On the fifth Sunday of Easter in our congregation, we, in company with many other lectionary-based Christian churches, sang Psalm 148. In this cosmic song of praise, all ages are invited to join the earth with its sea monsters, fire, hail, snow, fog, wind, mountains, hills, trees, wild beasts, and birds. “The splendor of the LORD is over earth and heaven,” we sang as a refrain. What a marvelous testimony to the fullness of God in all things!

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In one practical way, the call of a church musician resembles that of a teacher. Summers mean a little less activity, or at the very least, a different pace to your work. It would not be fair to say that church musicians have summers “off”—plenty of important work gets accomplished during the summer, especially looking ahead to the next year. Yet in many congregations, choirs and other ensembles do not keep a regular rehearsal schedule during the summer.

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Most church choir members love to sing in parts—the challenge of learning one’s notes is a truly enjoyable experience. Many choir directors choose repertoire because of good part-writing that leads to a rich choral sound. And, all choral composers love to explore the endless creative potential inherent in SATB texture. The vast repertoire of SATB choral music is, undeniably, one of the church’s greatest treasures. Used occasionally, though, unison choral singing offers several benefits to a church choir:

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Let’s face it. Holy Week is plain hard for church musicians, pastors, church administrators, cleaning personnel, and more. Even with careful preparation, the demands of the worship schedule itself leave many craving a nice long Easter nap or a vacation.

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His name was Paul, and he was crying. His wife assured us that they were tears of joy, but they took us by surprise. He sat in his wheelchair in the kitchen, hands folded on a narrow table as we sang. With each song, he cried more intensely, visibly moved by our presence, possibly reminded of time and people no longer with him.

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Anyone who has interviewed for a church music position knows some questions are almost guaranteed to be asked: “How do you motivate volunteers? What style of music is your favorite? What does the ideal relationship between clergy and church musician look like? How do you feel about choir robes?” Tough questions, but not too difficult to answer. There is that one dreaded question, though, which is seemingly impossible to answer: “What is your philosophy of worship and music?” Whether you have been asked this question directly or not, you do have a philosophy that manifests itself in how you practice church music. Spending some time developing—even writing out—your own philosophy of worship and music is a valuable exercise that can have a direct, positive impact on your music ministry. Try this on your own, or together as a worship/music committee.

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Suppose you have spent the summer planning for the upcoming choir year. You have selected anthems, new hymns to teach, and a collection of psalm settings. Then you discover that a soprano with a new grandchild has elected to take a hiatus from choir. An alto has a daughter that plays every sport. A bass has been ill. A tenor is not reliable. Before long, your choir could now be classified as a small ensemble.

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The radio program Composer’s Datebook regularly signs off with the phrase, “Reminding you that all music was once new.”

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A hymn by William Irons (1812–1883) begins by calling us to “Sing with all the saints in glory.” We typically think of singing this and similar hymns on All Saints Day, but Evangelical Lutheran Worship contains a number of hymns under the topic heading, “Festivals and Commemorations.” What is a commemoration and how can our worship and music planning include them?

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Church musicians are always planning: planning for the upcoming rehearsal, next Sunday, next Easter. No matter the situation, planning well contributes to the success of our varied ministries.

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