Lotsa parts...

There are many instrumental parts available by various publishers. Some sell them individually (example); some in larger collections containing many titles. (VAO C Instrument Books). It's important to understand how the arranger INTENDED these parts to be played or used.

First, let's look at octavos. In general, the instrumental part in an octavo follows the keyboard/choral part measure for measure. It is an arrangement. It is intended to be played as written with virtually no improvisation needed. You should be able to put the music in front of an experienced player and, if you perform the octavo as written, they will stay with you the whole time, playing just what the composer or arranger intended.

Separately published C or B-flat instrument parts usually need to be approached differently. Most often these are written AFTER the song has been recorded and published. They are designed to offer some 'enhancement' to the song. They are designed to offer your solo instrumentalists SOMETHING to play! Usually you will see three staves: the top staff has the melody, the second staff has a simple instrument part, and the third a similar, sometimes more advanced part. They are intended to be 3 different options for the song. If played together it would probably be 'too much.' Probably. It depends on the arrangement. (Some arrangements intend for C1 and C2 to be played together.)

As the director, your job is to give some direction to your players when they are given one of these multiple-option pieces of music.

Here's an example of some instrumental parts written after the song was recorded. The song is "Awake to the Day" and the instrumental parts were arranged by Brian Fife. This is from the VAO C Instrument Books. I've indicated some instructions that I would give 2 players, either verbally or written-in. I've actually highlighted the sections I would have them play.

Sure, if you had three different C instruments, once could play the melody, one could play C1, and one could play C2. They wouldn't clash, but it might just be too much to have them all the whole time!  Brian's intent here (as is explained in the Preface) is for you to 'pick and choose' what to do based on your ensemble.

The beauty of these type of parts is that they offer lots of flexibility. You just need to be careful to explain to your instrumentalists what the intent is. Chances are, if left unguided, they will play from measure one to the end, note-for-note, unless you tell them what you would like to do.


In other news: we played Joshua Blakesley's "Let Your Love Come Down" this past week as our Dismissal song. Great song! Everyone seemed to really enjoy singing it. We'll be doing it again this week.

January 20, 2013 – Second Sunday in Ordinary Time

(These songs are off of my planning notes for this particular Sunday, which means I am strongly considering using them on these days. After each title I’ve added some thoughts to consider.)

(Click on titles for links to their respective pages.)

All the Ends of the Earth by Ed Bolduc (WLP) - upbeat setting of this Psalm with a short, repetitive refrain. Though the recording begins with the verse, in a liturgical setting it would be better to begin with the refrain. (from the CD Word for Word.)

Suggested use: Entrance/Song of Gathering, Sending Forth/Dismissal

Come, Holy Spirit by Tom Booth and Robert Feduccia (spiritandsong.com) - beautifully simple song. Keep it light. Brushes for the drummer!  (from the CD Captured.)

Suggested use: Second Communion

Come to Jesus by Joshua Blakesley and Sarah Hart (spiritandsong.com) - works beautifully as a song for Gathering, Offertory, or Communion. Lyrics inviting all to come to the Lord, set to beautiful music. One of my favorites. (from the CD Waiting.)

Suggested use: Entrance/Song of Gathering, 

Offertory/Song of Preparation, Communion

Flowing River by Rita Baloche (CCLI) - this quickly became a favorite prayer for our assembly to sing. Set up a nice rhythm with the piano or guitar (or percussion if you have it) and practice singing over it. Listen to the recording by Paul Baloche, or the one from Voices As One.

Suggested use: Offertory/Song of Preparation, Communion

Go Out, Go Out (Psalm 117) by Curtis Stephan (spiritandsong) - get the horn section ready for this tune. A fun song to play and sing that sends us all forth to "tell the world." (from the CD Amid Passing Things)

Suggested use: Entrance/Song of Gathering, Sending Forth/Dismissal

We Bring Our Gifts To Your Altar by Brian Flynn (WLP) - Wonderful hymn-style song. See an earlier post about playing this piece. "Where does it say that?" (from the CD Born Again.)

Suggested use: Offertory/Song of Preparation, Communion

Wedding at Cana by Danielle Rose (WLP) - I had the opportunity to actually play this song for Danielle years ago. We only had a piano and a set of congas, but we made it work. :-)  Perhaps consider using this song for the Offertory, or possibly as a communion meditation. (from the CD Mysteries.)

Suggested use: 

Offertory/Song of Preparation, Communion

Please share your song ideas with me and I will post as many as I can so we can all share our knowledge of resources. Remember, what works for one parish might not work for another. We should be open-minded to all styles and preferences of music. As long as the music serves the liturgy, it may be listed here.