The origins of this traditional African-American spiritual likely predate the Civil War. Since its first publishing in 1899 it has become prevalent in the hymnals of nearly every American Christian denomination. Its simple lyrics and haunting melody hardly fail to strike a personal and intimate chord within Christians as they sing, “Were you there when they crucified my Lord? Sometimes it causes me to tremble, tremble, tremble.”
This arrangement was set to fill a particular need. When the search for an arrangement of sacred tuba material suitable for the considerable talents of our church’s player produced little fruit, creating a brand new arrangement became the obvious solution. Thus, necessity and inspiration came together to produce this piece in just a few days. It makes three statements of the melody in contrasting harmonic settings, opening with polytonal language reflecting the grotesqueness and irony of man crucifying his God. The burial stanza is portrayed in a minor key with a dirge-like pulse. For the resurrection, the music moves to a major key while swelling to a climax. It closes with a nebulous tonal center and omits the final melodic phrase to leave the listener contemplating how these events often cause our hearts to tremble, tremble, tremble.
Looking for a sacred bassoon solo? Well, you’ve found it! Utilizing the melody from Morning Has Broken(the traditional Gaelic tune BUNESSAN) A Hymn of Beginnings presents a familiar yet fresh treatment of the tune in this setting for solo bassoon and piano. Suitable as a prelude, postlude, offertory, meditative, or other functions in a sacred service it is also at home in a recital or concert program.
In 1861, the sight of Northern troops assembling in Washington, D.C. inspired Julia Ward Howe to pen the words to The Battle Hymn of the Republic, which begins, “Mine eyes have seen the glory of the coming of the Lord.” Although originally intended to stimulate patriotic fervor, the text’s potent depiction of biblical themes – God’s certain and final defeat of evil, the looming eternal judgment of all souls, Christ’s atonement on our behalf, and a clear call to sacrificial evangelism – the work became prominent in many American hymnals. As summer approaches with the major American holidays of Memorial and Independence Days you may be seeking appropriate music to use in recognition of God’s providence and sovereignty. Here is one option for you, my arrangement of Ward’s hymn titled Mine Eyes Have Seen the Glory, set for trombone/low brass quartet. It’s a short piece, suitable for prelude, offertory, postlude, or other moments in your service, or would make a marvelous addition to a patriotic service or a summer bandstand concert. It is accessible and enjoyable for intermediate and higher level musicians. With rich harmonies and shifting colors, a twist on the traditional meter, and variations in tempo, it is a delight to the ears that underscores the implications of the unvoiced lyrics.
This fresh setting of the Welsh tune, HYFYRDOL, works perfectly for an offertory, prelude, or devotional function. Although written for the Advent season, the multiple familiar hymns set with this tune (e.g., Jesus, What a Friend for Sinners; Love Divine, All Loves Excelling; Come, Thou Long Expected Jesus; etc.) make the piece suitable throughout the church year. It is readily performed by high school or higher musicians yet still contains sufficient variety and artistic expression to be rewarding for even advanced performers. The familiar melody is stated clearly throughout and accompanied with interesting and sonorous harmonies so as to be accessible to all audiences.
For Flute, Horn or Trombone, Piano, Drum Set, Strings/Synth
Fairest Friend is a medley of two beloved hymns, Fairest Lord Jesus and What a Friend We Have in Jesus. It is set as a flute and horn (or trombone) duet with piano accompaniment. Optional rhythm and strings/synth may be used if available or to add color but the piece works well with the three principal instruments.
It was one of those accidents where you find something useful when you’re looking for something else. While reading on the nature of worship, a particular blog article ended with Adoniram Judson’s early 19th Century baptismal poem, “Come Holy Spirit, Dove Divine.” The flowing text called out (at least to me!) for a musical setting. Accordingly, some melodic and harmonic ideas began to percolate in my thoughts. However, before getting very far along in writing a tune, there were two surprises in store. First many others had already set the text to music before (with a multitude of tunes) going back to at least 1833. Second, despite being a Baptist for over forty years, I discovered that this hymn has been in the Baptist Hymnal since 1956 yet I have no recollection of every singing it! Well, chagrined at my ignorance, I carried on writing a new melody and harmony for this deserving text. I sought to make it friendly to congregational singers while still containing rich and sing-able harmonies and so aimed for a four-part hymn-style form. However, as I suspect my ignorance of the hymn is a common condition, a fresh and modern tune which would be at home in varied musical styles and have popular appeal was also pursued. The result is a delightful and uplifting tune, easy to sing, with an optimistic and forward momentum, commensurate with the meaning of believers’ baptism, “Buried with Him in baptism; raised to walk in new life.” The music is flexible in application to many church music styles: praise team and band, choir and organ, congregation and piano, or mix and match to fit your needs. May you find Come,Holy Spirit, Dove Divine, singing a much needed text, a means for your congregation to joyfully join with new believers in celebration of their baptism!
What Child We Sing? blends the melodies of GREENSLEEVES and NOEL NOUVELET into a new work for orchestra that explores the clash of transcendence meeting imminence at Christ’s incarnation. Soft and ethereal whispers of strings and winds meet violent thunders of brass and percussion in contemplation of the awesome majesty of the Eternal Son wrapped in the harmless, delicate flesh of a newborn babe.
What Child We Sing? fits perfectly in the Advent or Christmas seasons with its strong exposition of traditional Christmas carols and would be suitable as a prelude, offertory, or reflective music in either liturgical or unstructured service. It has sufficient artistic metric to be suitable for the concert stage as well, although it is not at all difficult, being suitable for intermediate or higher level musicians. “
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