Easter Sunday celebrations are one of the high points of our Christian faith and worship. As such the worship planned for this day ought to be particularly festive. While there are many ways to heighten the festivities through visuals and movement, music is of particular importance on this day—especially music that includes trumpet and brass. Gathered below is a compilation of music for your consideration, including commentary about its difficulty level and other helpful information.
*Denotes optional timpani accompaniment.
I can’t imagine worship through the cycle of Advent, Christmas, and Epiphany without music. Through the centuries, composers and arrangers have offered the church a wealth of music that is consistent with the themes of worship for these seasons.
"You are holding an unusual hymnal! The texts here are not grouped by theme, season of the year, or order of worship. Rather, they are presented in chronological order by text, beginning with a sampling of Old Testament psalms and continuing right up to songs written in the past few years. Paging through this book, then, is like taking a 3,000-year journey through the songs of God’s people.”
Dear Church Musicians:
Is it not time, perhaps, to sing reformer Martin Luther’s great songs with the sprightly rhythm in which they were originally composed? The new translation included here could give fresh vigor to the canonic status of “A Mighty Fortress Is Our God.”
These days we’re connected to people all over the globe. The Internet and other electronic media allow us to be as “plugged in” as we want to be: websites and e-news blasts provide us with up-to-date information on what’s happening in the world (see sidebar).
As Christians, this awareness informs our personal devotions and our corporate worship whenever we intercede on behalf of those suffering from injustice in our own communities and around the world. It’s a natural step to put those prayers to music so that they may be sung by God’s people.
For trumpet, clarinet, and French horn players, transposing is a normal part of playing their instrument. For singers, violinists, pianists, and flute players, on the other hand, it may seem like some strange secret code. Instruments that have their notes written differently than they actually sound? Up a step? Down a fifth? What’s that all about?
This article continues the conversation begun in RW 84 by Martin Tel on the state of congregational song. —JB
Martin Tel’s article “They Just Don’t Sing Like They Used To” (RW 84) outlines several cultural and architectural challenges to congregational singing.
First, our culture has turned music into a commodity that is professionally produced and passively received.
Choosing the right choral music has got to be the single most challenging task I have faced in the 35 years I have directed church choirs. I dread the idea of buying sixty copies of something that will not work well in the service; and I don’t want to spend even twenty minutes rehearsing an anthem that will not be edifying for the body of believers.