or liturgical season, a resource, link, question, or personal reflection.

I will also be linking blogposts from Facebook to make it easy to keep up with what has been posted.

You'll notice there are currently no images on the FB page. You're invited to send photos of your faith community 'doing' music to add the the page. Clearly it's expected that you will have sought the permission of those in the image before doing so.

Please share widely and invite others along - the more the merrier!
Visit Spirited and Singing's Facebook Page

Songs That Unite: New Opportunity for Songwriters

2012-06-04T10:07:00.001+10:00

The Uniting Church's National Assembly (Australia) this year launched a new songwriting initiative called Songs That Unite. It's aims are twofold: to enable the widespread discovery original songs by local songwriters, and to offer platform for songwriters to offer their work for wider use.

So far there are 13 songwriters registered on the site with 95 songs available for purchase.

Songs are reviewed by an assessment team before being offered in several forms which can be purchased separately, or as a pack for around A$5. Formats include a lyrics sheet, backing track and music score, and while some songs include a vocal recording to give an idea of how the song sounds, these are not available for sale.

Songwriters receive royalties, and can register with a copyright agency. It is important to note that songwriters are linked to copyright organisations, so if you intend to use a song for worship, your faith community must hold the specific licence.

Don't sit on this news. If you know someone who has songs to offer, or indeed if you have songs of your own, consider this as a possible avenue for your work. As always, comments most welcome. Read more here

Visit Spirited and Singing on Facebook

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What's Happening for Pentecost?

2012-05-09T11:16:00.006+10:00

At Pentecost we encounter unlimited possibilities for creative expression. There are so many possibilities in which our senses can be aroused, through colour, sound, touch and images. In no other liturgical season are the elements of earth, wind and fire, life and death, so tactile.

Boundless possibilities exist for the collaborative arts, particularly as this year (20th May, 2012) we are gifted with the Valley of Dry Bones reading (Ezekiel 37:1-14) as well as the more commonly read, Acts 2. Both readings invite expression through artistic forms. There is no excuse for being boring here folks!

How will your faith community acknowledge Pentecost?

One year my faith community had red helium balloons on strings stuck to the aisle end of each pew. It looked perky and spectacular in our relatively dull worship space. On that particular morning, we were treated with a liturgical dance during which the players moved down the aisle. The balloons had not been present during rehearsal, and so the effect of the dancers on the balloons was unexpected and startling. As they passed back and forth each balloon dipped and was sucked toward the dancers. It was a wonderful visual metaphor for the Holy Spirit. Inevitably some balloons began to sink over time, leaving the preacher every opportunity to reflect further.

You are invited to share with the spirited and singing community here any idea, intention or memory for/of Pentecost. Written liturgy and music is welcome, as well as arts forms less utilised in our communities.

And once Pentecost Sunday has passed, please share what actually happened so that creative energies are fuelled further for the remainder of the season. Any thought however insignificant can be a trigger for another.

Keep in touch by following the conversation by email. You can subscribe by using the box in the top left hand corner of this blog.

Here are a few brainstorm starters:

Dance of the Dry Bones - you get to work out what this is
Soundscape on Ezekiel Reading
Rendition of Linnea Good's 'O Dry Bones Hear the Word of God' (it'll only cost you 99 cents to buy)
Wind sound effects
Sit around a bonfire and share stories
Paint bones
Reflect on what digging up dry bones can tell us - think forensics folks

Looking forward to your idea, memory or intention.

Sounds like Pentecost
The Bright Wind is Blowing
More Resources

Holy Week Music Resources

2012-03-28T09:54:00.001+11:00

As we approach Holy Week it's timely to remind you of the resources currently available for use in worship on this blog:

For Maundy Thursday

Sounds of the Supper (a soundscape)

For Good Friday

Friday Lament (song for soloist and community)

For anytime during the week:
Shine a Candle (community song)

You are welcome to freely make use of each of these for worship or Christian education purposes, with due acknowledgement.

Giving up Musical Instruments for Lent

2012-02-15T12:13:00.000+11:00

Giving Stuff Up.
Each year I wonder at the notion of giving something up. It is admirable of course, and can lead to new spiritual depths in the process. However sometimes the giving up of chocolate, grog, or coffee becomes almost a boast in some. One year I had a friend who gave up car travel for Lent. Great. But in reality instead of driving her own car, she constantly pestered her friends and family for lifts increasing their fuel bills and eating into their time. Unless something becomes of the denial, the action becomes a gratuitous exercise.

Why give up musical instruments?
Lent would seem to me to be the best time to have an A Capella Sunday. This is a day where the gathered people sing without instrumental accompaniment, in unison, in rounds and in part harmony. What is A Capella Sunday.

To my mind the 'denial' of music instruments in worship turns out to be an unexpected trove of spiritual riches which bind the community in new ways. A Capella Sunday takes you out of your comfort zone. Whether you believe Lent is a personal or corporate pilgrimage, a capella singing in Lent nourishes both.

The key here is access. If people perceive the exercise to be too difficult for them, or as something only the musicians in the community can do, there is something wrong with the approach.The SINGLE MOST IMPORTANT decision you will make is about seating arrangements. MUST READ: A Capella Sunday for seating and preparation tips.

What to Sing?
As suggested previously, the key to a successful A Cappella Sunday is preparation. Another key is repertoire choice. If you decide to have all 4 part harmony pieces led from the front, the message is that they are the focal point. Most people will become disconnected and possibly antagonistic. A Capella Sunday is about participation, and it's about community - NOT performance.

As a guide, I would choose:

1 well known hymn sung unaccompanied with assistance of simple drum to keep time
1 round or canon
1 echo song
1 simple 3 part song (usually one male part and two treble parts)

Many of our well known hymns did not start out as hymns at all, but as pop songs, folk tunes, dances and even beer drinking songs. Choosing one that works well unaccompanied is as easy as trying it yourself. If you sing the hymn as you go about your day, you'll notice it takes on its own life, free of accompaniment constraints. Go with it. The pace and mood will be altogether different. For more on this: Revisiting Old Treasures.

Rounds, canons and simple 3 parts songs are relatively easy to access thanks to the prolific and quality resources published by the Wild Goose Resource Group. Among their collections of songs from around the globe are There is One Among Us, Many and Great, We walk his way and Come All you People. There are also many possibilities included in the Altogether series: All Together Now (1980), All Together Again (1983), All Together Everybody (1991), All Together OK (1996), All Together Whatever (2001) and All Together for Good (2007).

You already have a store of songs in your memory at your disposal. Everybody knows Kum by Yah and Jubilate Deo which are both wonderful for Lent. What's stopping you writing your own words to a round your community knows. Oh come on, you know you want to. While Row your boat doesn't quite do it for me in Lent, songs like Frere Jacques, Oh How Lovely is the Evening (trad German), Within a Shady thicket, Twinkle Twinkle little star all work as rounds.

Use pentatonic hymns and songs like Were you there, Be thou my vision, Kum by Yah, Standing in the need of prayer, and Train is a Comin' oh yeah, which all invite people to make their own harmonies. There is no such thing as a wrong note.

You are welcome to share your 4 songs for A Capella Lent with others via the comments facility on this past. Let us all know about what worked and what didn't. Why you did, or why you'll never, give A Capella Lent a guernsey.

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A Capella Advent
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Advent this year

2011-11-29T21:59:00.001+11:00

Happy New Liturgical Year.

As 2011 draws rather speedily to a close, the new liturgical year begins as we enter the season of Advent.

A range of resources including raps, soundscapes, songs and innovative ways to use music for worship is available here.

Don't forget to add your voice to our poll on accompaniment - just a month to go. We'll need a lot more votes to make sense of how our church is accompanying song. You'll find it in the left hand column of this blog.

Wishing you all an ADVENTurous month ahead.

Event: Hope for Creation - a day of prayer

2011-10-18T11:30:00.002+11:00

In Australia a large number in the population are all aflutter about our new carbon tax which is expected to pass through the Senate.

Those who'd like to respond positively and hopefully to the polarised context might like to consider Hope For Creation, a Day of Prayer on Sunday 6th November 2011, offering a Christian response to the issue of Climate Change. As a subscriber to this movement, you pledge to pray.Theres a Facebook page and a website including song and liturgy ideas which reads:
'As stewards of God’s creation, we invite all Christians to join us in praying for our earth, our children’s futures, and our poorest neighbours who are hit first and hardest by climate change.'

Tor register and for more information:www.hopeforcreation.com.au

You may also be interested in Song: And it was very good

Event: Fay White - These People, This Place: Everyday Grace

2011-10-17T19:42:00.000+11:00

Fay White is well known on these shores as a terrific songwriter, performer, and encourager of community music. We worked together many years back on the musical component of the Lacuna Project, a collection of resources encouraging the those particularly in the Uniting Church into a contemplative space in which moments of grace might be recognised.

So, when word of a new collection of songs to be launched this weekend came my way, I found I wanted to share the news with you.

The Melbourne launch of this new album, These people, this place: everyday grace collects the best of Fay's commissioned works of this past decade, together with a handful of songs never recorded before. The launch will be held at Northcote Uniting Church, 251 High St, Northcote, at 7.30pm.

'It has been beautifully recorded by Mark Woods,' writes Fay, 'and reflects his capacity to create sparkling audio texture. A fabulous line-up of musicians will bring their magic to the accompaniments and also combine to play songs from their own repertoires in the second half. It will be a delicious evening of music.'

'Hoping to see you for some catch-up and re-union and a good sing. And a bit of heart, hope and humour in the midst of dastardly daily news.'

Please pass on these tidings to anyone you know may be interested.

Tickets $15. Booking strongly recommended - 5461 5471

More about Fay

How Does the Church Accompany Song in 2011?

2011-09-13T10:24:00.001+10:00

We are a diverse church. That's a given. But we are also living in a time where the pace of change and the opportunities technology presents have reached fever pitch.

Like the Industrial Revolution did, this Technological Revolution now affects every aspect of our lives, not least the life of our church.

Or does it?

Is technological diversity revolutionising the way we do music in church? Or are we sticking with the old ways. Is technology enabling your community to enhance it's musical life like it has never done before? How? What are the advantages of such change, and what do we lose by pursuing them? Is the church something of a sanctuary from the clutter of technology, or is it poorer for disregarding it? Perhaps your community is a trail blazer in this sphere.

Many communities use a variety of means to accompany community singing, and that's great. I am interested in exploring the emerging 'norms' or preferences in 2011. To this end, please add your voice to the poll on accompaniment. You'll find it on the left column of this blog.

And please, comment here if you have something to offer on the subject.

You may also be interested in Percussion Perspective.

Let Us With A Gladsome Mind (Tune: Monkland)

2011-08-25T15:20:00.002+10:00

In this series on revisiting old treasures you may find this old hymn is not as stodgy as you have been led to believe. Look at some of our oldest hymns through new eyes and they often take on new life.

Standing Back - Taking Stock

If you check out the form of this hymn you'll notice a few interesting things straight away. In most hymnals the last two lines of each stanza text are indented, and contain the same text each time. This is of course because this hymn is a setting a psalm 136, and these two lines are a refrain, or chorus as such.

What this may suggest is that the last two lines of each stanza be sung by the whole gathering, and that the first two lines be treated differently each time. This will give the hymn a natural momentum that is harder to attain if everyone sings every single bit of the song. But it may also heighten the significance of the text as people will tuned into to the text they are not singing themselves.

Some ways to achieve this may be as follows:

1. Various solosists sing the first two lines and the athered people sing the refrain.

2. Left side sings the first two lines and right side the second (or alternate)

3. Female voices and males voices

4. Adults and children

5. First two lines of each verse sing first by women, second verse by men, third verse by kids, fourth by a soloist and so on.

Putting the Hymn into Context

Knowledge about composer is usually very illuminating and informs the treatment of songs. John Milton's paraphrase of Psalm 136, was set to music by John Antes, a American born composer of Moravian descent, who was born in Pennsylvania in 1740, and died in England in 1811. He was a violin maker, watchmaker, inventor, missionary, theoretician, businessman and composer.

Reflecting the Character of the Text Musically

"Let us with a gladsome mind, praise the Lord for He is kind"

In the past I have most often sung this hymn in a slow four, with the emphasis on each beat. I'm not sure this was particularly successful in promoting a gladsome mind, as the result was more grandiose and even pompous in manner. Remember that in the late 1700's it is likely this hymn was sung a cappella, and that John Antes's four parts were intended for vocalists, not instrumental accompaniment.

You may notice several things if you wander around the house singing the melody alone:

The melody is more likely 2 minim beats in a bar, not 4.
It has a lovely lilting melody. Lets face it, there are way too many mono-rhythmic hymns but this one has quavers! (cheer loudly and with enthusiasm)
The vocal range is quite broad, with a range over an octave.
It has a light, dance-like quality which is in danger of being weighed down by hyper-harmonisation.

Instrumentation

This hymn is one of those which is more decisive when sung in unison and acappella (unaccompanied) than accompanied with an instrument. Consider that it's composer was a violin maker and utilise a violist in your midst if you have one, to play a counter melody. Ditching the vocal harmonies and accompanying with a single drum playing a simple rhythm works a treat.

Metronome Markings

As I have suggested previously, tempo should be governed by the intrinsic nature of a song, and not the capacity of the resident accompanist. Harmonisation, such as is prescribed in many hymnbooks, invariably slows the pace, and impedes the joy and lilting quality of this song.

In the Uniting Church's hymnal, Together in Song, the suggested speed is MM116-132. Quite a broad spectrum! You will adopt your own pace. Remember those in smaller gathering will find it easier to adopt a more sprightly pace. Having said that, a large gathering, when well led by a songleader, should have no trouble singing at MM 132 (crotcher) or MM 66 (minim).

What is a Metronome?

Don't Have a Metronome?

A metronome is an essential tool for musicians. They are available for purchase at music stores, but you would do just as well to download one onto whatever media tool you use. If you're buying a metronome, make sure it has a sound-free option. This means you can check the speed via a flashing light - very important in the midst of worship, or during a perfromance. A free metronome app is available for iphones, ipads, ipods, for PC users, blackberries etc.

Poll: How does the Church Accompany Song in 2011?

For more ideas about accompanying hymns creatively visit Revisiting Old Treasures.

For tips about using drums in church Percussion Perspective.

Soundscape: The Israelites Cross the Red Sea

2011-08-17T10:25:00.001+10:00

On Sunday 11th September (2011) the account of the parting of the Red Sea is included in the lectionary readings. To this end I offer the Soundscape: The Israelites Cross the Red Sea to accompany Exodus 14: 19-31.

This soundscape requires 7 players, a few everyday items and, depending on your preference, may involve the participation of the gathered people. You may choose to reduce the number of players should you so wish (eg: have a chorus of 3 voices instead of 4, and use the chorus members to manipulate other sounds).

Please remember soundscapes are aural, not visual, presentations and balanced amplification of each sound and speaker is crucial to success. I cannot stress the importance of rehearsal strongly enough.

The soundscape is freely available for use in worship with due acknowledgement. If you do make use of this soundscape, I'd be interested to hear about your experience.

More about soundscapes

Visit Spirited and Singing on Facebook

People 'Like' Those Who Like the Same Music

2011-08-12T11:37:00.002+10:00

Ever wondered why music can be an enormous battlefield in churches? After all there are few altercations surrounding the flower arrangement, or the strength of the tea. When it comes to tea, I tend to hover until the colour deepens to my taste. Why is it so many church folk drink it weak-black? Someone should do a study on THAT!

But I digress....

Specific and even intense musical taste is not confined to the church. A new psychological study explores why we connect more closely with those who share similar music tastes. I hope you find it illuminating.

Sounds Outside the Square

2011-06-22T13:08:00.000+10:00

Hands up those who've ever switched off during a bible reading? Perhaps it has something to do with delivery. This coming month the Revised Common Lectionary includes numerous opportunities to think outside the square with sound, and reviving effective story-telling in your faith community.

Over the forthcoming July - August period alone, sounds that are suggested or stated include birds singing, wind blowing, thunder storm, crowds talking, individuals and crowds walking on dry earth, water by the lake, water lapping against a boat, birds, people, water dripping, fishing, a donkey, a marketplace, murmured conversation and drinking water. I'm certain there are many more. Some, such as the kingdom of heaven is like series, may allow for a single sound to be played in a loop as a background to the reading. Sounds such as crowds, or water lapping on the shore would work well here.

Thanks to the age of computers, faith communities have access to all the wonderous resources available online. You can accompany readings with wind sounds by using applications on your computers, such as windmachine. Alternatively visit one of the sound effect libraries.stores such as Soundeffect which has literally thousands of sounds to purchase for between $2 - $5. Given so many of these sounds reappear in our stories, this may prove a worthwhile investment: animals, crowd, beach, footsteps, birds, weather, eating, wind in the grass, chimes, rooster crowing, carpentry.

Thinking literally goes without saying, but imagining what is implied by the story you are reading is quite liberating. In an upcoming 1 Kings reading, Elijah shelters in a cave. I imagine there may have been dripping water in that cave, or perhaps birds nesting inside.

If you prefer a more hands-on approach, consider enlisting your gathering to make sound effects in your faith community. You can simulate your own rain shower or thunder storm in a fun participatory way..

Your imagination is a gift, as are our stories - don't hide either under a bushel!
And please, share your ideas with others here on this blog.

You may also be interested in Soundscapes and Sounds Like Pentecost

Visit Spirited and Singing on Facebook

Songmakers: short course for songleaders

2011-06-15T10:34:00.000+10:00

Songmakers is a four week course for beginner and experienced songleaders. It's a practical and interactive course I ran many years back when I was employed by the Uniting Church, and I reckon its time to offer it again.

If you think there's interest in such a thing in your area, have a look-see at the details and then get the ball rolling by making contact.

The Bright Wind is Blowing

2011-06-05T17:21:00.011+10:00

Ah Pentecost - the time of year when the imagined suddenly seems possible. Althought not strictly an "old treasure", The Bright Wind is Blowing suggests creative accompaniment. It is something of a puzzle to me why this song, so rich in pentecostal imagery, is included in the section Jesus Christ: Lord and Redeemer rather than Holy Spirit. But I digress... This song was written by John Maynard (1925-85) to the words of Cecily Taylor (1930- ). It is number 263 in TIS (Together in Song), the most recently sanctioned hymnal of the Uniting Church in Australia.

'The Bright Wind' sung in Victoria (Aust) recently was
accompanied with flute, recorder and bodhran.

Sadly it is broadly assumed to be an "organ hymn" by virtue of inclusion in TIS. By assuming all songs contained in hymnals stem from the same era and continent, we inhibit and belittle what is a richly diverse collection of world music across many times, peoples and cultures.

Why choose this one?
This song is in a minor key. So what, you say. This may sound trivial, but the reality is most music is written in major keys. This means alternative tonalities may have greater impact than we realise. Another less common feature about this song is that it is in triple time enabling it with a freedom and dance quality others songs may lack. Furthermore, "hymns" often have melodies that move predominently by step (one note to the very next) but here we welcome a more expansive quality which is refreshing and entirely singable.

Imagining Creative Accompaniment
The most productive way I find to settle on song accompaniment is simply to sing it around for awhile, without subscribing to the prescribed accompaniment. Pick the melody out on your instruments initially, but then move away: sing it in the shower, hum it over the ironing, and whistle it while cycling. In an hour or so, you'll have begun to adopt a flavour - one that comes naturally to you. This process will undoubtedly suggest a tempo and instrumentation.

Full-On-Flavour
You will come up with your own ideas. Here's mine. I was drawn into the triple time feel, and found myself imagining a gentle dance, slightly emphasising the first beat of each bar, with the first beat of the second bar still being strong but with less emphasis than the first. So we would sing: The bright wind is blowing the bright wind of heaven, and where it is going to no one can say. This shouldn't be deliberate and laboured (and certainly NOT announced), its just a feeling.The metronome speed given in TIS is cathedral pace, and way too slow for my taste. Try singing it unaccompanied and you will find you settle on a comfortable singing speed. This should dictate the pace the instruments play - not the other way around! I like singing this song at about ♩ = 132.

Informed by Imagery
In the intial stages the text can sometimes call instrumentation to mind. This song text makes many wind references, so wind instruments have a certain relevance. It is also the "bright wind" not the "stodgy old wind" , or "stormy", or "gruff", "cold" or "mellow wind".The text includes the unexpected nature of the wind, so an instrumental surprise here and there may be justified.

Instrumentation
Gladly this somg has a counter melody included in TIS (Together in Song), alongside the suggestion it can be played on a woodwind instruments. or even sung. Your faith community may be limited as to the instruments available, so consider your choice carefully. A flute, recorder, tin whistle or trumpet will provide the "bright" timbre required. Harmonica, electric guitar, or glockenspeil will render quite a different effect. Clarinet, oboe or saxophone will produce a mellow quality. Children's voices will lighten, whereas trained adult singers may weigh it down and inhibit the tempo. Only you know the resources contained wthin your community, or just beyond it. There is no need to cling to this counter melody. Feel free to improvise or invent your own, or improvise on the notes given.

Simple percussion contributes to the dance - my preference in fact, is to do away with all instruments except for a drum (either bongos, toms, bodhran or tambour) and a tin whistle. No piano, no guitars and definately give the organ a rest for this one. Even the simplest drumming pattern will lift the singing.

If you do choose to use piano, consider abandoning the given accompaniment and play the guitar chords in a simple pattern alongside the drumming.

Breathing Space
An introduction and space in betweeen verses is important. The simplest way of doing this is to have the drumming begin and your melody instrument of choice play through the song once as an intro. In between verses, just have the drummer play four bars of drumming, and your wind player reprise the last 4 bars of the sung melody, and there you have it.

Teaching it.
If this is new to your community, try this. Don't give them a hymn number, or show them the words. If they have a book or words to look at they'll be reading the words, not learning the song. Trust me. Check out How to teach a Song in 4 Steps.

You may also be interested in
Sounds Like Pentecost
Virtual Music Barriers
Percussion Perspective
Psalm 107 with Drum
Revisiting Old Treasures.

Song: Never Alone

2011-05-30T10:55:00.002+10:00

Never Alone was born in 2002 out of a collaboration of writers, visual artists, storytellers, dancers, theologians, poets and musicians linked to The Uniting Church in Australia (Victoria), in an initiative titled The Lacuna Project.

Lacuna literally means 'gap' or 'space', and is the term used on ancient manuscripts where there are gaps in the text. The Lacuna Project, coordinated by Rev Joan Wright-Howie, met in Victoria (Australia) over many months, exploring ways in which people might explore their own spirituality. There was a strong desire to balance all our neccesary business and busyness with space for God, and attend intentionally to God's still small voice, embracing vulnerability in order to be filled.

The Lacuna Project produced a kit of resources for personal and community use, including photos, images, poetry, household/garden ideas and music. Importantly the kit was not delivered as a finite bound book, but as a two-holed punch clip folder in which further materials might be inserted along the way. The kit is now out-of-print.

I have provided one of the songs I contributed to the project here. It is a gentle song of reassurance and peace. The only restriction on its use is that it is duly acknowledged. If you make use of it, I'd be delighted to know.

Never Alone vocal score and lyrics
Never Alone piano score

How to teach a song in 4 steps
More songs by Lucy

What to Sing on Holy Humour Sunday?

2011-04-29T10:18:00.008+10:00

Ever heard of Holy Humour Sunday?

I hadn't until this morning. Apparently it has an historical precedent dating back to the 15th century, and I for one think it's an idea worth resurrecting. We lay claim to being people of joy after all, and most of our churches could do with an extra dollop of mirth!

On Christine Longhursts' excellent blog, the historical basis for Holy Humour Sunday is explained, together with ideas for songs, cartoons and more. Here's an excerpt:

"Churches in 15^th century Bavaria used to celebrate the Sunday after Easter as Risus Paschalis (‘God’s Joke,’ or ‘the Easter laugh’). Priests would deliberately include amusing stories and jokes in their sermons in an attempt to make the faithful laugh. After the service, people would gather together to play practical jokes on one another and tell funny stories. It was their way of celebrating the resurrection of Christ – the supreme joke God played on Satan by raising Jesus from the dead.

The observance of Risus Paschalis was officially outlawed by Pope Clement X in the 17^th century. Perhaps people were having too much fun.

In the Orthodox tradition, people would gather on Easter Monday to tell jokes and funny stories, and to dance and eat together.......

In 1988, the Fellowship of Merry Christians began encouraging churches to resurrect some of these Christian traditions—to celebrate the grace and mercy of God through the gift of laughter and joy."

And to finish, a joke shared with me by a boy in a grade two class yesterday which can surely come of use to someone:

Two snakes are slithering along when one says to the other,

"Are we supposed to be poisonous?"

"I don't think so," says the other, "why do you ask?"

"Oh nothing really, I just bit my tongue."

OK, maybe it won't bring the house down. But I'd be pleased if you'd share your jokes and songs ideas here for Holy Humour Sunday.

Here are a few more to get you started:

Q: Why was Moses the most wicked man in the Bible?
A: Because he broke the Ten Commandments all at once. (Exodus 32:19)

Q: At what time of the day was Adam created?
A: A little before Eve.

Q: What man in the Bible had no parents?
A: Joshua, the son of Nun.


Q: Who was the most popular actor in the Bible?
A: Samson. He brought the house down

Boom, boom!

Bible Jokes
Christian Jokes

You may also be interested in Virtual Music Barriers and 8 Top Tips for Getting the Blokes to Sing

Song: Friday Lament

2011-04-03T14:53:00.001+10:00

Introducing new music on Good Friday is a fraught undertaking. People generally take some weeks to be singing new songs with confidence, and introducing Friday themes earlier in the week is not ideal.

Friday Lament is a hauntingly simple song with a highly accessible, accompaniment. In the style of a folk ballad the song begins as a solo and unaccompanied. If you wish you may introduce the simple bass ostinato consisting of just four notes in the first verse. The treble ostinato can be introduced on piano from verse 2 or 3. A simple drum may be played in verses 2, 3, 4 and 6 and the bass part (bass guitar, or on a piano an octave lower than written) throughout. There is to be no other accompaniment.

The soloist sings the first three verses, by which time the gathered community should be able to join in verses 4, 7 and 8.

Friday Lament may be used freely for worship with acknowledgement.
Please let me know if you make use of it.

Print Friday Lament (music)
Print Friday Lament (words)

Check out more seasonal resources

Soundscape: Sounds of the Supper

2011-03-16T13:49:00.007+11:00

On Maundy Thursday, many faith communities will gather to remember the events of the Last Supper. To that end I offer Sounds of the Supper soundscape for use in your faith community.

Please remember soundscape are aural, not visual, presentations and amplification of each sound effect and speaker is crucial to success. Rehearsal with amplification is also important.
What is a soundscape?

The soundscape is freely available for use in worship and for christian education with due acknowledgement. If you do make use of this soundscape, I'd be interested to hear about your experience.

View/Print Sounds of the Supper

More soundscapes
How to write a Soundscape
Sounds Outside the Square
More seasonal resources

Wedding Songs

2011-03-01T16:27:00.006+11:00

Singing as the gathered community of family and friends is one of the few ways for those not in the official party, to participate in a marriage ceremony. Sadly, it seems to be something of a dying practice. This is a pity because song allows space, enhancing moments of reflection, reiteration and joy in what is an important and life-changing event.

Here is a list of contemporary songs, some with familiar tunes, that may find a place in a marriage ceremony.

Will you let me be your servant
Richard Gillard
Source: Together in Song, and many others

As man and woman we were made
Brian Wren (Tune: English trad)
Source: Together in Song

Blessing the Marriage
Wild Goose Resource Group
Source: Love from Below

A Christmas Blessing
Robin Mann
Source: All Together Again

God beyond Glory
Wild Goose Resource Group
Source: Love from Below

Lord and Lover of Creation
Wild Goose Resource Group
Source: Love from Below

Come as you are
Deidre Brown
Source: Gather Australia, Together in Song

For you. deep stillness
Julie Perrin & Robin Mann
Source: God Version One, NCYC 1999

Gifts that last
Wild Goose Resource Group
Source: Love from below

Faith, Hope and Love
Trish Watts
Source: All Together OK, and many others

Give us hearts to know you
Annette Fechner
Source: All Together OK

Take this moment
John L Bell
Source: Love from below, All Together OK

Bridegroom and Bride
John L Bell
Source: Love from below, Gather Australia

Come to a wedding
Shirley Erena Murray
Source: Gather Australia

May the Lord bless you today
Sharney Russell-Schleckner
Source: All Together OK

The Peace of the Earth
Guatemalen Trad, arr John L Bell
Source: There is one among us

Please add your own suggestions.

You may also be interested in
How to Teach a Song in 4 Steps
Songmakers: short course for songleaders
Seasonal resources

Soundscape: The Tree of Knowledge

2011-02-23T13:15:00.004+11:00

On March 13, the Garden of Eden story (Genesis 2:15-17, 3:1-7) is listed on the Revised Common Lectionary. To that end I offer this soundscape for possible use in your faith community.

The Tree of Knowledge (soundscape)
Please remember soundscape are aural, not visual, presentations and amplification of each sound effect and speaker is crucial to success. Rehearsal with amplification is also important.
What is a soundscape?

The soundscape is freely available for use in worship and for christian education with due acknowledgement. If you do make use of this soundscape, I'd be interested to hear about your experience.

More soundscapes