by Jonathan Kohrs

Even though the season after the Epiphany is considered part of “ordinary” time (ordered, or counted, as in “ordinal” numbers: the Second, Fourth, or Seventh Sundays after Epiphany), I’d like to share with you some well-crafted—but not too difficult—pieces for this season that are a bit “out of the ordinary,” especially regarding harmonic language and voicing.

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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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If you’ve ever paged through the tune index of Evangelical Lutheran Worship, you may have noticed that some entries—see, for instance, Ach bleib mit deiner Gnade and Agincourt Hymn—are indented and italicized. As was practiced in Lutheran Book of Worship and Service Book and Hymnal, these specially formatted entries indicate other names used for tunes by previous hymnals or, in some cases, by other denominations.

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How do those who are responsible as congregational worship planners and leaders attend to their own spiritual health through Holy Week? The physical, emotional, and spiritual demands of even the schedule of worship in the most concentrated and powerful gatherings can stretch us to and beyond our limits, not to mention the additional rehearsals, extra practice, additional printed worship material, coordination with professional and volunteer musicians, florists, colleagues, and, and, and…

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I’m about to start a composition, and as always, there’s a problem: I don’t know what to say. It is now the beginning of Lent, which only reinforces the state I’m always in. There are many lessons Lent can teach me, and I hope to learn those better this year, but for now, in this unsettled state before starting a piece, I confess that my mind jumps ahead to the end of Lent, to the strangest liturgy of the Church Year: Easter Vigil. There is nothing remotely like the Vigil.

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It seems there is never quite enough time in any given rehearsal. No matter how well planned, I find that I am always trying to squeeze in just one more verse to a hymn, one last check on the bass line at measure 26, one final run-through of an anthem… Yet I have found over the years that the one thing we absolutely cannot skimp on, time-wise, is choir devotions/prayer.

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Zebulon Highben is a popular composer in the Augsburg Fortress catalog. In this interview, we learn how he got started as a composer, what he does today, and how he thinks about the writing process.

Could you tell us about your current job/vocation, outside of composing?

I am Associate Professor of Music and Director of Choral Activities at Muskingum University, a liberal arts college of the Presbyterian Church (USA). I direct the choral program there and teach conducting, choral methods, choral literature, and

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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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"So let us not grow weary in doing what is right, for we will reap at harvest time, if we do not give up." – Galatians 6:9 (NRSV)

For many musicians, especially church musicians, a chasm opens between the training and the practice of their art. Professional training involves deep study of great music literature, the refinement of musical taste, and the attainment of a high playing standard. “This is what playing to the glory of God is really all about,” we think as we enter the real world. But in that real world, church musicians encounter harsh realities. The ideal sound we were hoping for is nearly unattainable. The hard work we put into our playing passes unnoticed. Our diligence assembling meaningful worship falls on undiscerning ears. And, at times, there are those who stand opposed to our goals.

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