Sitting at the First Congregation Church of Los Angeles console.
Having the opportunity to listen to and then play this magnificent organ made me begin to think it was time to share a few thoughts on worship and the organ. Hearing the beautiful sounds and how they are layered together to create a more beautiful whole was like going to 'finishing school'. And, don't we all need 'finishing'? And so, a blog will begin. In future entries it will be my hope to share a few tips and thoughts that will help us become the very best average organist we can be. A little bit of finishing and attention to what we are doing as church organists can go a long way towards our purpose of Inspiring People to Worship.
When it is safe - run - don't walk - back to worship
A year with 'nothing' to do - stay home - stay away from others - worship on line - has still gone so quickly. Since March I have only attended one worship service. That was for an organ blessing and dedication. In the desert of 'isolated gatherings' it was a delight! It truly brought home the need to gather together. During this time I did study the writings of Isaac Watts - his hymn poems and Psalm restatements. They inspired me to write two more hymn tunes with more in my head. One tune is named for one of my most influential teachers - Miss Anna Jean DeDominicis. My school vocal teacher from 4th grade to a senior in high school. The biggest gift she gave me was asking me to accompany two choirs my senior year. Many keyboard players are 'soloists' and never have the opportunity to accompany. Today I would much rather accompany someone than play solo - it is another way to gather together in worship.
A year with 'nothing' to do - stay home - stay away from others - worship on line - has still gone so quickly. Since March I have only attended one worship service. That was for an organ blessing and dedication. In the desert of 'isolated gatherings' it was a delight! It truly brought home the need to gather together. During this time I did study the writings of Isaac Watts - his hymn poems and Psalm restatements. They inspired me to write two more hymn tunes with more in my head. One tune is named for one of my most influential teachers - Miss Anna Jean DeDominicis. My school vocal teacher from 4th grade to a senior in high school. The biggest gift she gave me was asking me to accompany two choirs my senior year. Many keyboard players are 'soloists' and never have the opportunity to accompany. Today I would much rather accompany someone than play solo - it is another way to gather together in worship.
Am I wrong?
In writing the new hymn tune, KARANA, I learned how difficult it is to keep an interesting line going in all parts. My procedure was to write out the melody, add chords - and then the work began. How do you reduce these fat chords into 3 - 4 notes that keep the sound you have placed already in your head? When working it through I found that many beat by beat chord changes were needed. Easy to do. However, am I wrong for smiling when I think that most church guitarists wouldn't even attempt it? However, lest I get smug, it is humbling that a composer can write a Carol that remains the favorite of many and it opens with the same chord repeating for two whole measures! Silent Night. So, I will now be silent on the matter.
Except for saying this. I now enjoy purchasing books with Christian poetry - much of which was used as hymns - but we don't know the melodies. My hope is to write some more hymn tunes this next year. That will be easier than last year's resolution - and I will once again hire someone to put it into print.
Is it just me?
This year has disappeared! Fast isn't even a quick enough word to describe the speed. I don't think it is just me. And it isn't just 'old' people. Young people think that time is flying by quickly as well. Can you remember a time when it seemed to drag on forever? I look at my last entry and realize that there has hardly been any time to develop those skills. Yes, I did make a very crude music score entry in one software program, And then I paid someone to write the music out professionally for me.
Perhaps it is time to take note of the importance of everything that we want to accomplish and make priorities. That is something I have never been good at doing. Yes, I chase squirrels. But lets all work at focusing on improving our skills - playing/organizational/etc, and knowing what we need to prioritize.
An Overview of the Music Industry and Changing Technology
This past week I traveled to Anaheim, CA for meetings with Rodgers. Following these, the annual NAMM Show began. This is a huge trade show for Musical Merchants. It is virtually everything musical under the sun on display for dealers to compare and, the vendors hope, purchase. Way beyond a 'music' show this has become a technology showcase. Lighting, sound, composition, arranging, and on and on. It is nothing short of amazing and overwhelming.
Technology has had an effect on all aspects of our lives. We heard a former cabby complaining about Uber. But Uber couldn't exist without the incredible phone technology of today. It has turned an industry upside down. How has technology changed your music making? Have you adapted anything to help your performance such as using a record device to listen to your playing - or perhaps using a sequencer? Do you scribble music notes or have you tried notation software? That is my personal challenge this year.
Try something new - and maybe we should each find a 'tech-buddy' to try and work with as we explore.
Something I Do Differently
A number of people have told me that they can always tell when I am playing hymns. Fortunately it is because they like my playing not because of my 'free harmonizations' (also sometimes called 'alternative notes'). To be truthful there was nothing that came to mind that was different than most other people's playing - until a conversation a week ago. Dan Miller and I paid a visit to Zion Lutheran in Fort Wayne to hear the 57 rank interface into our four manual console and to meet organist Michael Hollman. Michael related to us a hint that he had received from John Weaver - play the pedals an octave lower in hymn playing! That was a 'ta-da' moment for me. My first teacher was/is a fabulous creative player and he encouraged me to play my pedals 'down there'. That is different than many players who play notes in the correct positions which is often in a tenor range. Give it a try and see if it adds some weight and breadth to your hymn playing. And, thanks Mark for the advice all those years ago.
Working with Organists this Year
This has been a busy summer - twice we have begun two installations in a single week. What has been especially enjoyable was working with the organists. All of them were eager to use their new instruments in worship and to learn how to use new sounds and new features. Occasionally organists tell me that they were afraid to try something because of a 'rule' their teacher or an older organist had demanded of them. One this summer was - Play the hymns exactly as written. As one who loves last verse harmonizations that would be a downer. So, I granted that organist 'freedom' from that directive! And off she went, adding passing tones, etc. to emphasize the rhythm and add variety while staying in the chordal structure. She played wonderfully and with new excitement. It was hard to leave the church that evening as she played on and on - and you couldn't help but enjoy every note.
Noodling
This week my pre-service prelude (which differs from the in-service prelude which we call a Voluntary) is going to be improvised on our opening hymn. When practicing, I love to spend some of my time 'noodling'. Improvisation is a skill that can be developed and The American Organist magazine has had a long running column on suggestions and training in improvisation. So please practice noodling on a regular basis. The ability to do so will certainly come in handy when an interlude or 'walking music' is needed.
A Day of Planning
My organ 'job' is quite unique. We have a job share. Another organist and I trade months. This allows us to both use our gifts and yet have many Sunday's free for actually sitting with our spouses together in church, taking vacations, etc. I love it. However, after a month off sometimes it is a bit of a scramble to prepare for the week ahead - forget about the month ahead!
Before this month began I sat down with a list of sermon topics on a Saturday and began sorting through my library. While searching for a particular piece I often found another that fit perfectly another week. And, the rest of the month has been spent simply practicing the pre-selected music without the scramble to find something to play.
If you are like the typical me - a week to week seeker of music - try a day of planning. I think you will enjoy the results.
Are you Visiting with Organist Friends?
In two days Rodgers will begin their national dealer meeting - here in Indianapolis! We will all be meeting at beautiful Saint Christopher's Episcopal Church in Carmel. What am I looking forward to the most? Frankly just the little conversations with my colleagues from around the country. My purpose in a meeting such as this is to come away with 2-3 little things I can do to improve my business. A list of 10 things tends to never get done - but just a few can be incorporated with little extra effort.
This is also the time of year when American Guild of Organist chapters begin their yearly meetings across the country. If you belong, try to attend some meetings and look for hints during conversations at dinner or post meeting refreshments. No AGO chapter near you? Take the initiative to invite local organists to meet once a month or once a quarter for breakfast. Music can be shared. Hopefully you might grow to the point where you could play for one another and ask others for help in areas where you feel weak.
We have 'lonely' jobs. We all work at the same time so we can't easily visit another church and hear what others are doing. Take a step forward by creating friendships and sharing opportunities with other organists. You will be thankful and enriched that you did.
Back to School 2016
Encyclopedia
It is back to school time - time for learning. Organists visiting other instruments will always find stop names that are unfamiliar. On our LINKS page we now give you easy access to an encyclopedia of pipe organ stops. This will let you know the family of sounds, history and a description of the sound that it should produce and the physical aspects of the pipe. But it can't tell you how the one you are playing sounds and how it fits into that individual instrument. Read the book - and then use your ears and musical sense to know how to use it in your playing.
Summer of 2016
What is Your Vision of Eternity?
Charles-Marie Widor is credited with saying: "To play the organ properly you must have a vision of eternity." Certainly we each have our own vision of eternity and mine is rather grandiose. Thinking 'orchestrally', I envision many hundreds of trumpeter's celebrating and at times the soft, quieting sound of a harp. Instruments change with the moods. Recently we visited a rather large, prominent church and saw their new pride and joy - a small tracker that didn't even have a single Mixture stop. It certainly will play baroque literature quite well. But it cannot lead a congregation in the joyful singing of Christmas Carols or powerfully proclaim Christ's resurrection. Nor can it trumpet the happiness of a bride coming to meet her groom. My vision of eternity demands more than that instrument offers. When our clients purchase an instrument it sets the musical limits in their church for decades to come. We strive to offer as much as possible so that your organist can play with a vision of eternity that celebrates the breadth of God.
In writing the new hymn tune, KARANA, I learned how difficult it is to keep an interesting line going in all parts. My procedure was to write out the melody, add chords - and then the work began. How do you reduce these fat chords into 3 - 4 notes that keep the sound you have placed already in your head? When working it through I found that many beat by beat chord changes were needed. Easy to do. However, am I wrong for smiling when I think that most church guitarists wouldn't even attempt it? However, lest I get smug, it is humbling that a composer can write a Carol that remains the favorite of many and it opens with the same chord repeating for two whole measures! Silent Night. So, I will now be silent on the matter.
Except for saying this. I now enjoy purchasing books with Christian poetry - much of which was used as hymns - but we don't know the melodies. My hope is to write some more hymn tunes this next year. That will be easier than last year's resolution - and I will once again hire someone to put it into print.
Is it just me?
This year has disappeared! Fast isn't even a quick enough word to describe the speed. I don't think it is just me. And it isn't just 'old' people. Young people think that time is flying by quickly as well. Can you remember a time when it seemed to drag on forever? I look at my last entry and realize that there has hardly been any time to develop those skills. Yes, I did make a very crude music score entry in one software program, And then I paid someone to write the music out professionally for me.
Perhaps it is time to take note of the importance of everything that we want to accomplish and make priorities. That is something I have never been good at doing. Yes, I chase squirrels. But lets all work at focusing on improving our skills - playing/organizational/etc, and knowing what we need to prioritize.
An Overview of the Music Industry and Changing Technology
This past week I traveled to Anaheim, CA for meetings with Rodgers. Following these, the annual NAMM Show began. This is a huge trade show for Musical Merchants. It is virtually everything musical under the sun on display for dealers to compare and, the vendors hope, purchase. Way beyond a 'music' show this has become a technology showcase. Lighting, sound, composition, arranging, and on and on. It is nothing short of amazing and overwhelming.
Technology has had an effect on all aspects of our lives. We heard a former cabby complaining about Uber. But Uber couldn't exist without the incredible phone technology of today. It has turned an industry upside down. How has technology changed your music making? Have you adapted anything to help your performance such as using a record device to listen to your playing - or perhaps using a sequencer? Do you scribble music notes or have you tried notation software? That is my personal challenge this year.
Try something new - and maybe we should each find a 'tech-buddy' to try and work with as we explore.
Something I Do Differently
A number of people have told me that they can always tell when I am playing hymns. Fortunately it is because they like my playing not because of my 'free harmonizations' (also sometimes called 'alternative notes'). To be truthful there was nothing that came to mind that was different than most other people's playing - until a conversation a week ago. Dan Miller and I paid a visit to Zion Lutheran in Fort Wayne to hear the 57 rank interface into our four manual console and to meet organist Michael Hollman. Michael related to us a hint that he had received from John Weaver - play the pedals an octave lower in hymn playing! That was a 'ta-da' moment for me. My first teacher was/is a fabulous creative player and he encouraged me to play my pedals 'down there'. That is different than many players who play notes in the correct positions which is often in a tenor range. Give it a try and see if it adds some weight and breadth to your hymn playing. And, thanks Mark for the advice all those years ago.
Working with Organists this Year
This has been a busy summer - twice we have begun two installations in a single week. What has been especially enjoyable was working with the organists. All of them were eager to use their new instruments in worship and to learn how to use new sounds and new features. Occasionally organists tell me that they were afraid to try something because of a 'rule' their teacher or an older organist had demanded of them. One this summer was - Play the hymns exactly as written. As one who loves last verse harmonizations that would be a downer. So, I granted that organist 'freedom' from that directive! And off she went, adding passing tones, etc. to emphasize the rhythm and add variety while staying in the chordal structure. She played wonderfully and with new excitement. It was hard to leave the church that evening as she played on and on - and you couldn't help but enjoy every note.
Noodling
This week my pre-service prelude (which differs from the in-service prelude which we call a Voluntary) is going to be improvised on our opening hymn. When practicing, I love to spend some of my time 'noodling'. Improvisation is a skill that can be developed and The American Organist magazine has had a long running column on suggestions and training in improvisation. So please practice noodling on a regular basis. The ability to do so will certainly come in handy when an interlude or 'walking music' is needed.
A Day of Planning
My organ 'job' is quite unique. We have a job share. Another organist and I trade months. This allows us to both use our gifts and yet have many Sunday's free for actually sitting with our spouses together in church, taking vacations, etc. I love it. However, after a month off sometimes it is a bit of a scramble to prepare for the week ahead - forget about the month ahead!
Before this month began I sat down with a list of sermon topics on a Saturday and began sorting through my library. While searching for a particular piece I often found another that fit perfectly another week. And, the rest of the month has been spent simply practicing the pre-selected music without the scramble to find something to play.
If you are like the typical me - a week to week seeker of music - try a day of planning. I think you will enjoy the results.
Are you Visiting with Organist Friends?
In two days Rodgers will begin their national dealer meeting - here in Indianapolis! We will all be meeting at beautiful Saint Christopher's Episcopal Church in Carmel. What am I looking forward to the most? Frankly just the little conversations with my colleagues from around the country. My purpose in a meeting such as this is to come away with 2-3 little things I can do to improve my business. A list of 10 things tends to never get done - but just a few can be incorporated with little extra effort.
This is also the time of year when American Guild of Organist chapters begin their yearly meetings across the country. If you belong, try to attend some meetings and look for hints during conversations at dinner or post meeting refreshments. No AGO chapter near you? Take the initiative to invite local organists to meet once a month or once a quarter for breakfast. Music can be shared. Hopefully you might grow to the point where you could play for one another and ask others for help in areas where you feel weak.
We have 'lonely' jobs. We all work at the same time so we can't easily visit another church and hear what others are doing. Take a step forward by creating friendships and sharing opportunities with other organists. You will be thankful and enriched that you did.
Back to School 2016
Encyclopedia
It is back to school time - time for learning. Organists visiting other instruments will always find stop names that are unfamiliar. On our LINKS page we now give you easy access to an encyclopedia of pipe organ stops. This will let you know the family of sounds, history and a description of the sound that it should produce and the physical aspects of the pipe. But it can't tell you how the one you are playing sounds and how it fits into that individual instrument. Read the book - and then use your ears and musical sense to know how to use it in your playing.
Summer of 2016
What is Your Vision of Eternity?
Charles-Marie Widor is credited with saying: "To play the organ properly you must have a vision of eternity." Certainly we each have our own vision of eternity and mine is rather grandiose. Thinking 'orchestrally', I envision many hundreds of trumpeter's celebrating and at times the soft, quieting sound of a harp. Instruments change with the moods. Recently we visited a rather large, prominent church and saw their new pride and joy - a small tracker that didn't even have a single Mixture stop. It certainly will play baroque literature quite well. But it cannot lead a congregation in the joyful singing of Christmas Carols or powerfully proclaim Christ's resurrection. Nor can it trumpet the happiness of a bride coming to meet her groom. My vision of eternity demands more than that instrument offers. When our clients purchase an instrument it sets the musical limits in their church for decades to come. We strive to offer as much as possible so that your organist can play with a vision of eternity that celebrates the breadth of God.
Playing Bach vs. Playing Like Bach:
Yesterday I entered into a conversation with another organist. They stated, "I play Bach.". My simply reply was, "I play like Bach.". What does it mean to play like Bach? Bach played marvelous chorale preludes for his congregation. Chorale prelude is a fancy name for 'hymn arrangement'. The problem is this: His congregations knew the hymns his preludes were based upon. Most of them are totally foreign to our congregations. So, if we want to play as Bach played, our job as organists is to find well written music based upon familiar hymn tunes that will have meaning to our congregations. Yes, sometimes I play a piece simply because it is beautiful even if it is 'wordless'. But usually, if I want to inspire people to worship, I play something with a hint of familiarity - just like Bach.
Yesterday I entered into a conversation with another organist. They stated, "I play Bach.". My simply reply was, "I play like Bach.". What does it mean to play like Bach? Bach played marvelous chorale preludes for his congregation. Chorale prelude is a fancy name for 'hymn arrangement'. The problem is this: His congregations knew the hymns his preludes were based upon. Most of them are totally foreign to our congregations. So, if we want to play as Bach played, our job as organists is to find well written music based upon familiar hymn tunes that will have meaning to our congregations. Yes, sometimes I play a piece simply because it is beautiful even if it is 'wordless'. But usually, if I want to inspire people to worship, I play something with a hint of familiarity - just like Bach.
Unique Words of Inspiration:
Several years ago I had the privilege of sitting in the choir loft inside the magnificent chapel of Southern Seminary in Louisville. At the organ was Dr. Donald Hustad. On this evening he was saying 'good-bye' to the organists of Louisville as he and his wife were moving to be near their daughter in their later years. Dr. Hustad would play a hymn. We would sing. He would share a few words. Then all would be repeated. But one thing he said between hymns caused me to pick up pen and paper and write it down. He said: "People don't want to hear difficult music. They want to hear convincing music.". Is the music we play 'convincing'? In the future we will talk a bit about registrations - selecting the sounds for the music you are playing. To me that is a vital element in communicating the music. Is it triumphant? is it contemplative? Is it joyful? Is it mournful? Do we carefully select the sounds to portray the mood of the piece? If we don't, the congregation might think we are speaking in a monotone. And that would not be convincing.
Several years ago I had the privilege of sitting in the choir loft inside the magnificent chapel of Southern Seminary in Louisville. At the organ was Dr. Donald Hustad. On this evening he was saying 'good-bye' to the organists of Louisville as he and his wife were moving to be near their daughter in their later years. Dr. Hustad would play a hymn. We would sing. He would share a few words. Then all would be repeated. But one thing he said between hymns caused me to pick up pen and paper and write it down. He said: "People don't want to hear difficult music. They want to hear convincing music.". Is the music we play 'convincing'? In the future we will talk a bit about registrations - selecting the sounds for the music you are playing. To me that is a vital element in communicating the music. Is it triumphant? is it contemplative? Is it joyful? Is it mournful? Do we carefully select the sounds to portray the mood of the piece? If we don't, the congregation might think we are speaking in a monotone. And that would not be convincing.
God Never Intended Four Oboes to Play at Once!
Go ahead. Google oboe quartet. You will find oboe with strings, etc. You will not find four oboes playing at one time. No offense to oboe players but that would be akin to giving a bagpiper two more notes to play. The oboe, and many other similar voices on the organ, are often used for solos. A solo means one voice. Many times I hear organists play a solo and then on the last note add a full chord with the solo voice. All of a sudden the magic of the line disappears. Be sure that your solo is convincing. Let the beautiful single voice it was meant to be finish its' message......alone.
A Lesson From Felix Hell
Felix's concert at Saint Christopher's Episcopal Church in Carmel was simply breathtaking. As all of you know I consider the organ to be an orchestral instrument. Felix stated that he thought a fine organ was actually superior to an orchestra - and then set out to prove it! There were times when you witnessed him 'conducting' himself with a free hand. It is though he was in a dual role of conductor and responding musician. It would be my suggestion that we all try doing that - at least on occasion. Or, at least think through our playing before a single note has been played. Too often don't we hurry through a piece without much consideration to the line, to small crescendos and diminuendos, inserting slight hesitations and regaining momentum with an accelerando? Doing so adds beauty and artistry to even the simplest piece. And my pieces are simple compared to the ones Felix served up.
Go ahead. Google oboe quartet. You will find oboe with strings, etc. You will not find four oboes playing at one time. No offense to oboe players but that would be akin to giving a bagpiper two more notes to play. The oboe, and many other similar voices on the organ, are often used for solos. A solo means one voice. Many times I hear organists play a solo and then on the last note add a full chord with the solo voice. All of a sudden the magic of the line disappears. Be sure that your solo is convincing. Let the beautiful single voice it was meant to be finish its' message......alone.
A Lesson From Felix Hell
Felix's concert at Saint Christopher's Episcopal Church in Carmel was simply breathtaking. As all of you know I consider the organ to be an orchestral instrument. Felix stated that he thought a fine organ was actually superior to an orchestra - and then set out to prove it! There were times when you witnessed him 'conducting' himself with a free hand. It is though he was in a dual role of conductor and responding musician. It would be my suggestion that we all try doing that - at least on occasion. Or, at least think through our playing before a single note has been played. Too often don't we hurry through a piece without much consideration to the line, to small crescendos and diminuendos, inserting slight hesitations and regaining momentum with an accelerando? Doing so adds beauty and artistry to even the simplest piece. And my pieces are simple compared to the ones Felix served up.
Treating Musicians Badly
There is a blog being posted quite often this week on Facebook with that title - Treating Musicians Badly. It does somewhat speak to the exclusion of qualified musicians/worship planners that occurs all too frequently. The message was emphasized last evening when a call came telling me of an appointment of a music director who only plays by ear, cannot read music, is barely familiar with the required liturgy and has no experience as a choir director. Sadly, a qualified person had been reduced from full time to part time to 'parting' time. Frankly this reminds me of many of our organ committees. Very often there is no one with experience in choosing/comparing instruments. We consider that part of our job is to teach them about instruments and help them develop a criteria for selection. But unless a consultant is hired, there is no one to help with the selection of a new director.....and I am not aware of any guide book that gives suggestions on how to interview a candidate. This conversation is going to continue for a while as I ponder ways we need to communicate to our congregations and clergy regarding the value of what we can offer. We also need to make sure that we are truly offering them something of value.
There is a blog being posted quite often this week on Facebook with that title - Treating Musicians Badly. It does somewhat speak to the exclusion of qualified musicians/worship planners that occurs all too frequently. The message was emphasized last evening when a call came telling me of an appointment of a music director who only plays by ear, cannot read music, is barely familiar with the required liturgy and has no experience as a choir director. Sadly, a qualified person had been reduced from full time to part time to 'parting' time. Frankly this reminds me of many of our organ committees. Very often there is no one with experience in choosing/comparing instruments. We consider that part of our job is to teach them about instruments and help them develop a criteria for selection. But unless a consultant is hired, there is no one to help with the selection of a new director.....and I am not aware of any guide book that gives suggestions on how to interview a candidate. This conversation is going to continue for a while as I ponder ways we need to communicate to our congregations and clergy regarding the value of what we can offer. We also need to make sure that we are truly offering them something of value.
Practice Makes Better
Not perfect.....just better. Last night a choir member who, as an adult, has started taking piano lessons stopped me. She wanted to know how we do what we do. It seems that she is having some problems progressing after first sight reading a piece. Sounds a lot like me. If it goes pretty well on the first read through there might not be a whole lot of time invested afterwards in 'perfecting' the piece. That is not what we are called to do. It seems a lot like offering my least....or presenting an offering that cost me nothing. Recently I picked up a piece that I thought was simply lovely - and when it seemed too difficult - put it back down. Thankfully a friend gave these simple words of encouragement: 'You can do that!'. That was enough encouragement to put the piece on the music rack and practice it! It is now ready to play. Perfectly? Probably not. But now it is an offering that has taken my investment of time and effort.
Learned a New Trick This Week
The old dog learned a new trick this past week. Three days were spent in Fort Wayne, Indiana exhibiting at the regional gathering of the Association of Lutheran Church Musicians. Usually when you host a booth you don't hear much or learn an awful lot. It is, however, always an opportunity to spend lots of money on new organ music at other displays. But I was able to have an extended visit with the very capable and creative organist at Zion Lutheran Church and he mentioned 'jumping 3rds' in hymn introductions. That evening we attended the Hymn Festival held at Concordia Seminary and I realized for the first time that 3rds were jumping all over the place! I then purchased an entire series of hymn intonations (for most of us think 'introductions') and harmonizations at Selah Publishing's display. After listening and studying other composers I jumped my own 3rds this Sunday and created an exciting introduction to our opening hymn. Felt good. Jumping 3rds may not be your next priority for doing something new - but do keep practicing and find something that builds your skills and adds to your church's worship.
The old dog learned a new trick this past week. Three days were spent in Fort Wayne, Indiana exhibiting at the regional gathering of the Association of Lutheran Church Musicians. Usually when you host a booth you don't hear much or learn an awful lot. It is, however, always an opportunity to spend lots of money on new organ music at other displays. But I was able to have an extended visit with the very capable and creative organist at Zion Lutheran Church and he mentioned 'jumping 3rds' in hymn introductions. That evening we attended the Hymn Festival held at Concordia Seminary and I realized for the first time that 3rds were jumping all over the place! I then purchased an entire series of hymn intonations (for most of us think 'introductions') and harmonizations at Selah Publishing's display. After listening and studying other composers I jumped my own 3rds this Sunday and created an exciting introduction to our opening hymn. Felt good. Jumping 3rds may not be your next priority for doing something new - but do keep practicing and find something that builds your skills and adds to your church's worship.