Tim Shaw
Timothy Shaw was born and raised in idyllic Keene, New Hampshire. He studied theology and music (theory, history, composition, piano) in college and graduate school, and he has enjoyed a multi-faceted career as professor, composer, church musician, and author. As a clinician and scholar, he has presented workshops, academic papers, hymn festivals, music reading sessions, and master classes at numerous universities, conferences, music societies, and churches throughout the United States. As a composer, he is the recipient of the 2019 ALCM Raabe Prize for Excellence in Sacred Composition. He has written extensively for the church and is published by Augsburg Fortress, Beckenhorst, Choristers Guild, Concordia, Fred Bock, Hope, MorningStar Music, Neil A. Kjos, and Shawnee Press. He also composes on commission, and he has written for David Kim (Philadelphia Orchestra concertmaster), Anne Martindale-Williams (Pittsburgh Symphony Orchestra principal cellist), and Abington Presbyterian Church (Abington, Pennsylvania), among others.
Magnificat (Luke 1:46-55)
When Mary heard the good news—that Jesus was coming and she would be his mother—her world was turned upside down instantly. From that moment on, everything in her life was different from what she had imagined. Her plans, her hopes, her dreams were all challenged. At first, the angel’s words did not make sense to her. How could she give birth to a child—the Child? But Gabriel reminded her that all things are possible with God, he reminded her of the truth she already knew about God, and Mary responded in humble obedience.
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In an article that appeared online in The Atlantic (March 28, 2012), Karen Loew notes the only time most Americans sing communally is during a baseball game’s seventh-inning stretch when the crowd stands and sings “Take Me Out to the Ballgame.” (Red Sox fans, of course, have the added privilege of singing Neil Diamond’s “Sweet Caroline” during games at Fenway Park.) People sang together in the past, but communal singing has virtually disappeared from today’s society. Americans do not sing together in public, yet when they go to church they are expected to join in the singing of hymns, responses, and other songs. What a peculiar, old-fashioned thing to do! While Loew acknowledges certain types of music-making continue to thrive in America (“Folks sing in religious settings as much as ever”), it is worth considering: exactly why do Christians engage in the counter-cultural practice of group singing during their worship services?
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As church musicians who must plan repertoire in advance, our thoughts are often a season or two ahead, and I think this is especially fitting during December. To have one ear in Christmas and the other ear in Easter reminds us of this profound truth: Christ Jesus “emptied himself, taking the form of a slave, being born in human likeness. And being found in human form, he humbled himself and became obedient to the point of death—even death on a cross” (Phil. 2:7-8, NRSV). Have you begun thinking about Lent/Easter music? Perhaps after all the holiday concerts and extra worship services are over, after the gifts have been opened, you’ll find some down time to plan for the next season. To help you, here are some excellent new resources for you to consider:
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Those who accompany singing in worship services have many factors to consider in order to lead effectively, including: text, tempo, mood, dynamics, articulation, registration, and key. This last musical parameter, the key signature, is often overlooked when accompanying assembly singing. We may alter the tempo to encourage better singing; we may change registration from verse to verse to build to a climax; we may underscore textual imagery by playing with a different articulation. We may even modulate up a half-step and play a re-harmonization to boost singing on the final verse. But, how often do we think about the written key signature as something that can be changed entirely to enable better participation from the gathered assembly?
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I love the holiday season—even though it can be a stressful time—and I love the music that accompanies Advent and Christmas. Every year, I look forward to taking out my collection of seasonal music and playing through it again, and it always feels like spending time with good friends I haven’t seen for a while. It’s July, so you may (or may not!) be in planning mode for the upcoming year—I hope you’ll consider programming some of the following piano and organ repertoire. These are some of my favorite resources, and I find myself turning to them over and over again. Most of these titles are available through Prelude Music Planner. Some are in the public domain and are available (for free!) through the International Music Score Library Project (www.imslp.org).*
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How many weddings have you provided music for over the course of your career? I stopped counting at fifty, but I would estimate I have played for over 200 weddings. Over the years, I have compiled a list of my “go to” repertoire, as, I’m sure, every church musician has done. In this post, I list tried and true piano pieces that I play often for wedding ceremonies. Some are easy, while others are more difficult. Consider adding some of these pieces to your own wedding repertoire, if you do not already include them. All of the sacred pieces are available for download through Prelude Music Planner. Most of the classical pieces are in the public domain and are available for free through the International Music Score Library Project (www.imslp.org). Hyperlinks are included to IMSLP webpages where you can print PDF files of the music.*
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Used in moderation, playing hymn re-harmonizations on selected hymn stanzas can enliven an assembly’s singing, renew interest in older church repertoire, and draw attention to the text by musically underscoring certain words. Many hymn re-harmonizations are available for download through Prelude Music Planner—search by tune name and filter your results by instrument, this will allow you to see alternate harmonizations available for download. And here are some other resources for you to consider adding to your music library:
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Choosing repertoire for church choirs is one of the most difficult, time-consuming tasks of all choir directors, whether they direct larger or smaller choirs. There are some unique challenges facing those who direct smaller choirs, though. To support you in your work, this blog has many helpful posts on the subject. Find some time to read any one (or all!) of the following posts for inspiration and ideas:
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Have you exhausted your budget for new music but find yourself in need of a few more pieces to round out the upcoming choral season? Have you been unable to find a choral setting of a hymn you love? Have you always been curious about how the creative process works? Now could be a great time for you to try writing your own music! Follow the 10-step process below, mix in a little inspiration, and you may be pleasantly surprised with what you’re able to create.
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Get organized. There is an old saying: “A place for everything, and everything in its place.” Being organized will, indeed, save time and limit frustration.
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