Musica

CCM revisited

2010-11-24T19:14:00.000-08:00

Wow, it's been over five months since my last post on this blog - I think that's a record! No promises as to further posts, but if I have something to say or share that might be worth your time, I probably will...

Those of you who remember me in my early teenage years probably groaned (at least internally) when you saw the title of this post. I can hardly blame you! There was a time where I was a vocal, vehement, and usually ungracious critic of just about anything that could be included under the header of Christian contemporary music. At the time, I believed the primary 'issue' with CCM was that most artists and bands adopted, imitated, or incorporated musical styles that originated in contemporary secular culture. Over time, however, I have come to recognize a much greater degree of nuance to the issue than I ever did years ago.

Even so, I've been pondering recently where the real danger lies with CCM, and I am becoming more convinced that in most cases there are greater concerns than some of the musical styles incorporated in the 'genre'. I would summarize my latest musings under two broad points.

I recently listened to a lecture by Dr. George Grant from his Antiquities series, where he described a visit he made to Iraq shortly after Saddam Hussein was ousted from power. In preaching to a group of pastors there, he spoke words that few of them had ever heard or really understood: that Jesus is Lord over all. Many Christians, he said, take this glorious truth for granted because we have written so many catchy tunes about it that has practically been reduced to a mantra. Music, especially catchy music, has the ability to familiarize us with phrases and concepts to the point where we lose our grasp of the deep significance of what we are hearing or singing along with. This is an inherent quality of all chorus-driven music. One example that comes to mind is the song "He Reigns" by Newsboys. (I enjoy listening to that song, among others, by the way.) The chorus goes like this:

"Glory, glory, hallelujah

He reigns, He reigns"

Nothing wrong with those words, now, is there? The danger lies in the effect that such a repetitive chorus, spinning around in our minds, repeated over and over as we sing along can have on our ability to really grasp what it means to affirm and believe in our hearts that He reigns. Here we have deep theological concepts expressed in such simplistic terms that we run the risk of cheapening the sovereignty of God by reducing it to a mantra - a praise chorus. This is an issue more with us than with the music, or the words being sung. We tend to think at the level we read, listen, and converse at. In other words, what we feed ourselves in terms of literature and music has a direct impact on our intellectual activity. Have you ever read literature by a really talented author with a wide vocabulary (P.G. Wodehouse, for example) and found your vocabulary improve as a result? In the same way, the musical lyrics we fill our minds with inform our literal and theological vocabulary, perhaps more than we realize. Again, I'm not taking issue with the Biblical teaching that "He reigns", or even expressing the sovereignty of God in such terms. But we need to be cautious of letting our doctrinal understanding languish at the level of simplistic affirmation of basic principals. Singing "He reigns" is an affirmation of that truth but will not impart to you any deeper understanding of what you're affirming. By the way, this caution applies to any music we listen to or sing. Whether we are singing "He Reigns" 'round the campfire or "Great Is Thy Faithfulness" in corporate worship, we need to be wary of the cheapening effect that repetition and casual familiarity can have on the great truths of our faith.

The second danger is a matter of volume. Not decibals, mind you, but quantity. This is a simple issue. Speaking from experience, I know it's easy to spend way more time listening to music than reading, writing, praying, or meditating. Listening is a passive experience relative to those other activities, which require more active involvement. But when more time is spent imbibing theological concepts via the medium of music than is spent reading our Bibles, we have our priorities wrong. No matter how good the music, we should not allow it to tell us about God and His world as a substitute for, or in greater quantity than, what God reveals to us in His word. Our worldview (including our artistic sensibilities) must be anchored in Scripture--we know that, right?--but that won't happen unless we actually study it. After all, the only way we'll be prepared to evaluate the content of any music is if we know the standard to which it should be compared. Whatever we spend the most time consuming will progressively define our beliefs. Although there is still truth being sung in much CCM, there is also a lot of error, and we need to be wise to discern the difference by grounding our understanding of God and His world firmly in the Word.

Thanks for reading these thoughts. Writing them down was a good reminder to me, and I'd welcome your feedback if you disagree or have other thoughts to add.

3-Chord Ditties

2010-06-06T20:34:00.000-07:00

Over the years, in various situations from discussions of popular music with friends to debates with my theory professors in college about country music, I have heard and even used the criticism of the modern reliance (sometimes absolute) on three-chord harmony that is typical of the past 50 years of musical development. Many of you have heard modern worship music characterized as "three-chord ditties" (not an entirely inaccurate characterization in many cases). Although I understand the heart of the criticism, I am not sure this is the best way to make the argument against the tide of shallow worship music that has swept over the evangelical church.

As I was playing the well-known Psalm setting "The Ends of All the Earth Shall Hear" this morning during worship, I was struck by how the entire hymn relies on only three chords: D, G, and A. These three chords represent the I, IV, and V (Tonic, Subdominant, and Dominant) tones in the D-major scale. Incidentally, the three most common chords used in popular music are the I, IV, and V chords (of the key the song is written in, not necessarily D-major). This hymn is not an isolated example by any means.

The deficiency of much modern worship/praise music does not primarily lie in the fact that the harmony is basically simple. Simple can be incredibly beautiful and effective. But simple should not mistaken for simplistic, especially when it comes to the lyrical content of worship music.

Something to think about before leveling the "3-chord ditty" criticism...

Fingerstyle on a Stratocaster

2010-05-26T12:27:00.000-07:00

I have been playing around with fingerstyle on my electric guitars lately and this is a piece I wrote as a result of that experimentation. It is still in somewhat rough form and I'll probably expand/change it over time...

Fingerstyle on a Strat from Jonathan Berkompas on Vimeo.

My Cry Ascends

2010-05-15T08:57:00.000-07:00

Back in my homeschool high school years I became familiar with the name Greg Wilbur through George Grant's "Gileskirk" curriculum. Occasionally Greg, who also teaches at Franklin Classical School, would lecture when Dr. Grant was away. I also read his biography of Bach (recommended, by the way). I did not know until recently that he also serves as the Director of Music at Parish Presbyterian Church in the Franklin, TN area. Over the past few years he has written or adapted tunes and texts to various psalms and hymns of bygone eras for congregational use at Parish. 16 of these psalms and hymns have been compiled into a CD that was just published by Ligonier Ministries, titled "My Cry Ascends". On the CD artists including Michael Card, Nathan Clark George, Wes King, and Steve Green perform the arrangements beautifully. I highly recommend purchasing the CD as excellent listening material, and I have also really enjoyed singing them at home and with others in small gatherings. Perhaps eventually some of these settings will be used in the worship at WPC...

Here are some links:

To purchase the CD from Ligonier, go HERE. (mp3s available soon)

To purchase the CD from Nathan Clark George's store, go HERE. (cheaper shipping)

To download a free track from the CD, click HERE.

To purchase lead sheets, or read more about Greg and his work, go HERE.

On Greg's website, I would particularly commend to you the section on Musical Philosophy, a portion of which I will quote below:

CREDO
I believe that beauty is an attribute of God and is therefore a theological issue.
I believe that beauty and excellence are objective and that the Bible provides the standard for what is beautiful and excellent.
I believe that since there is a biblical objective standard for what is beautiful and excellent that this should apply especially in areas of worship.
I believe that an understanding of beauty enables a greater understanding of the nature and character of God.
I believe that the arts are worldview incarnate.
I believe that goodness, truth, and beauty are Trinitarian concepts and that each element requires the relationship of the other two for complete understanding.
I believe that the saints need to know how to read music and how to sing for the sake of the worship of God.
I believe that we should know, respect, and utilize the arts of the past as we continue to create new art that is historically informed but also Biblically creative.
I believe that originality is not a Biblical notion.
I believe that we weaken our understanding of art when we try to apply a narrative structure on all works instead of trying to understand music as music, painting as painting, etc.
I believe Philippians 4:8 provides a Biblical pattern by which to critique our thoughts and actions as well as our affections.
I believe that the Church abdicated its rightful place as the leader of culture.
I believe that the Church no longer knows how to train and equip artists because we have adopted a secular view of the arts.

Peppino D'Agostino

2010-05-14T17:25:00.000-07:00

Last night my wife and I had the opportunity to attend a concert by acoustic fingerstyle guitarist Peppino D'Agostino in Hillsboro, Oregon. I have been urged multiple times over the past few years to check out his music but had not seen him live until last night. We thoroughly enjoyed ourselves and I would recommend you check out his music as well. As a guitarist, I was inspired with new ideas and techniques I had not heard before. Below are some of the photos and video I captured from the concert. Enjoy!

(Photos and videos shot with a Canon 7D, 28-135mm f3.5-5.6 IS lens, Video: ISO 3200, 24p @ 1/40s, Photos: ISO 3200 @ 1/40s, 1/50s, and 1/100s)

If you are interested in such things, he was playing a Seagull Artist "Peppino" signature guitar, through an L.R. Baggs "Venue" DI box / EQ / tuner, Digitech Hardwire RV-7 reverb stompbox, into an AER Compact 60 acoustic amplifier. He was also mic'd with a Shure SM81 into the house PA system for a very full, bright sound.

Here are the videos I captured:

Peppino D'Agostino, May 13 2010, "Desvairada" from Jonathan Berkompas on Vimeo.

Peppino D'Agostino, May 13 2010, "Superstition" (Stevie Wonder) from Jonathan Berkompas on Vimeo.

Peppino D'Agostino, May 13 2010, "El Choclo" (Argentinian tango) from Jonathan Berkompas on Vimeo.

Christians and Death Metal

2010-02-19T11:46:00.001-08:00

These two very wise videos from Doug Wilson are helpful when dealing with questions related to music and Christian life and worship.

How to address death metal fans? - Conversations with Doug Wilson from Daniel Foucachon on Vimeo.

Ask Doug - Death Metal - a followup from Daniel Foucachon on Vimeo.

Chris Thile plays Bach

2010-02-11T19:23:00.000-08:00

On the mandolin. Really well. Here's a clip of him playing the Prelude from Bach's 3rd Partita for solo violin. Maybe it's just my appreciation for this guy's incredible skill getting the better of me but I think I almost like this piece on the mandolin better than on the original instrument!

Have a listen and see if you agree...

Music and the subconscious

2010-01-28T13:50:00.000-08:00

For a few years one of my favorite country CDs has been "Dream Big" by Ryan Shupe & the Rubberband. Their style is a blend of country and bluegrass and is really catchy.

The lyrics to one song on the album read:

Would you love me if I
Told you that I could not
Hold you closer tonight
To my heart it just might
Break me, make me fall down
Trip me up and hit ground
And I don't want to be there
And I don't want to be but I feel

A new emotion
A deep devotion
And a notion
That I will find you
Alright
Tonight
And I might
Fall again

Would you stay if you knew
That I would only leave you
Sad enough and lonely
And I'd think of you only
In my dreams we would walk
And in my dreams we would talk
Hand in hand together
Hand in hand and I feel

A new emotion
A deep devotion
And a notion
That I will find you
Alright
Tonight
And I might
Fall again

I don't want to see the news
I don't want to feel the rain
Falling on my face again
I don't want to see your face
On a billboard store
Don't want to grow old in this place no more

Would you think me crazy
Would you laugh forever
And in my arms you would be
And in your eyes I could see
All the stars up at night
And I am hoping you might
I swear I've seen your eyes before
I swear I've seen your eyes
And I feel

A new emotion
A deep devotion
And a notion
That I will find you
Alright
Tonight
And I might
Fall again

It never really struck me until today that, although relatively harmless, these lyrics are a perfect musical embodiment of what Voddie Baucham calls "the Greco-Roman myth of romantic love". The prevailing notion of love today represents love as a feeling or emotion that we have little or no control over. A lot could be said about this but that's not the goal of my post.

Music is powerful in ways we often don't realize or are unwilling to admit. Music instructs us and shapes our worldview subconsciously just as much as it does with our conscious approval. We have to acknowledge this when we choose what sounds and words we fill our minds with or we have no protection against being swept away by the ideas innate in the music. The sounds we choose to hear influence our beliefs about beauty. In fact, our choice of musical styles really betrays our true beliefs about beauty and harmony regardless of what we profess. The words we fill our minds with influence how we view truth, reality, relationship, sexuality, priorities, profanity, and the list goes on.

Paul writes in 1 Cor. 15:33 "Do not be deceived: Bad company corrupts good morals."

We need to be honest about music's ability to influence us. How many young Christian men would not walk the streets with gansters but hang out all the time with gangster rap? How many young Christian women profess purity of heart and action but regularly consume pop music that at best plays fast and loose with God's perfect design for sexuality and at worst instructs them in the ways of whoredom and other perversions?

I don't mean to overstate the case by way of exaggeration but the sorry state of youth and adults in the modern evangelical church can't be divorced from the contents of their iPods. Let's not deceive ourselves with regards to the power of music to shape our subconscious and conscious beliefs, the thoughts that fill our minds, and ultimately the way we live our lives.

Instead let's aim for the Scriptural mark of taking every thought captive to the Lordship of Jesus Christ, and refrain from all forms of evil whether in action, word, appetite, or thought.

Valse Irritation d'après Nokia

2010-01-13T11:13:00.000-08:00

Picked this up over at www.allclassical.org. Marc-Andre Hamelin's interpretive performance of the Nokia ringtone. Reminds me a lot of Chopin, with a little Schumann and maybe some Brahms thrown into the mix.

Some clarification

2009-12-24T15:06:00.000-08:00

As usual, my previous post raised some points that I could/should have expanded on in the original.

"Should Christians limit themselves to producing and enjoying music which is explicitly Christian in content?"

My answer to that question is yes, and no.

Key to the discussion is to remember that all good gifts come from the Father. Things like food, strong drink, music, and art are all blessings that are in a sense inherently "Christian" by virtue of their origin. Those who know me know I am a beer aficionado. I do not see beer as a drink which must be redeemed or sanctified by some outward designation Putting a label with a fish or a cross on the bottle would not redeem the beer. Since I believe beer (or wine) is a gift from God, the enjoyment of it in moderation with a heart of thanksgiving to the Giver of all good gifts is enough to redeem it for His glory.

In the same way, love, food, friends, and all of creation are "Christian" subjects. This is the "no" part of my answer. Most times the question above is asked, what is being referred to by "Christian" is more narrow than the definition I offered above. Christ, redemption, God's law, for example. But when we remember that the work of Christ in creation and redempion touches every area of life we are then free to rejoice in all these gifts that only belivers can truly enjoy, free from the perversion of the world. I believe this can and should result in Christians doing art and music that involves the mundane and earthly blessings we enjoy during our pilgrim state. Christians should be writing the best love songs, the best symphonies, the best plays etc. This may or may not involve specific references to Christ and His work. It may involve music that is written by Christians, or not.

I often find music written by pagans that grasps and extols the beauty of family life more edifying than weak-minded, mealy-mouthed, veiled references to some gal's boyfriend who happens to be named Jesus.

What needs to be avoided is the music that places anything in the place of God, promotes a perversion of any of His gifts, or contradicts the truth of His Word. We must keep our eyes open because these problems permeate our culture in every sphere including the modern Church.

I'm sure this raises more questions than it answers but hopefuly it provides some food for thought...

Singing praise to false gods

2009-12-24T09:20:00.000-08:00

Last weekend Chels and I were privileged to participate in a sing-along performance of Handel's "Messiah" oratorio held annually in Portland. This morning over breakfast we were discussing how revered this particular musical work is, even among pagans. We wondered, how is it that a pagan would voluntarily sing the words of Scripture without a second thought?

It dawned on me that we Christians do this all the time when we voluntarily use the words of our pagan culture to praise their gods. We do this when we say things like "I don't listen to the words, I just like the music." We do this when we sing Christmas carols praising the generosity of Santa and his elves. We do this when we fill our minds and sing along with pop music that glorifies materialism and loose morality. We do this when we forget that words have meaning and ideas have consequences. And we end up singing praise to the very false gods we claim to eschew in favor of the one true Messiah.

Post-modern Christians have bought into the same lie that enables the pagan to sing the Messiah without blinking: "They are just words, after all, with no objective meaning."

Every season is the appropriate time for Christians to reassert the meaning of words, and the meaning of the Word, in both our speech and actions. This season affords a special opportunity to be salt and light to the world as we remember the eternal significance of His advent as our Savior and rehearse this glorious event in hymns and carols.

Merry Christmas to you all!

Bass Guitar Harmonics

2009-08-03T15:24:00.001-07:00

Below is an amazing video sent to me by a friend of Victor Wooten playing some amazing bass guitar. About 2 minutes into the video he starts using harmonics to play an arrangement of Amazing Grace. Impressive stuff!

National Anthem on a Louisville Slugger

2009-07-27T11:53:00.000-07:00

Watch the National Anthem performed on a Louisville Slugger converted into an electric violin. No kidding!

Ben Botkin Blog

2009-05-12T15:43:00.000-07:00

Ben Botkin is a young film composer who has done some great work in films such as "The League of Grateful Sons", and "The Return of the Daughters". He has recently begun a new blog dedicated to "articles, analytical reviews and commentary on the theory, philosophy, theology, history, mechanics, science, technology and future of music." Follow the link to read and subscribe.

Doug Wilson's Musical Exhortation

2009-05-11T08:38:00.000-07:00

Doug Wilson is currently running an excellent series of short posts on the topic of Musical Exhortation over at Blog and Mablog.

To whet your appetite for his thought-provoking commentary, here is a small section from his last post titled "The Devil is a Musician":

You should want everything you do in the course of the week to be helping you prepare for worship, because worship should be preparing you for everything you do in the course of the week. And keep in mind what was said earlier. It is not the case that all your music must be "church music." There are all kinds of secular music that can contribute appropriate texture to what you have to offer the Lord. But also keep in mind that we live in a confused and rebellious age, and the devil is a musician, one who will give you songs that unravel what God gives you here. Not only that, but it will unravel your heart and life as well. Flee from him.

Other posts in the series include:

Ordinary People, Extraordinary Music
The Right to an Opinion
Musical Consistency

Doug posts a new Musical Exhortation post every Sunday morning.

Michael Card deal

2009-05-11T07:43:00.000-07:00

I've posted previously recommending one of my favorite artists, Michael Card. I received an email update from his ministry this morning with a special offer on his 6-CD set "Journey Through the Scriptures in Song", a great buy for someone wanting to be introduced to some of his best music. Here's the link.

How To Fix Country Music

2009-05-08T11:41:00.000-07:00

I used to be an avid country music radio listener but have been listening to much less of it over the past couple years. Although I have quite a few (300+) country songs in my music library, there are only a few artists I can enjoy an entire album from anymore. The decline in the quality of songwriting and performance over the past 2-3 years has been tangible. Chet Flippo, editor of CMT.com, has some good ideas on How To Fix Country Music in his Nashville Skyline article this week.

Singing hymns with understanding

2009-05-06T10:57:00.001-07:00

This week in the music-theory/sight-singing class I am teaching to a group of men from my church, we focused on the issue of singing with confidence before the Lord in corporate worship. Paul Jones says, "When we are aware of a hymn's substance before we sing, we are more apt to sing the text with energy and conviction than if this were simply a standard, rote activity."

How many of us fall into the habit of singing the words on the page on Sunday without understanding, meditation, or heart-felt praise? I'm afraid the answer is probably "most of us", myself often included (although I enjoy precious few opportunities to lift up my voice in corporate worship these days). As a consequence, how many of us could expound the meaning of a text we've sung only a few minutes prior? Again, likely very few of us.

We need to ask ourselves this: Is God pleased just by the words we sing to Him, or does understanding and resultant joyful expression as beneficiaries of His grace play a determining role in whether or not the praise is genuine, authentic, and pleasing? None of us (I hope) would propose that the actual words we lift up in song are of no consequence. But if God is pleased simply by the words, is the sound of a pagan choir singing a great psalm pleasing to His ears? I believe that God is pleased by the praise of His people. As His people, we ought to offer up our words of praise with loud joyful voices, yes - but joy that proceeds from an understanding of His grace, love, and mercy and a conscious understanding of what we are singing.

So how do we prepare to sing before our Lord, to gain an understanding of "a hymn's substance"? Some churches will release the weekly bulletin in advance, giving the congregants and musicians ample opportunity to review the texts before worship. In other congregations, such as WPC where I attend, the bulletin is only available to the congregation on Sunday morning when we arrive for worship. However, there is still ample time to take a seat in the sanctuary before the service begins to meditate and prepare your heart for worship - including a review of the texts to be sung that morning. In family worship, husbands and fathers should review the texts to the hymns being sung and explain them to the family as part of his instruction.

The point is that when we come to sing songs of praise before our Lord and Creator we are not merely offering mindless repetitions of words on a page but presenting a confident, authentic, joyful offering that arises out of understanding of what is being sung.

Singing and Making Music: Hymn tunes

2009-05-06T10:29:00.000-07:00

Paul Jones has the following to say about hymn tunes, respect for the old and development of the new:

"While not judged on the basis of doctrinal content as texts are, the music of hymnody and psalmody must be judged on the basis of musical merit (melody, harmony, rhythm, form) on aesthetic grounds, and on its capacity to match and deliver the meaning of the texts it accompanies. The legacy of long-lasting hymn and psalm tunes is another link to our living spiritual history. This music part of our collective Christian repertory, irrespective of one's familiarity with them or regard for them. There is no need to reinvent such enduring mediums of our song. To do so is to diminish their strength. New tunes should be written, but excellent tunes of previous eras do not require the musical clothing of postmodernity. Each age makes its contribution to the ongoins, growing hymns repertoire, as it rightly and necessarily should. Style and sound may change somewhat, but solidity, quality, beauty, and universality are among the characteristics of any substantial music that will endure. These characteristics transcend time and speak authentically to any age." (Emphasis mine)

Particularly interesting to me is the statement that "Excellent tunes of previous eras do not require the musical clothing of postmodernity", an idea that has been thrown off by many if not most modern Christian song-writers. The group Indelible Grace comes to mind. By clothing old, well-known hymns in new tunes that are more accessible to post-modernized college students, these well-meaning musicians take the opposite approach to what Paul Jones is suggesting. Although I am not staunchly opposed to all writing of new tunes to old verses (many excellent old verses need equally excellent tunes), I believe there is a problem in our thinking when our focus is to make timeless praise to God more accessible to our "fish-that-don't-know-we're-wet" post-modernized sensibilities instead of striving to condition our minds to be able to understand and appreciate the music of our spiritual forefathers, then carry that forward with new life into the future.

We sell ourselves short if we are willing to settle for the musical sensibilities post-modernism has to offer when we write new tunes or texts of praise to our Lord. As Jones points out, we are also selling ourselves short when we are content to rest on the foundation of the music that has been written hundreds of years before us instead of embracing our responsibility of "singing a new song" in this generation, continuing to lay down solid bricks on the solid foundation we've been blessed with.

Upcoming Dickson string quartet concert

2009-05-06T10:15:00.000-07:00

Our friends the Dickson String Quartet, who played for our wedding, will be performing a concert in Portland on May 20th at 7PM. The Dicksons are top-notch musicians and are a joy to listen to. Although I am not sure what the repertoire for the evening is, I know it will be excellent. They will be joined by some members of the Oregon Symphony. See the rest of the details by clicking on the poster below.

UPDATE: The repertoire for the evening will be the Mendelssohn Quartets Op. 13 and 80, the Dvorak Quintet Op. 97, and the Mendelssohn Octet Op. 20. Exciting!

Flook

2009-05-02T06:36:00.000-07:00

I apologize for the absence of new posts lately. Over the next few days, I'm going to post some new music recommendations, starting with a new discovery of mine, a group called Flook.

Flook is an Irish/folk group from England made up of four musicians: Sarah Allen (flutes), Brian Finnegan (whistles, flutes), Ed Boyd (guitars, bouzouki), and John Joe Kelly (bodhran, mandolin). They play instrumental tunes in the general Irish-Celtic-Folk-Traditional vein, one of my favorite styles. However, they put a spin on the music I haven't yet been able to define but really makes it something special. Check out the audio samples at the links below and you will be hooked. There are some great live Flook videos over at YouTube as well.

Flook: Haven

(Even if you are not "into" traditional acoustic Irish music, I guarantee your toes will be tapping to this album! "Haven" is available on CD and digital download from Amazon.com and iTunes.)

Flook: Rubai

("Rubai" is available on CD and digital download, from iTunes but not Amazon.com.)

Flook: Flatfish

("Flatfish" is available in digital download from Amazon.com and iTunes but not on CD currently, unless you happen to find a used copy.)

Classical Music for Nerds

2009-04-21T11:06:00.000-07:00

Do you consider yourself to be a nerd? Then you really should be listening to more classical music, at least according to this article which presents 7 reasons why nerds should listen to classical music.

Composition: Meditation

2009-04-17T19:45:00.000-07:00

For a few years I have been encouraged by family and friends to record a solo guitar CD but have not felt comfortable enough with my repertoire to do more than occasionally play around with low-quality recordings done on my Mac at home. I don't have any firm plans for recording a CD at this point but I am moving in that direction, albeit slowly. Two months ago I wrote an original piece for solo acoustic guitar titled "Meditation". This evening I decided to give another shot at getting a decent recording of something out of my guitar with the sparse equipment I have. When my plans to record my guitar through my amplifier's line-out plugged into the Mac's line-in were thwarted by my amplifier picking up some radio signal from who knows where, I resorted to simply amplifying the guitar and recording through the Mac's internal microphone.

Yes, I am aware of how low-tech that is...

The following "video" is my first take, edited to clean up the audio a bit and add a mix of chorus/echo/reverb to improve the sound of the low-quality recording. I prefer the piece without the effects but the raw unedited track needed some help due to the quality of the recording, or lack thereof. For those interested, the tuning I used is DADGAD which accounts for the unique sound compared to standard guitar tuning. You may want to try listening with headphones because if your computer's internal speakers are like mine you'll have a hard time picking up the bass. Let me know what you think!

Researching Psalter Editions

2009-04-17T11:45:00.002-07:00

One of the great practices of the Reformed tradition that has fallen by the wayside in many denominations, especially in the last century, is the practice of singing the 150 Psalms in corporate and family/private worship. If Psalms are sung at all, it is usually a selected few that can be found in popular hymnals such as the Trinity Hymnal.

Personally, I do not find Scriptural warrant for rejecting all non-Psalm hymnody. I have great respect for the scripture-based hymnodic tradition that has developed over time since the 16th century. (This is another discussion for another day.) Yet I will readily agree with anyone that the Psalms should be our key resource for all types of worship. They should be prayed, sung, and meditated upon in our worship and throughout the day. Over the past few weeks I have been researching different editions of the Psalter that are currently in-print and I thought I'd share some of my findings as a resource for those who may be interested in the same.

By far the most popular Psalter on the market is "The Book of Psalms for Singing", published by Crown and Covenant Publications, a branch of the RPCNA denomination. From the C&C website, this Psalter is described as "the most popular English psalter because of its comprehensiveness and singability. The Book of Psalms for Singing has been used for more than 30 years.
Many psalm passages are set to multiple arrangements. Setting include many familiar hymn tunes, traditional tunes, some original arrangements and a few chants. Translated from the original language into English meter for singing. Over 425 selections include all 150 Psalms in their entirety. Includes 4-part music for each selection."

My personal experience with this Psalter has been positive. At WPC we use the Trinity Hymnal as our primary source for hymns and Psalms. However, when we use extra-hymnal Psalms they are drawn from "The Book of Psalms for Singing". Many of the Psalms are split into mulitple settings due to their length, and some Psalms in their entirety will have multiple tunes. Many of the tunes. Two congregational and personal favorites are Psalm 119X (the letter after the Psalm designates the progression of settings - like I mentioned most of the longer Psalms are split into different sections and set to different tunes.) and Psalm 148. Most of the tunes are familiar and the language of the verses is in the tradition of the KJV, but is not as archaic as the 1650 Scottish Psalter, for example. The settings for this Psalter are in 4 parts as noted above so it is not particularly suitably for chanting/singing the Psalms in unison.

Thus ends my current real experience with Psalters. Everything that follows is a result of my research and I haven't had the opportunity to get my hands on any of these other editions yet.

A text-only version of the Book of Psalms for Singing is also available, known as the "Trinity Psalter". What good is a words-only version, you say? I can think of a couple good uses. First, as a workbook for writing new Psalm settings. I have taken my hand to writing new settings for hymns before but I am almost invariably influenced by the existing tune on the page. Having a words-only resource would be helpful. Also, these are much less expensive than the music-and-words versions, so for budget-minded churches and families this could be a good option. A spiral bound music-and-words edition is available for accompanists. Finally, since many if not most Psalms are set in common meter or long meter, any number of tunes can be used to sing one Psalm. A words-only version would allow more flexibility with less confusion for those switching between tunes. However, for part-singing the lack of 4-part notation (or any notation at all for that matter!) could pose significant challenges.

Of all Psalter versions, the 1650 Scottish Psalter stands as one of the most significant and enduring despite the 17th-century language and often-stiff versification. There are a number of editions in-print such as the 1650 Scottish Metrical Version from Crown and Covenant, and The Comprehensive Psalter from FPCR. The Comprehensive Psalter is significantly more affordable and appears to be a sturdy volume. A words-only version of the 1650 Psalter is also available from C&C as The Psalms of David in Metre.

The Reformed Church of Ireland uses The Psalms for Singing: A 21st Century Edition. Unfortunately there are not many details available on the web about this version that I have been able to find. I would guess that the verses are directly based on the 1650 edition but with updated grammar and language.

The prominent Roman Catholic Psalm translation is called the Grail Psalms. This is simply a different translation from the Hebrew that is used primarily by the Roman Catholic Church. Here is an example of a Grail Psalm, Psalm 23. Unfortunately some of the versions are "Inclusive Language" (i.e. gender neutral where gender is specifically indicated in the original language). I need to do some more research before coming to any firm conclusions about the value of the following Psalters but they do look interesting if only for getting a full picture of how the Psalms are and have been sung throughout church history.

The Mundelein Psalter
The Abbey Psalter
Psalms: A New Translation, Singing Version (A non-inclusive-language Grail Psalter designed for chanting the Psalms)

The above "Grail" Psalters are designed to assist in praying/singing/chanting the Psalms on a daily schedule (kind of like a daily Scripture reading plan, except musical and restricted to the Psalms) - a Jewish practice carried on by the early church and a central part of Roman Catholic tradition that was abandoned by the Reformers. Rightly or wrongly, I have no opinion at this time.

If you're looking for a Psalter, hopefully this will point you to some good options. Like I mentioned earlier, the only Psalter I can currently recommend is Crown and Covenant's original Book of Psalms for Singing. I do, however, plan to obtain at least a few of these other Psalters at some point and intend to post on their quality after I've had a chance to review them. If any of my readers have had experience with any of these or other Psalters, feel free to share your thoughts!

"Make a joyful noise to the Lord, all the earth! Serve the Lord with gladness! Come into his presence with singing! Know that the Lord, he is God! It is he who made us, and we are his; we are his people, and the sheep of his pasture. Enter his gates with thanksgiving, and his courts with praise! Give thanks to him; bless his name! For the Lord is good; his steadfast love endures forever, and his faithfulness to all generations." (Psalm 100, ESV)

Singing and Making Music: Music and the Word of God

2009-04-15T15:03:00.000-07:00

"Music clothes the Word of God with sound and also reinforces its message with meaning beyond the realm of words. It communicates to our souls as a metaphysical force." (Paul S. Jones, Singing and Making Music)

Singing and Making Music: Church music as entertainment?

2009-04-13T12:55:00.000-07:00

One of the musical books I am going through right now is Dr. Paul Jones' "Singing and Making Music: Issues in Church Music Today", a collection of essays on church music by the organist and musical director of 10th Presbyterian Church in Philadelphia. (Thanks to my friend and co-laborer in musical service at WPC, Dan Joner, for lending it to me.) I will be posting quotes and perhaps some commentary along the way.

"When music in church becomes entertainment, it is objectified as "an event". It turns into something to watch, a spectacle. Such events are necessarily detached from the immediacy of being something in which we are involved. Other worship elements can be treated this way, too. Pastoral prayer can be an aural "spectacle" if members of the congregation are not praying along with the minister. But perhaps more than with spoken prayer, music becomes something done for us instead of being done by us. This disconnection may be amplified by the music-suffused society in which we live (music in the malls, restaurants, elevators, etc.--when it is a mindless backdrop for other activity). We thus become desensitized to music in a public setting, as something in which we are not involved as "doers"--whether we are listening or singing. This musical alienation is a danger prevalent in services with soloists and even choirs--that the parishioner views music as an event he is watching or to which he is listening as a bystander instead of a participant" (Paul S. Jones, "Singing and Making Music")

He Is Risen

2009-04-12T07:00:00.000-07:00

He is risen indeed!

"Death is swallowed up in victory. O death, where is your victory? O death, where is your sting?" (1 Cor. 15:55)

Christ Jesus lay in death’s strong bands,
For our offenses given;
But now at God’s right hand He stands,
And brings us life from Heaven.
Wherefore let us joyful be,
And sing to God right thankfully
Loud songs of Alleluia! Alleluia!

No son of man could conquer Death,
Such mischief sin had wrought us,
For innocence dwelt not on earth,
And therefore Death had brought us
Into thralldom from of old
And ever grew more strong and bold
And kept us in his bondage. Alleluia!

But Jesus Christ, God’s only Son,
To our low state descended,
The cause of Death He has undone,
His power forever ended,
Ruined all his right and claim
And left him nothing but the name,
His sting is lost forever. Alleluia!

It was a strange and dreadful strife
When life and death contended;
The victory remained with life;
The reign of death was ended.
Stripped of power, no more it reigns,
An empty form alone remains
Death’s sting is lost forever! Alleluia!

Here the true Paschal Lamb we see,
Whom God so freely gave us;
He died on the accursed tree—
So strong His love!—to save us.
See, His blood doth mark our door;
Faith points to it, Death passes over,
And Satan cannot harm us. Alleluia!

So let us keep the festival
Where to the Lord invites us;
Christ is Himself the joy of all,
The Sun that warms and lights us.
By His grace He doth impart
Eternal sunshine to the heart;
The night of sin is ended! Alleluia!

Then let us feast this Easter day
On the true Bread of Heaven;
The Word of grace hath purged away
The old and wicked leaven.
Christ alone our souls will feed;
He is our Meat and Drink indeed;
Faith lives upon no other! Alleluia!

(Martin Luther, 1524)

Small-group hymn-singing

2009-04-09T22:11:00.000-07:00

Tonight at the small group I host and lead, we began a study of Paul's Epistle to the Galatians. To wrap up the evening I suggested we sing #135 from the Blue Trinity Hymnal, "I Greet Thee, Who My Sure Redeemer Art". The verse cited on the page is Galatians 1:4 which reads, "Who gave Himself for our sins, that He might deliver us from this present evil world..."

It was a wonderful opportunity to offer praise to God with voices unprepared but joyful and sincere. The result was beautiful and a reminder to me of the blessing it is to "let the word of Christ dwell in you richly, teaching and admonishing one another in all wisdom, singing psalms and hymns and spiritual songs, with thankfulness in your hearts to God." (Col. 3:16)

Here is the full text to this wonderful hymn:

I greet thee, who my sure Redeemer art,
My only trust and Saviour of my heart
Who pain didst undergo for my poor sake;
I pray thee from our hearts all cares to take.

Thou art the King of mercy and of grave,
Reigning omnipotent in ev'ry place
So come, O King, and our whole being sway;
Shine on us with the light of thy pure day.

Thou art the Life, by which alone we live,
And all our substance and our strength receive;
O comfort us in death's approaching hour,
Strong-hearted then to face it by thy pow'r.

Thou hast the true and perfect gentleness,
No harshness hast thou and no bitterness:
Make us to taste the sweet grace found in thee
And ever stay in thy sweet unity.

Our hope is in no other save in thee;
Our faith is built upon they promise free;
O grant to us such stronger hope and sure
That we can boldly conquer and endure.

Amen.

(Text from the Strasbourg Psalter of 1545, tune from the Geneva Psalter of 1551)

How NOT to sing the National Anthem

2009-04-07T20:11:00.000-07:00

Time Magazine presents, the Top 10 Worst National-Anthem Renditions. You may only make it through the first one...

Nathan Clark George

2009-04-07T14:11:00.000-07:00

Last August, I was introduced to the music of Nathan Clark George by R.C. Sproul Jr. who came to our church to speak for our annual Heritage Weekend. I didn't look into his music again until recently, when I purchased one of his CDs, titled "Rise in the Darkness". Nathan is a believer (a good Presbyterian, to boot) who travels with his wife and kids all over the south performing his music for churches, conferences, and retreats. He is a very talented songwriter and guitarist. Much of his music, including most of the songs on "Rise in the Darkness" are versifications of the words of Scripture. I find his music to be a refreshing contrast to the slew of over-produced, shallow poppy Christian contemporary music that fills the wavelengths these days. I would place his music in the same vein as Michael Card, but even more down-to-earth and folky. To give a secular reference point, he sounds to me a bit like James Taylor, Sean Watkins, and with a bit of Jack Johnson thrown in on occasion.

You can listen to many full songs for free, or purchase his albums, at this site. Or you can read more about him and his music at his homepage. To download his albums digitally, visit Behemoth.com.

Silence

2009-03-31T17:17:00.000-07:00

As I sat in my office finishing up my workday this afternoon and enjoying the quiet, Chelsea walked down the hall with the vacuum and said, "Sorry if this is a little loud." I responded, "That's OK, I'll just turn up the silence."

Don't we all sometimes wish that was possible? When a day has been filled with conversations, music, and sounds, I often find silence is the most beautiful sound of all.

Recommended live recordings

2009-03-30T19:22:00.000-07:00

Following up on my previous post, here are a few examples from my personal library of live albums from musicians that sound as good, if not better, live as they do on record.

Mark O'Connor: Thirty-year Retrospective

(This is a truly incredible recording from some of the best acoustic musicians on the scene today. With only 3 days of rehearsals this all-live recording is one of the best acoustic instrumental albums I have ever heard. Definitely a desert-island album!)

Michael Card: Scribbling in the Sand

Alison Krauss & Union Station Live

Live performance vs. recordings

2009-03-30T18:44:00.000-07:00

One of the marks of a truly gifted musician is that he or she can closely reproduce the quality of the performances on a recording in a live setting. In an age of digital recording, mastering, and effects, anybody with the slightest amount of musical inclination can sell millions of records. Such artists are usually aided by significant editing, especially vocal, for pitch correction and vocal effects. Often dozens of takes will be required of the performer to obtain a recording of one verse that can even be edited to the point of sounding decent. Usually such a musician's or group's lack of raw talent or training is evidenced live in concert where they simply cannot accurately reproduce the music on the album. Sometimes performers overcome this difficulty by simply lip-syncing to previously recorded vocal tracks. I am personally amazed at the success of some such musicians. A prominent one that comes to mind is the country smash-hit Taylor Swift. Although she is an accomplished and talented song-writer, it requires a very cursory overview of some of her most popular recordings and their live counterparts to discover a huge disparity between her vocal talents when aided by the technologies of a recording studio and when all that is stripped away in a live setting. Yet (driven in part by a very smart marketing strategy) she has sold millions upon millions of records to unsuspecting fans who for the most part refuse to acknowledge that their star is not actually gifted at singing to start with.

Now, I don't write this to pick on any musician in particular. In fact, you'll find a few Taylor Swift tracks in the Country section of my iTunes library. To me, the issue at hand is the integrity of music and performance. I believe God has gifted everyone with certain gifts, to different degrees, some more than others. The concept that "you can be whatever you want to be" is not a Christian teaching, in my view. God calls us to explore and pursue the talents and gifts He has granted to us and I believe that it is at best unwise to ignore those areas of our life which God has given us special gifts and pursue those areas where he has not gifted us. (There is much that could be said on the issue of talent, gifts, and calling and this isn't the sum of my thoughts and beliefs on the subject!)

When I hear a musician on a record and am impressed, then hear a live recording and am met with a poor reproduction of the music on the album, I feel deceived. I am forced to question the integrity of those who record and market music as something that it is not. I realize this raises a lot of questions about what is "real" music and what is not "real" music in an age of digitalism and I don't claim to have the answers to those questions. Also, as a musician myself I absolutely do not want to discount the pressure and difficulty of performing in a live setting. As beautiful as a piece may sound in my home studio, only by the grace of God can I reproduce that under the pressure of playing in front of others. I also am not discounting the value that technology can add to our musical recordings and performances. What I am questioning if the use of technology to take what is not beautiful or skilled and make it sound like it is.

As Christians pursue the goal of taking dominion over the gift of music and redeeming it for the glory of God we should keep issues like this in mind. So what do you think? Does digital editing have a bearing on the integrity of music and performance?

Bodhran

2009-03-30T17:09:00.001-07:00

An instrument that has fascinated me for some time is the "bodhran" (pronounced bow-ron), a popular Celtic hand-held drum that is used in many types of traditional acoustic music. Last week I watched an incredible video of John Joe Kelly, a very talented bodhran player, performing a percussion solo at an Irish music festival. It's a few minutes long but is worth the time. Unfortunately, embedding has been disabled on the video so I have to link to it rather than posting it directly. To get an idea of how a bodhran can be employed in a group setting, watch this fantastic video by incredible talented neo-Celtic group Flook performing on the BBC Blackstaff Sessions in 2006. (John Joe Kelly is the bodhran-ist for Flook.)

Pandora Radio

2009-03-26T07:15:00.000-07:00

I employ various means of discovering new music, including browsing iTunes, Amazon.com, referrals from friends or blogs, and Pandora Radio. Pandora is a free internet radio service that allows users to create "channels" by entering a favorite artist. Using information from the Music Genome Project, Pandora identifies other artists or composers that are similar to your original selection and plays randomly chosen complete songs. The system is remarkably accurate, relying on 400 different musical attributes to identify the music most similar to your artist choice. Users can "train" the system about their preferences by giving each song a thumbs up or thumbs down rating. Channels are saved for future listening and there is no limit on how many channels you can create. All the music is free when streamed from the web but if you like a particular song or group you discover, you can bookmark them or buy music directly from iTunes or Amazon.com with a handy link. The service can be accessed through Pandora's website or you can download a small client that installs to your desktop. Apple iPhone users can access Pandora on their phones. Although I use Pandora mostly for discovering new music, it is simply a great way to expand your musical "library" even if you have no intention of purchasing any of the music you hear. Even without knowing exactly what you're looking for, I can guarantee you that you'll find something you like.

George Grant on singing hymns

2009-03-25T14:47:00.000-07:00

Singing...hymns lifts the heart, shortens the way, and advertises a man's reputation. It is an admirable thing. A man who so sings--loudly, clearly, and well--proves, more often than not, to be of good character. He is master of himself. He is strict and well managed. He is prompt, alert, swift, and to the point. He is unafraid and jolly. He is disciplined and congenial with a clear conscience before both God and men. There is method in him. All these things may be in a man who does not sing, of course. But singing makes them apparent.

Vance Perry: one-man barbershop quartet

2009-03-25T13:13:00.001-07:00

A friend of mine made me aware of Vance Perry, a talented Christian musician who is able to sing all four parts of a barbershop quartet. He performs and records barbershop-quartet-style arrangements of hymns, converts them into HD videos, and posts them on his Youtube channel. The fact that he can sing all the parts of a barbershop quartet is impressive enough, but he actually sounds really, really good. I'd be in the market for a CD if he released one. Here's his latest video, "And Can It Be", an arrangement by Vocal Spectrum...

Michael Card recommendations

2009-03-25T11:22:00.000-07:00

Over the years I've been blessed by the music of Michael Card, a gifted and godly Christian musician who has been writing and performing solid Christian music for almost 30 years. He has impressed me with his deep and sincere faith that shines through clearly in his music. With few exceptions, the lyrics he writes are solid, instructive, theologically sound, encouraging, and thought-provoking. The tunes, while contemporary, are beautiful, powerful, creative, and memorable - never cheap or run-of-the-mill. There is, I believe, a reason Michael Card has set himself apart from the mainstream Christian Contemporary Music industry, and in turn you won't find many popular Christian radio stations playing his music.

My ear lacks appreciation for the synth-driven sound of most music produced in the 80s so I've largely stayed away from his earlier albums although there are some great tracks from some of those CDs. The albums I recommend most highly are:

Poeima

Starkindler

Soul Anchor

A Fragile Stone

(WARNING: Some tracks on this album contain "strong saxaphone" so listener discretion is advised...)

A great introduction to Mr. Card's music is the anthology Joy in the Journey which includes some of his best songs from 1981-1994.

From the story of Creation, the wonder of God's handiwork in the stars, to the life of Peter, to the book of Hebrews, to the daily struggles of life and relationships that face us in this life, Michael Card's music encourages, edifies, and exhorts to faithful living in Christ. Recommended stuff. Buy a CD or two today!

Jake Shimabukuro

2009-03-25T11:21:00.001-07:00

Jake Shimabukuro, a virtuoso ukelele-ist from Hawaii, performs "While My Guitar Gently Weeps" by George Harrison:

While I've never heard the original, Jake's interpretation is fascinating and very impressive considering the instrument. He has recorded a number of commercial records, and this track can be found on "Gently Weeps" among other virtuoso covers and original compositions.

Bach Fugues

2009-03-25T11:20:00.001-07:00

Johann Sebastian Bach is universally acknowledged as the master of counterpoint, which, generally speaking, is the musical practice of writing different yet complimentary lines of melody that, when played together, interact in harmony. Counterpoint places a strong emphasis on individual lines of melody and less on chords and simultaneous harmony. Bach elevated this art to a level that no other composer has attained. Bach's mastery of contrapuntal principles is best exemplified in his "fugues". Eric Wen explains the fugue:

In a typical fugue there is one principal theme, known as the subject, which is played on its own at the outset. This musical idea is subsequently stated by all the other voices in succession, and, as the subject's many further possibilities are then explored, a highly developed web of repetitions evolves. These sometimes follow in close succession, a process known as 'stretto', and are often varied in transitional passages known as episodes. Occasionally, the subject itself can be altered during teh course of the fugue: presented with its original melodic intervals going in the opposite direction (inversion), with lengthened or shortened note values (augmentation or diminution), or even backwards (retrograde).

Bach wrote many fugues for different types of instruments, particularly the keyboard (harpsichord in his time) and the organ. The complex nature of fugues is stimulating to the brain not to mention very enjoyable to listen to. You certainly don't need to understand the principals of counterpoint and fugue-writing to appreciate Bach's work! From my music library, two fantastic recordings stand out as great introductions to Bach's fugues.

Bach: Fugues

This CD is a recording of the fugues from Bach's Well-Tempered Clavier Book 1, written for the keyboard, but transcribed by Mozart and Forster in the 18th century for string quartet. The fugues in the WTC are written for 4 or 5 voices, perfect for performance by a string quartet. Since each instrument in the string quartet takes a single voice, the interaction and development of the musical ideas between voices is easier for the ear to follow then when the same music is performed on a keyboard instrument. Interestingly, this CD is the world-premiere recording of these WTC transcriptions for string quartet. I think this recording is a masterful performance of these pieces and a great introduction to Bach's fugues.

If you like the above recording, you will no doubt be interested in this more advanced fugal work by Bach.

Bach: The Art of Fugue

Bach's magnificent work "The Art of Fugue" is an incomplete work that was begun less than 10 years before the composer's death. In many ways the work is a mystery: a compilation of increasingly complex fugues written for 2, 3 and 4 voices, the instrumentation of the voices is not specified, nor is the order in which the fugues should be performed. Thus, there are many different recordings available performed on many different instruments and ensembles. What is believed to be the final fugue, dramatically breaks off mid-measure - many scholars believe that Bach was unable to finish the work due to his deteriorating eyesight at the time of this death, or his unsteady hand. Others have suggested that he deliberately left off completion of the composition to encourage individual composition by musicians. Many Bach scholars and musicians have attempted to complete the fugue. In this recording by the Emerson Quartet, the final fugue stops abruptly where Bach did. The recording concludes with Bach's "Here Before Thy Throne I Stand", a revision of chorale he had written earlier in his life. Dictated while on his deathbed, this piece is believed to be Bach's last contribution to music before he left this world to be with his Maker. A fitting conclusion to an incredible musical experience!

Both recordings are widely available. You can purchase them from Amazon.com by clicking on the titles of each recording above. Personally, I recommend the Amazon Marketplace for finding great deals on used or discount new CDs. Never pay full price again!

Bach on the Mandolin

2009-03-25T11:18:00.000-07:00

Ever since I discovered the acoustic folk/bluegrass/pop/newgrass group Nickel Creek, I have been a great admirer of mandolinist Chris Thile's virtuosity and musicianship. Of all his albums, my favorite is the one he hasn't recorded yet. You see, he is a master of playing Bach on the mandolin. Yet despite the demand of his fans, he has not recorded a Bach album yet. You can get a bit of a taste for Bach on the mandolin by watching this short clip from The Bach Project, a documentary in progress.

Here is a full-fledged performance of the second movement of Bach's 3rd Brandenburg Concerto (written as a piece for small orchestra), performed by Chris Thile and the Punch Brothers, his current recording and touring group of acoustic musicians.

Who would ever think that "bluegrass" Bach could sound so good?

For more incredible "bluegrass" Bach, check out Bela Fleck's CD Perpetual Motion. This would be a desert island CD for me. HIGHLY recommended.

Finally, the Oregon Symphony has just announced their 09/10 season concerts. The first concert of the season will likely be one of the best. Chris Thile (mandolin), Edgar Meyer (bass), Bela Fleck (banjo), and the Oregon Symphony performing, among other pieces, the West Coast debut of Thile's Mandolin Concerto - co-commissioned by the Oregon Symphony and the Colorado Symphony. The concert will be followed by a 1-hour improv jam session on stage. Wow! Tickets go on sale in August. You can get the rest of the details on the concert here.