So what did I learn from the video? That I should pull out the ladder to the organ chamber and go blow on some pipes! (The video did not explicitly suggest this, but I extrapolated it as a reasonable experience to get to know my organ better.)

Thanks for reading Pipe Organs: Q&A with Grime and Hildebrand.

While listening to my Christmas iPod playlist, I came across a recording of a delightful hymn setting of O Sing of Christ that I discovered a few years back.  After a little bit of Internet research I found the source of it — Outer Rim Territories.  The setting is by Kevin Hildebrand and is a rehearsal recording of one of the seminary choral groups.  You can even sing along if you like.

As a hint to the organists out there, Hildebrand’s instrumental introduction has been set for organ in his volume of Christmas music — Bethlehem’s Rose.  Though, I’m not sure how many “average” organs have a Flute 2′ in the pedal division (unless you couple a 3rd manual with a 2′ stop to the pedal or you are playing the Kramer Chapel organ).

Todd Wilken with Issues Etc interviewed Stephen Starke about this hymn on December 21, 2006.  The interview is archived here — just ignore all the references to supporting Issues Etc. via KFUO and the Reformation Club — to support Issues Etc., go here.

Thanks for reading O Sing of Christ.

In a short article I recently acquired, Kevin Hildebrand reflects on the import of these familiar words.

We are by nature sinful and unclean. Therefore we ask with the psalmist, “O Lord, open my lips,” as we cannot open our own dead, sinful lips. Only with lips that have been touched with the words of absolution, drenched with the waters of Holy Baptism, and quenched with the Blood of the chalice can we then say with confidence, “and my mouth will declare your praise.”

** An excerpt from “The Organ Also Sings: Some Brief Thoughts to Introduce an Organ Reading Session” in the 2004 journal of the Good Shepherd Institute – Singing and Preaching the Close of the Year: “Zion Hears the Watchmen Singing)

Our praise is a result of the great gifts God gives us through His word and sacraments. Thanks be to God!

Thanks for reading O Lord, Open My Lips.

• A new volume by John Behnke in his series Five Preludes of Praise.
• Six Hymn Improvisations Set 7 by Kevin Hildebrand. I frequently use his improvisations in worship services. His collections on Christmas and Lent/Easter hymns are also good.
• Introductions, Harmonizations, Accompaniments, Interpretations, Vol. 5 by Jeffrey Blersch.

I suspect CPH is working on their promotional CDs and will soon be providing audio excerpts. But in the meantime they do have PDF excerpts for most of the music books.

And no, I do not receive any kickbacks from the CPH Music Department for writing this.

Thanks for reading Sneak Peak – New Organ Music @ CPH.

Over the last two weeks I have been reading “Music for the Church: The Life and Work of Walter E. Buszin” by Kirby L. Koriath with 10 essays by Walter E. Buszin. As a brief summary, Buszin (1899-1973) was a Lutheran theologian, church musician, music editor, hymnologist, teacher, and liturgical scholar whose scholarly output is quite amazing. In some respects his work was more widely known outside of the Lutheran Church Missouri Synod (LCMS) despite being a professor at Concordia Seminary, music editor at Concordia Publishing House, and being on the Synod’s Commission on Worship, Liturgics, and Hymnology for 26 years.

This book presents today’s generation of pastors and church musicians with wise counsel on church music and liturgy. Buszin’s life shows a “mission of restoration and renewal in Lutheran church music and worship” (pg 27). He was deeply concerned that his church, the Lutheran church, had abandoned its fine heritage and replaced it with an unworthy and substandard successor. His life and words are still timely because he dealt with many of the same issues we encounter today – quality of hymnody, liturgy, choral and instrumental music.

As I read the book, I realized how I, as a church musician, have been shaped by Buszin without really knowing it. Buszin promoted the use of the chorale in hymnody, choral music, and organ music and seemed to be instrumental in bringing the sacred works of the “Golden Age of Lutheran Music” (16th – 18th centuries) to light. Besides relying extensively on this era of music for my weekly service playing, I have been shaped by my favorite modern Lutheran composers who write music on the chorales — Benjamin Culli, Kevin Hildebrand, Jeffrey Blersch, Kenneth Kosche, John Behnke, Michael Burkhardt, and Paul Manz. And finally, the Organist Workshops and Good Shepherd Institute at Concordia Theological Seminary introduced me to the thoughts of Buszin and helped me better understand and live my vocation as a church musician.

I hope that I might reflect, if only a glimmer, the passion that Buszin had for Lutheran church music and worship.

Thanks for reading Walter E. Buszin – Wise Counsel for Today.

Without much fanfare (e.g., there was no mass media blitz or e-mails from CPH) and by accident, I discovered that the Good Shepherd Institute will soon be releasing their DVD project entitled Singing the Faith – Living the Lutheran Musical Heritage.

Their website says that Singing the Faith “is a study of the history of Lutheran congregational song.” The contributors to the DVD include an impressive array of Lutheran music and hymnody experts.

On their website you will find links to download a 12-minute sampler video. As a word of caution — I first downloaded the “Medium” file and the video froze half way through (right after Carl Schalk). I then downloaded the “Small” file and it worked great.

After only a 12-minute preview, I’m impressed and excited. I sense this will be an important resource to help people understand the richness of Lutheran music.

I close with a brief excerpt by Kantor Resch from the video describing his goal of Singing the Faith.

To help today’s church see and hear the rich theological and musical roots of Lutheranism . . . To show that this beautiful inheritance is not simply history, but it is alive. It is an ongoing sung confession of faith that serves Christ’s church — Yes . . . even today.

Thanks for reading Singing the Faith – Living the Lutheran Musical Heritage.

Jan Bender, in his book “Organ Improvisation for Beginners” offers the following on the benefits of learning how to improvise:

What is improvisation good for? There are many answers, and I will try to name some of them. The first one is very practical: One does not need to handle so many books. . . . Second: Improvisation is an outstanding discipline to develop and train memory as well as intelligence. . . Third, again a very practical reason: It is fun and very satisfying. Last but not least: When it is done well, improvisation contributes to the dignity of the worship service and to the praise of God.

Bender’s book, while good, requires a working understanding of music theory and harmony.

A resource I received as a Christmas present is “Off the Page: Tips & Techniques for Creating Hymn-Based Organ Settings” ($38.00) by Donald Rotermund and published by MorningStar Music Publishers. If you can play a hymn from the hymnal, you can improvise. Rotermund shows you step by step a number of different techniques (e.g., Echo Phrases) that you can practice and use together to create things like a hymn introduction, prelude, or partita. There is even a CD that gives an audio demonstration of each technique. This is an extremely accessible and useful resource for the church organist.

What I find particularly satisfying about this book is how the musician is just using the music in front of them in the hymnal. The book assumes the reader has a limited background in music theory and keyboard harmony and little improvisational background, BUT the willingness and desire to spend some time practicing and becoming comfortable with the techniques. Rotermund also shows you how to mark your hymnal so you can recall your plan of action while at the organ console.

If you are really interested in learning to improvise, another resource is the Improvisation Organist Workshop at Concordia Theological Seminary in Fort Wayne, Indiana, by Kantor Kevin Hildebrand. His workshop covers many of the same techniques as in “Off the Page” — some of the material from “Off the Page” was field tested in Hildebrand’s workshops. If you have the opportunity to attend the Improvisation or another workshop, take advantage of it. You will learn a lot and meet some great people. Each summer has a different selection of workshops – you will need to check with the Seminary to see what workshops will be offered in 2008. You can read my “testimonial” here.

Best wishes as you serve God’s people through your service playing.

Thanks for reading Improvisation for Organists.

As I recall, Kantor Resch referred to the hymn introduction as an “Invitation to Sing.” If the introduction is “blah”, the singing will be “blah” as well. The “invitation” by the organist gives a foretaste of what is to come. One of the primary responsibilities of the organist is to engage God’s people in song.

Sometimes the introduction will be playing the entire hymn through once. Sometimes it will be the first and last music phrases. For me this can get a bit repetitive and rather uncreative. More often than not I will either improvise an introduction, use an introduction from one of the organ books in my library, or repurpose a portion of an organ piece from another composer.

The idea for this blog post came after a number of people from church over the last week complimented me on the introductions and accompaniments for a number of the hymns. I was told they were creative, engaging, and reflective of the texts. I can’t take credit for them all — some of them were my own improvisations, but a number of them came from the works of Carl Schalk, Jeffrey Blersch, and Kevin Hildebrand. If any of you organist’s out there do not have Hildebrand’s newest organ collection, Bethlehem’s Rose – 12 Easy Chorale Preludes, get it for the 2008 Christmas season.

P.S. I do not work for or get any commissions from Concordia Publishing House. I just happen to use a lot of the organ music that they publish.

Thanks for reading Invitation to Sing.