august september 2013 volume 65 hymn and sacred song ...morn-ing sun that œœ œ œ ˙˙ ˙ ˙. œ...

Fully Reproducible Collection

Settings by Sue Ellen Page and Mark Loria

Hymn and Sacred Song Arrangements for Choirs of All Ages

glory to godR E S O U R C E S F O R M U S I C M I N I S T R Yaugust | september 2013 volume 65 | issue 2

Speaking the Words by Alice Parker

Top 10 Children’s Anthems based on Hymns and Folk Tunes

Shape Up Your Rehearsal!

PLUS +

Envisioning Your Choir Program

thechorister

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CGC64

Table of Contents

Dedication…………..………………………………………………………...4

God Is Here Today……………………………………………………………5 Unison/two-part with piano and optional flute, violin, and mandolin

For the Beauty of the Earth………………………………………………….12 Unison with percussion

God of Great and God of Small……………………………………………..14 Unison with piano and optional flute and violin

Doxology Medley…………………………………………………………...19 Unison and SATB choirs with piano or organ and optional flute, bass, percussion, violin, cello, and 4 handbells

Jesus Loves Me……………………………………………………………...34 Unison with piano

Listen to the Word That God Has Spoken….………………………………..38 Unison with piano and optional violin, alto xylophone, sand blocks, Tibetan singing bowls, and double bass

God Is So Good/Know That God Is Good…………………………………..45 Unison and SATB choirs with piano, conga, and woodblock

May the God of Hope Go with Us…………………………………………..51 Two-part with mandolin or guitar, bass, and percussion

Taste and See………………………………………………………………...59 Unison choir (or soloist) with piano and optional SATB choir and congregation

God Be the Love to Search and Keep Me…………………………………...70 Unison choir with piano and optional flute

Instrumental Parts……………………………………………………………74

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22

22

22

Flute

Piano

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œœ œ ˙

.˙ œ

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pdolce

p

Flowing, like a folk song (h = ca. 72)

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œ œ œ œ..˙ œ

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Fl.

6 .˙ œ

œœ œ œ œ

.˙ œ

A 7

˙ ˙

œ œ œ œ

.˙ œ

D

˙ Œ œ

œ œ œ œ œ

˙n œ œ

D 7

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œœ œ ˙

.˙ œ

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œ œ œ œ

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.˙ œ

A 7

5

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DIOS ESTÁ AQUÍRaul Galeano

arr. Mark Loria

God Is Here TodayDios está aquí

Copyright © 2017 Choristers Guild. All rights reserved. Printed in U.S.A. Publisher grants permission to reproduce this music provided each copy includes this copyright notice.

Raul Galeanotrans. Ronald F. Krisman

Concept: God is with us today, and always.Scripture Reference: Matt. 28:16-20

Suggestions for Use:• As an introit by two-part choir; or as an opening hymn/anthem.• The congregation might join the choir on the last time through. (Note that Part II – in Spanish – only begins in canon, then harmonizes in m. 74-80.)• Incorporate a few simple gestures using American Sign Language or original gestures.

Hymn Background: Though it is popular throughout Latin America, the conditions of this song’s creation have remained obscure. It was once thought to have originated in a Mexican jail but is now known to have been written by an Argentinian who has also lived in the United States and Colombia.

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11 ˙ ˙

œœ œ œœ œ˙ ˙

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˙ Œ œ

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œ œ œ œ

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œ œ œ œ œ

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œ œ œ œ

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œ œ œ œ

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17

.˙ œGod is

œœ œ ˙.˙ œ

DPPart I

.˙ œhere to -

œœ œ ˙

.˙ œ

A 7

wday;

œ œ œ œww

B m

˙ Œ œas

œ œ œ œ..˙ œ

D 7

œ œ œ œcer-tain as the

œœ œ ˙

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.˙ œair I

œœ œ œ œ

.˙ œ

A 7

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# #

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23

˙ ˙breathe,

œ œ œ œ.˙ œ

D ˙ Œ œas

œ œ œ œ œ

˙n œ œ

D 7 œ œ œ œcer - tain as the

œœ œ ˙

.˙ œ

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œ œ œ œmorn-ing sun that

œœœ œ ˙

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A 7

˙ ˙ris -

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28

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œ œ œ œcer - tain when I

œœœ œ ˙

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œ œ œ œ œsing you’ll hear my

œœ œ ˙

.˙ œ

A 7

wsong.

œ œ œ œ

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D

w

œ œ œ œ

w

6

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22

22

22

Aux. Perussion

Bongo Drums

∑

œ œ œ œ œ œ œ œ

∑p

q = 116

∑


Œ For the

P(Optional Part I)Unison

(spoken)

&

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Bgo.

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- - Œbeau - ty of the earth!

PWoodblock œ œ œ œ œ Œ


Œ For the

(Optional Part II)

12

CGC64

arr. Sue Ellen Page

For the Beauty of the Earth

Concept: Grateful praise and adoration to God.

Suggestions for Use:• Use this unison or two-part spoken chant as a stand-alone call to worship and/or as an introduction to the familiar hymn. Organ or other accompaniment enters at the downbeat of m. 13.• The chant might follow a reading of a psalm that celebrates the gifts of creation.• Other percussion sounds are possible and experimentation is encouraged!

Hymn Background: In the course of many revisions, the original Eucharistic emphasis of this text has shifted to a hymn of thanksgiving for a wide range of human experiences, with a Christological summation.


Folliott S. Pierpoint

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#

#

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22

22

22

Flute(optional)

Piano orOrgan

Œ œ œ œ

Œ œœ œ œ˙Œ .˙˙ ˙

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F

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w

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œ œ œ œ˙ ˙˙ ˙

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w ˙˙ ˙w

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9 w

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Œ œ œ œ œ œ

Œ œ œ œ œ œw ˙˙ ˙ ˙

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Œ œœ œœ œœ

˙ ˙

w

œœ œœ œœ œœ˙ ˙

19

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OLD HUNDREDTH, PRAISE GOD, DA N’ASE, LASST UNS ERFREUEN

arr. Mark Loria

Praise God, from Whom All Blessings Flow

Concepts: Creator, Word and Spirit, One

Suggestions for Use:• Maximize the contrasting styles of the four settings of the doxology. The first, PRAISE GOD, is a ballad-like melody that might be sung as a solo or by children. The second, OLD HUNDREDTH, is a dance-like psalm tune for SATB, followed by alternation of the two tunes. The percussion break can be improvised or can follow the suggested patterns in the score as the third melody, DA N’ASE, enters with dramatic contrast. Finally, all voices join on the hymn tune LASST UNS EFREUEN.

A Doxology Medley

“Praise God, from Whom All Blessings Flow” words by Brian Wren. Copyright © Hope Publishing Company, Carol Stream, IL 60188. All rights reserved. Used by permission.

PRAISE GOD, text and tune copyright © 2008 Hal H. Hopson.“Praise God, from Whom All Blessings Flow” words by Neil Weatherhogg. Used by permission.

Arrangement copyright © 2017 Choristers Guild. All rights reserved. Printed in U.S.A. Publisher grants permission to reproduce this music provided each copy includes this copyright notice.

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#

#

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..

..

..

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Ch.

14 ∑

Œ œ œ œPraise God, from

Œ œœ œ œ˙Œ .˙˙ ˙

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P

1st time: Child Solo2nd time: All Children

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œ œ œ œwhom all bless-ings

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Œ œ œ œ˙ ˙w ˙

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œ œ œ œ˙ ˙˙ ˙

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19 œ œ œ œ œ

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Œ œ œ œ˙ ˙˙ ˙

∑

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Œ œœ œ œ˙Œ .˙˙ ˙

(play both times)

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Œ œœ œœ œœ˙ ˙

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20

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29

˙ œœ œœ œœ œœPraise God, from whom all˙ œœ œœ œœ œœ

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SA

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Bass

40 Œ œ œ œPraise God, from

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Œ œœ œ œ˙Œ .˙˙ ˙

˙ ˙

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F

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œ œ œ œwhom all bless - ings

∑

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∑

˙ œœ œœ œœ œœPraise God, from whom all˙ œœ œœ œœ œœ

∑

∑

∑

21

CGC64

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&?

44

44

∑

Œ ‰ jœF

With swing and stride (h = 60)

˙ jœ# œœœ œœœ

œ œ œ œ œ œ

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34

CGC64

JESUS LOVES MEWilliam B. Bradbury, 1816–1868

arr. Mark Loria

Jesus Loves Me

Concept: There is perhaps no greater message: Jesus loves each one of us!

Suggestions for Use:• Identify two alternating groups. These may be any configuration that works for your ensemble, but preferably child/children in one group alternating with adult solo or adult choir. • Invite the congregation to join on the reprise of verse one.• It is nearly impossible not to move in some way. Encourage singing, clapping, swaying, and/or use sign language to share this well-known and cherished melody.• If bass or percussion are available, add!

Hymn Background: Few songs of faith have supported people from cradle to grave like this one. The great theologian Karl Barth said that its opening two lines were a summary of all that he had learned. The composer formed the refrain from those lines when creating this universally-used hymn.


Anna Barlett Warner, 1824–1915and David Rutherford McGuire

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&

&?

10

œ œ œ œJe - sus loves me!

Œ œœœŒ œœœ

.œ jœ .œ jœ

C G 7FUnisonOptional Part I

œ œ ˙This I know,

‰ œœœjœœœ œœœ œœœb

.œ jœ .œ jœ

C C 7

Optional Part II

œ œ œ œfor the Bi - ble

œœ œœ‰ j

œ œœ.œ

jœ .œ jœ

FF œ œ ˙tells me so.

‰ jœ œœ jœ œœ œœ œœ

.œjœ .œ j

œ

C G 7

&

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14

œ œ œ œLit - tle ones to

Œ œœœŒ œœœ

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C G 7(I)

œ œ ˙him be - long.

‰ œœœjœœœ œœœ œœœb

.œ jœ .œ jœ

C C7

œ œ œ œThey are weak, but

‰ ...œœœ œœœ œœ.œ jœ .œ jœ

F C(II)

œ œ ˙he is strong.

œœœ# œœœn œœœŒ

œ œ œ œ

D 7 G 7 C

&

&?

18

˙ œ œYes, Je - sus

Œ œœœ‰ jœ œœ

.œjœ .œ jœ

C

œ .˙loves me!

‰ œ œ œœ œœ œ œœ.œ

jœ .œjœ

F


Œ œœœ‰ jœ œœ

.œjœ .œ jœ

C(I)

œ .˙loves me!

œœœ œœœ œœœ œœœ.œ jœ .œ

jœ

G 7

&

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22


‰ ...œœœ œœœ œœœ.œ jœ .œ jœ

CC/E(I+II)

œ ˙ œloves me! The

œ œ œ œœœb œœœ œ œœ.œ jœ# .œ jœ

F F#dim7

œ œ œ œBi - ble tells me

Œ œœœ‰ œœœ

jœœœ.œ jœ .œ

jœ

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.˙ Œso.

˙

˙ œ œ

C

35

CGC64

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& bb 44Voices ch ch ch ch ch ch

Ph = 64

ch ch ch ch

ch ch ch ch ch ch ch

Œch ch ch

& bb5 ch ch ch ch ch ch ch

ch ch ch ch

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∑

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Alto Xylophone

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Sandblock

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∑ Œ

∑

∑

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∑ww

∑

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p

Pfor rehearsal only, through m. 33

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38

CGC64

LISTENanonymous Canadian

incorporating YISRAEL V’ORAITAIsraeli folk song

arr. Sue Ellen Page

Listen to the Word That God Has Spokenwith YISRAEL V’ORAITA


Anon. Canadian (alt)

Concept: God calls us to calm our minds and listen with our whole body, including our hearts.Scripture References: Deuteronomy 5:1, 6:4-9; Jeremiah 2:4

Suggestions for Use:• As an anthem placed at the Prayer for Illumination.• Utilize the worship space creatively, perhaps incorporating the traditional Israeli ’grapevine’ dance, during the Hebrew melody.• During the canon sections, visually indicate with hand to ear, each time the word “listen” is sung (hand down on the word “God”).• The voices of the two-part, then four-part canon could be spaced throughout four sections of the worship space, surrounding the congregation.• Emphasize the word “listen” so that in the 4-part canon, the word is clearly heard twice in each measure: “listen...listen...listen...listen...”• If violin is used as the melodic instrument, it should be played very close to the bridge to effect the klezmer sound.• Clarinet could substitute for violin.• Any of the material might be reprised as a sending at the close of worship.

Hymn Background: This is a melding of the text, “Listen to the Word That God Has Spoken” and the tune YISRAEL V’ORAITA from “Open Your Ears, O Faithful People.” Both songs are encouragements to pay attention to what God is saying. In the writings of the prophets, the ear is valued above all other senses, and the essential declaration of Jewish faith is Shema Ysrael, “Hear, O Israel.”

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&

&

&?

bb

bb

bb

bb

AX

S. Bl.

Pat.

13 wwœ œ œ œ œ Œ

∑

∑

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∑

œ œ œ œ œ œLis - ten to the Word that

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œ œ œ œGod has spo - ken,

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œ œ œ œ œ Œ

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ww

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œ œ œ œ œ œ œLis - ten to the voice that be -

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∑

39

CGC64

PREVIEW

&

&

b

b

44

44Piano

˙ œ œ

˙ œ œ

N.C.Sweetly (q = ca. 96)

p dolce sempre

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45

CGC64

GOD IS SO GOODTraditional

MUNGU NI MWEMATraditional song, Congo

arr. Mark Loria and Sue Ellen Page

God Is So Good/Know That God Is Good

Concepts: God is good. God cares for me. God loves me so.Scripture References: Psalm 34:8; 73:1; 100:5; 135:3; 145:9

Suggestions for Use:• Preschool and early elementary voices can sing the opening five-note chorus of “God Is So Good,” which forms a partner song with the song from central Africa, “Know That God Is Good,” sung by adult voices, complete with clapping pattern noted in the score.• The percussion parts provided should be played on medium high, medium low, and low drums.• Encourage physical expression of the text through movement. Have fun!• The congregation can join with the children on the first melody when the two songs are paired.• Effective for use on World Communion Sunday.

Hymn Background: The exact origin of this chorus celebrating God’s providential care, “God is So Good,” is not clear, but it seems to have arisen during the 1970s. The engaging song from central Africa is based on an affirmation that recurs in numerous psalms as well as several other books of the Hebrew Scriptures.

Traditional, anon.


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b

b

b

Treb.

13

˙ œ œGod is so

œ œ œ œ

∑

˙ œ œgood; God’s so

œ œ ˙

∑

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&

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b

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b

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17

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21


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25

˙ œ œGod loves me

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w

C

˙ œ œGod loves me

œ œ œ œ

˙ œ œ

wso;

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F

46

CGC64

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#

#

44

44

44

*Cajón

Mandolin(or Guitar)

Bass

‰ œ œ œ œ jœ œ jœ.œ Jœ œ œ

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Medium Bolero (q = 96) ‰ œ œ œ œ œ œ œ œ.œ Jœ œ œ

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7 ‰ œ œ œ œ jœ œ jœ.œ Jœ œ œ

œ œ œ œ œ œ œ œ.œ Jœ œ œ


œ œ œ ˙.œ Jœ œ œ

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ARGENTINAArgentine folk melody

arr. Mark Loria

May the God of Hope Go with Us

Concept: As we live and work each day, we thank God for the hope of what may be.

Suggestions for Use:• Provide untuned percussion instruments for singers to play, especially during the instrumental interlude.• A cajón alone, or in combination other drums, will be effective.• The Spanish text leads to conversation surrounding God, who knows all languages, and hears all prayers.• Effective for use on World Communion Sunday.• Invite the congregation to sing along during the “la la la” verse.• The mandolin/guitar player is encouraged to improvise countermelodies, if able.

Hymn Background: This Argentine folk melody sets Spanish and English words together, both created by a PC(USA) missionary with much Latin American experience. The two texts complement each other: – the Spanish text offering a prayer to God, – the English one sending us out into the world to do God’s work.


Song of Hope/Canto de esperanza

Alvin Schutmaat

*In place of the cajón, bongos and congas (or a similar high/low combination) may be substituted.

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Bass


œ œ œ ˙

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Part I


‰ Jœ œ œ

œ œ œ œ œ œ œ œMay the God of hope go with us

.œ Jœ œ œ

PF


.œ œ œ œ œ œ

œ œ œ ˙ev - ’ry day,

.œ Jœ œ œ

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˙ œ œ œ œ

œ œ œ œ œ œ œ œfill - ing all our lives with love and

.œ Jœ œ œ

FPart II


œ œ œ ˙

œ œ œ ˙joy and peace.

.œ Jœ œ œ

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18 ‰ œ œ œ œ jœ œ jœ.œ Jœ œ œœ œ œ œ .œ œ œ œ

œ œ œ œ œ œ œ œMay the God of jus - tice speed us

.œ Jœ œ œ

Part I


.œ œ œ œ œ œ

œ œ œ ˙on our way,

.œ Jœ œ œ

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20 ‰ œ œ œ œ jœ œ jœ.œ Jœ œ œœ œ œ œ .œ œ œ œ

œ œ œ œ œ œ œ œbring - ing light and hope to ev - ’ry

.œ Jœ œ œ

Part II


.œ jœ œ œ

œ œ œ ˙land and race.

.œ Jœ œ œ

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Œ œ œlet us

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œ œ œ ˙work for peace;

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.œ Jœ œ œ

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CGC64

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.˙ œTaste and

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59

TASTE AND SEEJames E. Moore, Jr.

arr. Mark Loria

Taste and See

Copyright © 1983, Arrangement © 2017 by GIA Publications, Inc.7404 S. Mason Ave., Chicago, IL 60638. www.giamusic.com, 800.442.1358

All rights reserved. Used with permission.Publisher grants permission to reproduce this music provided each copy includes this copyright notice.

Concepts: Taste and see that the Lord is good. Open your heart to God.

Suggestions for Use:• Soloists or ensembles share the various verses.• Congregation joins on each refrain.• Sing during, or surrounding, the eucharist.• Addition of bass and/or gentle percussion will be effective.

Hymn Background: In the Christian context of the Lord’s supper, the invitation to participate (“taste”) is joined with the promise of blessing (“see that the Lord is good”).

James E. Moore, Jr.

*Solo line may be sung by a unison children’s choir.

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60

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œ œ œ œ jœMmm

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GREEN TYLERRichard Bruxvoort Colligan

arr. Sue Ellen Page

God, Be the Love to Search and Keep Me


Richard Bruxvoort Colligan

Concept: God’s love is the beacon of our lives – all day long, all year long, all life long.

Suggestions for Use:• Sing in unison throughout, or alternate contrasting voices.• Incorporate in any worship setting as an invitation to the prayers of the people. Spoken prayers could be offered in between verses.• The congregation might sing the echo, “O Christ, surround me”, as a litany response to each of the verses, with the choir (or solo voice) singing the first iteration as the invitation to respond.• Place as the benediction response in any worship setting, including baptism, confirmation, ordination, or memorial services.• Use when choir members visit nursing homes or the homebound. Invite the residents to echo the phrase, “O Christ, surround me.”

Hymn Background: This hymn is a 21st-century adaptation of the traditional Celtic prayer style known as a lorica (Latin for “armor” or “breastplate”). Many such petitions for God’s presence and protection were never written down, but this one is based on an example attributed to St. Patrick.

O Christ, Surround Me

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œœ jœ œ œ œœ.œ ..œœ

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.œ ..œœ

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A D

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PREVIEW

august september 2013 volume 65 hymn and sacred song ...morn-ing sun that œœ œ œ ˙˙ ˙ ˙. œ...

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