By Lee Dengler and Susan Naus Dengler

Finally, they were on their way!  After years of exile in Babylon, God’s people were returning to Judah. Though some had decided to remain in Babylon, a contingent, led by the priest and scribe, Ezra, began the journey home.  To them, Babylon was still a land where they simply could not sing the Lord’s song, even when coaxed by their captors. All they had been able to do was to hang their harps, the instruments that had once accompanied their voices, on the willow trees that stood guard by the river. The drooping branches of the trees had served as a visual reminder of their own weeping. 

And then, they were home in their beloved native land! In the second chapter of the book of Ezra, we find the listing of folks who returned to Jerusalem and other Judean towns. There were the priests, the temple servants, the gatekeepers of the temple. And there were the singers!

As the foundations of the new temple were laid, the singers began their song, as they praised and gave thanks to the Lord. For those who listened, there was a mixture of emotions. While some shouted for joy, others, who had remembered the former temple and all they had endured, wept with a loud voice. It was hard to distinguish the shouts of joy from the noise of their crying.  Nevertheless, the combined sound of joyous shouts, sorrowful weeping and glorious singing could be heard for miles around.

I have thought about these people many times during the months of the COVID-19 pandemic, especially after we learned that singing in groups had the ability to spread the virus more virulently than almost anything else.  How could we sing the Lord’s song in such a land? But now, it seems that we too are on our way home.  Almost daily, we learn of positive indicators that tell us that choirs can safely return to in-person, close-up, full-choir singing. Thanks be to God!  This is the news for which we have been waiting over these past, long months!

To be sure, those months were long! What could two musicians, a composer and a lyricist, find to do that might be helpful, when the voices of choirs, across our world had been silenced? During the dark days of the pandemic, as we hoped and believed that this day would eventually come to fruition, we began work on the resource, Restore Our Song, to be used by choirs and congregations when life (and church singing) would, once again, return to normal. We had faith that lying ahead of us would not only be a return to singing, but enormous potential for renewal and growth, and with that in mind, we came up with tools for celebrating the return to corporate worship. We wrote plans for a special celebration for choirs, to capture much that had been missed over the past 15 months.  We wrote devotions to be used during those early rehearsals, that remind us of God’s faithfulness, even during dark times. There are anthem suggestions, all of which are very accessible for voices that have grown rusty over months of a hiatus. We also came up with a list of recruitment ideas, as we hope that many church members who had not sung in choirs previously, (especially younger singers) might now consider joining their choir, to be part of the group who would lead their gathered flock back to worship.

Yet, Restore Our Song is not just for choirs.  For entire congregations, we created a special, celebratory worship service, and two different hymn sings, that churches might use to find festive ways to return to singing the hymns of our faith. There is a long list of scriptures that are appropriate to use for several worship services. And, finally, there is a song written especially for this momentous time, appropriately called, “Restore Our Song.”  It can be used by choirs, congregations and worship teams, and lends itself easily to accompaniment by any instruments.

It is our prayer that churches, across our nation, and our world, will find this resource to be useful in helping them to find their way home as they raise their voices in songs of praise for God’s abiding faithfulness and love. 

By Sondra K. Tucker

             If you’re reading this, you certainly don’t need me to tell you that 2020 has been a heartbreaking year.  Amid the closing of Broadway and theaters around the country, church choirs on indefinite hiatus, community bands not meeting, summer conferences cancelled, school choirs, bands, and orchestras scrambling to find ways to teach, and all manner of music-making ground to a halt, one thing stands:  the desire of musicians to make music.  We need it like we need air to breathe.

            The ingenuity of those who have adapted online platforms to create virtual ensembles lifts my spirits, as do the rank and file people who have braved the technological hurdles to participate.  It’s not quite the same as being in the same room, but it is fulfilling, nonetheless.

            I am here to suggest that one way to keep your music-making alive is to take up handbell ringing, or resurrect it, or continue it, depending on your situation.  The Handbell Industry Council, which includes manufacturers of handbells and peripheral equipment, publishers, and elite performing organizations, has guidelines for ringing safely on their web site: https://handbellindustrycouncil.org/covid-19-information-2/. 

The benefits of ringing during the pandemic are:

It’s probable that what worked before – full ensembles of 7-15 people lined up along linear tables, sharing enharmonics and music – is not going to be possible right now. You might  have ringers who are not comfortable returning to ringing yet, or you may not have space to keep everyone six feet apart.  Let’s dive a little deeper.

 Look for music written for 2-3 octave handbells, or even smaller ensembles.  There is a wealth of 12-bell and 8-bell music that can be rung by as few as 2-4 people.  Look for music with no accidentals/bell changes and you don’t need tables, just music stands!    Don’t forget the vast repertoire of solo handbell music with piano accompaniment. Many of these titles have MP3 accompaniments that you can purchase if you can’t perform with a pianist.  An exciting and emerging sub-genre is belltree music.  Bells are hung on a stand with straight metal arms and malleted. Many pieces written for solo handbells can be rung from a belltree instead of off a table.

Jubilate Music Group, which publishes the Alfred Handbell line, has some exciting new solo and ensemble pieces which can help provide you with ringing resources.  The Jubilate Handbell Chamber Series has everything from solo and belltree music to duets and quartets.  We also have a vast repository of 2-3 octave music for those who can’t manage larger ensembles right now, for personnel or space issues.  Our Fall and Christmas 2020 release for full choirs is on the shelves, and we hope that you’ll take time to see what creative and refreshing offerings are there for your future needs, too. 

We will be together again, singing and making music.  Until then, pull out those bells and have a great time ringing.  I bet you’ll want to keep going forever.  A handbell ensemble is easy to get started and you can take it as far as your imagination will go.  Happy ringing!

Editor’s Note:  Tom Fettke and Jay Rouse need no introduction to most choral directors around the world.  For over 50 years, the development of relevant, practical and dynamic choral music has been Tom’s passion and his profession.  Jay is one of the premier choral arrangers in Christian music, and has over three hundred and fifty compositions and arrangements published.  Recently, Tom and Jay sat down with Mark Cabaniss of Jubilate Music Group to have a chat about their careers, their first-ever musical collaboration, and more.

MC:  Welcome, Tom and Jay, to this roundtable discussion!  Gentlemen, to put us and our readers in a Christmas frame of mind, what is your favorite Christmas carol?

TF:  That’s a hard question- I have many Christmas carol favorites. A number of the tunes and lyrics are in CITY OF HOPE. If I had to pick one that I have marveled at most down through the years, it would have to be O LITTLE TOWN OF BETHLEHEM. Mostly because of the profoundly moving lyric. Old Phillips Brooks got every jot and tittle right: heartfelt, picturesque, intense and penetrating.

JR:  I have lots of favorites… but one that comes immediately to mind is IN THE BLEAK MID-WINTER. It’s one of my most favorite melodies and it lends itself to gorgeous chord substitutions. I also really like the lyric to the last verse: What can I give Him, poor as I am? If I were a shepherd I would bring a lamb, if I were a wise man I would do my part, yet what I can I give Him, I will give my heart. Just gorgeous imagery. 

MC:  What is your favorite Christmas movie or TV special?

JR:  Ha! ELF is a long-time Rouse House favorite. We started watching it when the kids were young and we can still basically recite many of our favorite scenes verbatim at any time. If you have not seen it, it’s a Christmas movie must. 

TF:  A CHRISTMAS STORY- Jan and I watch it 2 or 3 times every year. In regards to a TV special, we always look forward to the Mormon Tabernacle Choir and Orchestra Annual Christmas Concert: Wow!

MC:  Tom, how long have you and Jay known each other and when and how did you first meet?

TF:  I’m thinking our first encounter has to be on the Church Music workshop circuit- maybe as much as 30 years ago. I always marveled at the reading sessions the he and Randy Vader conducted; they were very inspirational. Jay and I enjoyed a close association when I was a consultant for PraiseGathering and Integrity Music.

MC:  Jay, same question.

JR:  I feel like I’ve known of Tom since I can remember. As is true for most of us, MAJESTY AND GLORY is one of my favorite choral pieces and I have many memories of playing that song for choirs and being in places where that song is sung. It’s a classic. 

MC:  Jay, what is your favorite Tom Fettke story?

JR:  The first time I worked directly with Tom was on GOD WITH US, a musical we did for another publisher. The creative team behind that work was Tom Fettke, Camp Kirkland, Don Moen, Randy Vader and myself (I’m not sure how I got in that room), but it was a master class in how to put together an evening of worship. Blending styles from so many different genres, incorporating scripture and narration, utilizing solos, trios, writing for a full orchestra… on every front I was able to learn from these amazingly talented musicians and Tom was our quarterback. He led the team and helped fashion an incredible work for the church. Such a wonderful memory.

From that day until now, Tom has been an incredible encourager to me. I never know when my phone’s gonna ring and he’s going to be on the other end with a few jokes to start (it always starts that way and he’s one of the funniest guys I know), followed by words of encouragement about something I’ve recently done or an arrangement he’s heard of mine that touched him. It humbles me every time. I’m really grateful for his friendship.

MC:  I’ve known each of you for over 25 years and like many, have such great appreciation of and respect for your work.  But this is the first time you’ve ever created a full work together, so it was exciting to see the chemistry of the two of you working together to create CITY OF HOPE.  It was like a graceful dance, with each of you contributing to the work and the result is seamlessly integrated, beautiful and exciting.  Tom, what was it like working with Jay in this capacity for the first time?

TF:  Jay is the “real deal!” I’ve had the opportunity to experience Jay’s personal attributes up close for a couple of decades. He is a very special human being: humble, sensitive, gracious and kind, extremely positive, discerning, and has “the gift of helps.” His passion for creating music that reflects his relationship with his Creator results in arrangements that are both “heartful” and exciting. God has given my friend Jay all the “tools” necessary to create crafted musical scores that choirs and congregations will find uplifting, meaningful, memorable… and accessible. All of Jay’s attributes are on display in CITY OF HOPE. This musical also demonstrates his ability to write in “traditional style.”

MC:  Jay, same question!

JR:  It’s true, while we’ve worked together through the years on many things, we’ve never done a full project together just the two of us, so this was a treat. Tom was everything I expected him to be. He is a detail person and there is no stone left unturned - I love that and it helps me so much. In many ways, he again was the quarterback. I did my best to catch as many passes as I could and deliver my best and most creative work. This played to both of our strengths and it came together to be a really special project. Can I also say, this is a bucket list opportunity for me, to get to work with Tom.  I’m so grateful and I’ve loved every minute.

MC:  Tom, you’ve created music and musicals for the church – much of it now legendary – for the church for over 40 years.  Musicals aren’t as widely used as they once were.  Why do you think this is, and what encouragement can you give to directors to perform them nowadays?

TF:  Tough and complicated question. Let me just list some possible answers:

1. The use of choirs, as a tool for worship, is declining.
2. Budgets no longer allow for the purchase of a seasonal, one-time use product. The use of the choir library is becoming more prevalent.
3. The internet is supplying many choral music needs.
4. For a number of reasons the availability of qualified (or interested) persons to lead-and people to participate in a choir program is declining.
5. Our colleges, universities and seminaries are continuing to neglect offering courses that train and motivate music students to lead and participate in church music programs.
6. The advent of the “praise team” in place of a volunteer choir is prevalent.
7. The music industry is overproducing the number of choir cantatas and musicals given the decline of the number of choirs.
8. The constituencies that are in favor of using cantatas or musicals are hard-pressed to find one that “grabs” them. We believe CITY OF HOPE has the characteristics to do that. Jay and I would love for the readers of this interview to check it out. It conveys the message of HOPE so relevant and needed in these crazy times we are living in.

MC:  Jay, what is the overall message of CITY OF HOPE and what makes this new musical unique among the many others out there?

JR:  Considering all that we’ve been through as a world since Tom and I first began working on this project, I know God’s had His hand on the entire process. Hope. As we begin to make our way out of this time of separation and distancing, there is no real way that’s possible without the foundation of hope that can only be found in the person of Christ. Ephesians 1:18 comes to mind: "I pray that the eyes of your heart may be enlightened in order that you may know the hope to which he has called you, the riches of his glorious inheritance in his holy people and his incomparably great power for us who believe.” 

God knew we would need to be singing about hope this Christmas and that’s the core message of this musical. 

MC:  Tom, what are you most pleased about this new musical?

TF:  A number of my all-time favorite carol melodies and lyrics are included, clothed in new, colorful and/or elegant musical robes. Rose Aspinall created a narrative that is beautifully married to and supports the musical central theme; they are picturesque and heartfelt. Mike Lawrence’s orchestrations are incredible, colorful, and yet perfectly tailored to the volunteer church orchestra. I love CITY OF HOPE because it feels like Christmas, a celebration of our Savior’s birth that includes both Christmas “fireworks” and moments of reflection and worship.

MC:  Jay, likewise? 

JR:  Sure - I always find myself amazed at what God creates through our surrendered gifts. Tom and I had a lot of ideas as to what this work was going to be. Some of those became a reality and in the end, look and sound much the way we dreamed them to be. But as well, and thankfully, there are a handful of things that happened that we could never have predicted or “thought up,” even on our best day. Those are the moments where God graciously allows His anointing to change the direction of a work and turn it something that is far beyond any of our individual or collective abilities. This always brings me to my knees and reminds me of God’s goodness.  

MC:  Tom, on the personal side of things, you and Jan recently moved from Nashville to Georgia.  How is your new life in a new area, and what are you enjoying most about it?

TF:  We moved to a suburb of Savannah to be close to family: David, my eldest son, lives on Tybee Island, a beach community west of Savannah. Grandchildren and great grandchildren live close and our kids have a dog (Goldendoodle) that is more fun than we can handle. 

MC:  Jay, your wife Amy and family are long-time residents of Anderson, Indiana.  And Amy is one of my all-time favorite studio singers and soloists.  Did you grow up in Indiana?

JR:  We do love Indiana and we’ve been here many years. We are proud Hoosiers. That said, my heart will always be in Florida. I was born in Miami and lived most of my life, until college, in central Florida. My high school sat in the middle of an orange grove and the beach was our weekend getaway for most of my childhood. Siesta Key is favorite place in the whole world and I still have palm trees as my computer screensaver. It’s deep in my heart. I hope to live there again someday. We’ll see.  O, and by the way, Amy sends her greetings and always loves singing on your recording sessions. She is my favorite studio singer, hands down! 

MC:  Thanks to Amy and my greetings to her too!  Gentlemen...is there anything else would you like to add to today’s discussion?

JR:  Just a big thank you to you, Mark, and all of the amazing staff at Jubilate Music Group. You guys make it easy and I could not be more thankful to partner with you this year. 

TF:  Jay and I are grateful to you, Mark, and Jubilate Music Group for granting us the resources and support to have such an enjoyable and fulfilling creative experience. Soli Deo Gloria!

MC:  Thank you both, for those words of appreciation and support.  I have been at this for 30 years and am grateful every day for what I do. I am honored to work with truly world-class talents such as the two of you, and having you as great friends all these years is the best and most beautiful part.  I really appreciate your time today for this sit-down to discuss CITY OF HOPE and more.  Our prayer at Jubilate Music Group is that this cantata will provide a focal point on the theme of the new and abiding hope that Christ’s incarnation brings to us then, now, and always.  Thank you for sharing your substantial gifts with the world, and with us at Jubilate Music Group.  Keep up your wonderful work, and we’ll keep eagerly anticipating your next God-honoring creative gifts.

Browse Tom Fettke's publications here.

Browse Jay Rouse's publications here.

By Jean Anne Shafferman

Editor’s Note:  Jean Anne Shafferman is not only a friend and consulting editor for Jubilate Music Group, but also the Founding Editor of the Alfred Sacred catalog.  We welcome her to our blog page with this wonderful contribution for such a time as this!

Thursday nights usually find me in my church sanctuary, exhorting my choir to sing God’s praise. In the process, we study scripture and its inspiration for our anthem texts. We explore the partnership of musical phrase and text declamation. We exercise our breathing and, in so doing, experience the inward rush of the Holy Spirit, sustaining our phrases and replenishing our physiology. (Out with the bad air, in with the good!) We match our vowel sounds, achieving better unisons while gifting us with the inexpressible joy of what I call “achieving ensemble” – many voices becoming one. We sing of sin and salvation, sickness and health, joy and sorrow, feast and famine, love and hate, justice and oppression. And we pray together. In the process, we minister to one another, and depart the sanctuary uplifted by the very special ministry of music-making.

That’s choir rehearsal. College Hill Presbyterian Church. Every Thursday night at 7:30.

Until now.

Suddenly my choir is no longer gathering by (Thursday) night to serve God. Seeking home sanctuary from this dread disease, we are removed from our beloved church sanctuary. We are isolated. We yearn for fellowship and song.

I challenge myself: how can I continue to minister to my choir during a pandemic?

Communication is key. I resolved this past weekend to utilize my choir email chain – you know,  that “gentle reminder service” that I use to tell everyone to “spring their clocks forward?” Yes, THAT one. It is now my primary music ministry tool.

I’ve implemented a plan to email daily “Music Ministry Moments.” On Sunday, I emailed an audio link for the anthem we would have sung (a pity, it was a choir favorite!), along with some scripture and inspiration. On Monday, as the citizenry of San Francisco was being ordered to shelter in place, I thought, “If we ever needed the Lord before, we sure do need Him now!” YouTube has a marvelous performance of that song by Take 6, so I emailed that link. I’m writing this on Tuesday – St. Patrick’s Day – and preparing to email the text of St. Patrick’s Breastplate and an audio link to a choral recording.

For the rest of the week, I’m considering the following options:

• Hymn of the Day – A link to its citation on hymnary.org, directing them to the appropriate tabs for listening and inquiry.
• Great Performance of the Day – A link to great choral performances, as well as information about the selected piece. Choral Net (choralnet.org) hosts a wide variety of ACDA (American Choral Directors’ Association) performances; select the “Video” tab. And I can pick any favorite piece and find a worthy performance of it on YouTube.
• Scripture of the Day – A link to a daily devotion and an anthem that corresponds to it, preferably featuring both audio AND score clips. Daily devotions are widely available on the internet and on the websites of our own denominations. I found a wonderful Worship Music Planner on Jubilate Music Group’s website, with all manner of scripture citations and corresponding anthem links with recordings and scores: https://jubilatemusic.com/pages/worship-planner
• Singalong Day – I got this idea from Jubilate’s current online promotion. How much fun it would be to sing along with the recording as the score flips by! The “note readers” in my choir would rise to the challenge, and the “rote singers” will follow along blissfully, as they do. Check out the interactive promotion on Jubilate’s home page: https://jubilatemusic.com/
• Meet the Composer Day – I recently shared with my choir a video interview with Pepper Choplin that I found on Facebook. They loved it! Composer bios, audio recordings, and select video interviews are available on major publisher and retail websites. On Jubilate’s website, I’ve found blogs about Lloyd Larson, Tom Fettke, Mary McDonald, and many more. https://jubilatemusic.com/pages/authors

Currently my church staff is working to expand our regular communications with our congregation at large via email and ZOOM technology. I’ll be sure to share with them some of these “Music Ministry Moments.”

I’m hoping that some of these ideas might be useful in your ministries, and we would love to benefit from the sharing of your ideas. Send any ideas that are working for you and your choir to info@jubilatemusic.com.  We'll share them on the Jubilate Music Group Facebook page as possible.  I’ll close with a portion of the prayer attributed to St. Patrick:  

Christ be with me, Christ within me
Christ behind me, Christ before me
Christ beside me, Christ to win me
Christ to comfort me and restore me
Christ beneath me, Christ above me
Christ in quiet, Christ in danger
 

Jean Anne Shafferman-A popular clinician and conductor, Jean Anne has presented church music clinics throughout the United States and Canada. A published composer and arranger, Jean Anne has authored over 70 choral works, 20 children's musicals and Christian elementary song collections, five anthem collections and two SATB Christmas cantatas. Her anthem titled Carry Me Home was performed at the American Church in Paris, France, on September 13, 2001, during that country's official memorial service for the Sept. 11 tragedy.

An active church musician, Jean Anne is Director of Music at College Hill Presbyterian Church in Easton, Pennsylvania, where she conducts two choral ensembles and previously directed the youth music ministry. Additionally, she served several terms as the Eastern Division Music in Worship Chairperson for the American Choral Directors' Association (ACDA).

Jean Anne has served as Harold Flammer Church Editor for Shawnee Press; as Director of Church Choral Publications for Alfred Publishing Company; and as Managing Editor of church choral publications for The Lorenz Corporation. She earned her B.M.E. in music education (piano and voice) and M.A. in music theory from the University of Kentucky and was inducted into the U.K. School of Music Hall of Fame in February, 2002. She has served on the faculties there and at Lafayette College in Easton, Pennsylvania. She has been a member of the famed Bach Choir of Bethlehem, Pennsylvania, since 1983, and has performed with the choir in such celebrated venues as Carnegie Hall, the Kennedy Center, St. Thomas Church in Leipzig, Germany, King's College Cambridge, and Royal Albert Hall in London. Performing with a small ensemble from the Bach Choir, Jean Anne has appeared twice on NBC's Today Show.

Jean Anne lives in Easton and has two grown children and four grandchildren.