Where does it say that???
Back in March of 2011 I wrote a post called “1+ 1=11” where I talked about taking a two-page lead sheet and creating a full arrangement out of it. Today, I want to break open that process with a piece of music by composer Brian Flynn: “We Bring Our Gifts to Your Altar.” This song is currently published as a two-page lead sheet by World Library Publications.
Upon examining this piece you will find that it is composed of four verses (no refrain) with essentially the same music, so it’s in a hymn-style. Aside from the melody, lyrics, and chords there are really no other directives on how to play the piece, other than “Unhurried” at a tempo of 66. It is very common to see contemporary music published in this way. It leaves a lot of options.
There are cue notes indicating a line to be played by the piano, there are no harmonies written in, and it is intended to be played straight through from beginning to end.
On top of all of that, the recording is simply piano, solo voice, and cello. So how can we turn this into a piece for a contemporary ensemble at liturgy?
We sang and played this song this week at all of our Masses. By the 3rd time it had turned into the following arrangement. Look at the image below. I’ve indicated some ideas directly on the score.
The bass player does not enter until the last word/note of verse 1 at measure 14. It then stays in throughout the piece…except to momentarily drop out where indicated by the brackets at measures 26, 39, and 49. In those measures, the piano and guitar would ‘strum’ each chord one time and let them ring. This ‘thinning out’ at these measures creates a nice texture change that helps setup the next interlude.
We added a vocal harmony a sixth below during verse 2 on the 1st and 3rd phrases. (not indicated) We continued this in verses 3 and 4.
We saved the drumset until the interlude before verse 3. A nice, light pattern was played…nothing too heavy. I indicated on the music that the acoustic guitar and hi-hat should probably not play the same rhythm. If the guitar is strumming, the hi-hats should play quarters or eighths. If the hi-hat is playing 16ths, the guitar should play quarter-note strums, otherwise they would be competing for the same part.
Finally, right before verse 4 we again dropped out everything except the piano, guitar, and vocal, then came in strong at measure 40 with a slight ritard and a big crescendo into the key change. Here, the drums came in full (snare) and everyone played out strong until measure 49 (as before).
This is just one example of how to play this song. It’s written well, so there are lots of options. You don’t need to mark up your score this way…we don’t. I just did it for this post. Most of this can be decided ahead of time by just talking through it. Try different things. Practice different arrangements. Make music!
This song is in the new collection by World Library Publications called More Voices As One.
Suggested use: Entrance/Gathering, Song of Preparation/Offertory, Dismissal/Sending Forth
At the Name of Jesus by Ed Bolduc (WLP) – the text of this familiar hymn is set to new music in this arrangement from the CD Hymns. The recording starts out very strong, but no need to start it that way at Mass. Perhaps set up a nice rhythm with the acoustic guitar, or piano and light percussion. Build the song as you go, adding instruments and voices.
Suggested Use: Entrance/Gathering, Preparation/Offertory, Second Communion
Suggested Use: Entrance/Gathering, Dismissal/Sending Forth
Suggested use: Preparation/Offertory, Second Communion