I am once again providing music for a parent/children meeting and party, this time for Christmas. Properly speaking, it is an Advent party, so no Angels We Have Heard on High, though kids tend to like the Gloria part.
Ages 6-13, so, you know, an easy to group to cover. That was a joke. Mostly younger.
Anyway, it is to be a short music time. The director wants happy music because it is a party.
It'll have to be in English, but I did Creator with them earlier. And we have some Dominicans who watch over the children's ministry, so they will be there to chime in. Thanks for reminding me. Thanks for the Taize.
Prepare the way, O Zion The Angel Gabriel from heaven came O Come, Divine Messiah Hark, a thrilling voice is sounding (with descant) Lo, he comes with clouds descending Veni, Jesu, Amor Mi (Cherubini) Tallis Canon (as a round)
These are very popular with my children's choir. Tallis Canon has an Advent text, and, of course, may be sung as a round for four or eight voices, which my children love doing:
1) O gracious light, our Jesus Christ, in you God's glory shone so bright. Immortal, holy, blest it is, and blest are you, God's holy child.
2) Now sunset comes, but light shines forth, the lamps are lit to pierce the night. Praise the Creator, Spirit, Child who dwell in the eternal light.
3) Worthy are you of endless praise, O child of God, love-giving life; wherefore you are through all the earth and in the highest heaven adored.
I won't have the children long enough to teach them, though the Tallis Canon might work. However, if I get the kids more often, that is a great list to start with.
Alas, I have no way of knowing what the kids know, and that is the problem. So songs that experienced people can tell me most kids would like, respond to, have sung somewhere.
This is the task I was handed: 5-10 minutes, stuff that can be picked up easily and they can sing it the second time after I sing it one time.
It's not a full music program as part of an assembly. Just good songs for kids who don't sing very often.
Very cool round, Francis! Thanks for mentioning it. I also found this two-part Veni, O Sapientia which CH Giffen posted in August which might be very nice for children.
From St. James' Press- SING TO GOD Handel SONG OF THE SHIP Robt. Powell JESUS IS HERE- Carson Cooman QUEM PASTORES LAUDAVERE Simon Andrews ANGELIC INVITATION Carol McClure LITTLE HANDS McClure STARHIGH David McKay HE IS BORN, THE DIVINE CHRIST CHILD- arr. Arlen Clark THREE GREAT KINGS arr. Mark Schweizer
I remembered that I loved It Came Upon A Midnight Clear as a child, but discovered that stanzas two and three are nearly incomprehensible to children, with lots of archaic words, and then the last stanza seems to be heretical--what's known as Post-Millenialism, according to which God will establish Christ's Kingdom through people coming together in peace. So, we'll skip that one.
It Came... was written by a Unitarian minister. But it does not deny the doctrine of the Trinity; in fact, God is never mentioned! It's a hymn about peace on earth. Nothing objectionable about its intent, IMO. The fourth stanza hardly seems millenarianist; again, "God," "Christ," "Kingdom" are not even mentioned.
My question is about the tune. Do most folks sing a "ti" or a "re" on the third note?
I checked Hymnary.org, and there seems to be a roughly even split for the third note of the melody being "ti" and "re" ... depends upon which hymnal you consult. Also, the original first line was "It came upon the midnight clear," not "It came upon a midnight clear" (which is how it is often sung and printed).
This brings to mind the two different forms of the melody for "Conditor alme siderum":
Both forms appear in old manuscripts (square notes).
Note also, there are (at least) two currently prevalent forms of the tune ST. THOMAS ("Tantum ergo"), one widely used by Catholics, one widely used by Anglicans.
Finally, most people think of EISENACH as a Long Meter (88. 88 iambic) tune, but it originally was an 88. 88. 88 iambic tune, where the first two lines are repeated to form the third & fourth lines. It stems from the German Chorale "Machs mit mir, Gott, nach deiner Güt" - and Bach always used the tune/chorale melody in the six-line version:
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