drawnearSavoring and Singing the Presence of God
ST
UD
EN
T W
OR
KB
OO
K
Wendell Nisly and Lloyd Kauffman
A Worship and Music Curriculum for the Church
Sample: Lessons 1–3These are the first three lessons of Draw Near: Savoring and Singing the Presence of God, provided as sample material for trial purposes. To pur-chase Draw Near, please visit musiccamp.info/shop.
ii Draw Near: Savoring and Singing the Presence of God
Copyright © 2020 by Shenandoah Christian Music Camp
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Shenandoah Christian Music Camp
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ISBN 978-163625106-6
First Edition, First Printing
1 0 9 8 7 6 5 4 3 2 1 | | 2 9 2 8 2 7 2 6 2 5 2 4 2 3 2 2 2 1
Unless otherwise indicated, scripture quotations are from The ESV® Bible (The Holy Bible, English Standard Version®),
copyright © 2001 by Crossway, a publishing ministry of Good News Publishers. Used by permission. All rights reserved.
Front Cover Artwork: Mullet, Shandon. Torn Curtain. 2020. Digital.
Torn Curtain abstractly expresses the rending of the temple curtain at the moment of Christ’s death. The presence of
God moves throughout the piece, pulling apart the curtains—revealing the red blood of Christ and the gold of his
triumphant kingship at the torn seams—and emanating from the holiest place, which is now flooded with light. The
faintest hint of wings peeks from behind the curtain, representing the cherubim guarding the altar of God.
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Now unto the King eternal, immortal,
invisible, the only wise God, be honor
and glory for ever and ever. Amen.
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Contents v
CONTENTS
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .viiLesson One. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
Introduction to This Course . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
Introduction to Reading Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Properties of Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Solfege . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Counting and Takadimi. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Lesson Two. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19Worship: Drawing Near to the Presence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Note Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Round and Shape Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22
Lesson Three. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29What Is Worship? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29
Beat, Measure, Bar Lines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Simple Time Signatures. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Reading Simple Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32
Voices High and Low. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33
Letter Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Grand Staff. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Lesson Four . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44The Essence of Worship: Revelation and Response . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Dotted Half Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45
Rests . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Voice Parts on the Grand Staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47
Treble Clef . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Bass Clef . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Lesson Five. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57Why Worship? (Psalm 95:1-5). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57
Eighth Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58
Measure Rests . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .59
Scales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Home Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Ledger Lines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62
Word and Note Alignment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62
Lesson Six . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71Why Worship? (Psalm 95:6-7) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Compound Time Signatures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72
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Reading Compound Time. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72
Intervals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73
Half Steps and Whole Steps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Sharps and Flats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .76
Naturals. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Lesson Seven . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86Worship: Empowered by the Spirit and the Word . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Dotted Quarter Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .87
Key Signatures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
How Key Signatures Work. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Identifying Key Signatures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .92
Lesson Eight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102What If I Can’t Sing? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102
Sixteenth Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .103
Chromatic Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104
Chromatic Scale—Solfege . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .105
Accidentals. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106
Lesson Nine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115The Story of God . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Dotted Eighth–Sixteenth Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Pick-Up Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Roadmaps. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
Lesson Ten . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .128May Jesus Christ Be Praised!. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .128
Eighth–Sixteenth Note Rhythms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Minor Scales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .130
Minor Scale Variations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Dynamic Markings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
Other Musical Markings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .133
Footnotes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .143Acknowledgements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .143Glossary of Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .144Meter-Pattern Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .148Hand Sign Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .150SA
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Introduction vii
INTRODUCTION
Draw Near: Savoring and Singing the Presence of God is a curriculum intended to help the people
of God as they gather in his presence.
We were made to live in the presence of God. In his presence is life. Away from his presence
is death. In this sense, sin is not our main problem, but the cause of our problem. Our main
problem is that, as sinners, we are exiles from God.
But Jesus brings us near: “I am the way, and the truth, and the life. No one comes to the Father
except through me” (Jn. 14:6). When through Jesus we enter together into the presence of God,
we are approaching the very source of life, joy, and pleasure. For this we should be profoundly
grateful, because away from God is only death and despair.
God calls us into his presence to worship him. Though his presence is the most essential
component of worship, he also gives his people things to do as we gather in worship. One of
those is singing. Singing is frequently commanded by God, and all God’s people are called to
participate. It’s an aspect of worship, but it’s also a skill to be learned. A grasp of basic singing
skills helps God’s people participate freely and fully in worship.
Overview
In each lesson you will explore a facet of biblical worship, followed by a variety of musical
concepts.
Worship Goals
I encourage you to spend time considering the worship meditation in each lesson. In scripture
God calls his people into his presence, but he also instructs us how to approach him. Let us
strive to listen, and to develop our worship in increasingly God-honoring ways.
Musical Goals
This curriculum aims to help congregations read and sing from a hymnal with understanding.
The goal is fluent reading and singing of music found in hymnals, working toward comfortable
familiarity rather than complete musical mastery.
Method
• Solfege is an effective tool to teach pitch and is taught throughout this book, using moveable do, and la-based minor.
• For teaching rhythm, we are using two tools: counting and takadimi. Each has its strengths; teachers may opt for one or both.
• At times, shape notes and round notes have been perceived as being at odds, but each has validity. This book uses both. Both are accessible to the person of average capacity, and I encourage you to invest in both.
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Congregational singing, the focus of this course, is a gift that needs nurturing and development
in order to thrive. When congregational singing loses its life and a sense of transcendence—a
God-ward trajectory—singing becomes a chore. This is lamentable and correctable; may God
give us insight and courage to do both.
My prayer is that you, a worshiper of God, will grow both in knowledge and wisdom, and that
this course of study will truly help you come before his presence with singing. I wish you joy,
laughter, and delight in the journey. Come, let us worship the Lord!
—Wendell Nisly
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Lesson One: An Introduction 9
LESSON ONE
Introduction to This CourseThis is a congregational singing course. As such, it discusses singing that is rooted in worshiping
together. Our prayer is that, with the study of this course, your congregation will grow in a
unified understanding of music, singing, and the worship of our glorious God. Before we dive
in, let’s step back and look at how worship, music, and singing work together.
Thoughts About Worship
Congregational singing is a part of worship. The Bible teaches us various actions of worship
such as prayer, preaching, giving, singing, the Lord’s Supper, and baptism. Each of these
activities plays a different role in the worship of the church. Each activity is important, and
worth studying.
Since worship is our ultimate goal, it’s important to remember that worship does not fit into
singing; rather, singing fits into worship. Biblical principles of worship are not best formed
by reflecting on the kinds of songs we like or don’t like, but by considering what the Bible says
about worship.
Throughout scripture, God teaches principles of worship, and throughout history, humans
have discovered and invented skills of singing. We will study both—but again, it’s important
to remember which is first and which is second. In this course, we highlight the priority of
worship by making it a part of each lesson.
The Bible gives principles and
defines the different parts of
worship.
WorshipSingingPrayer
Offering
Preaching
Lord’s supper Fellowship
The Bible does not teach musical notation and singing skills.
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10 Draw Near: Savoring and Singing the Presence of God
Thoughts About Reading Music
Though today much of our music is written down, singing is first done by ear, not eye. People were singing long before they tried to capture notes on parchment. Many cultures still do not have a system of written music.
The Psalms were written to be sung, but we don’t know how they sounded because only the words were written down. The music was learned aurally—by ear. In the Bible, God’s people are frequently instructed to sing, but they are not specifically instructed to read music.
Printed music does have certain advantages, however:
• Once a congregation learns how the notes work on the page, they can learn songs that they have never heard. A whole new world of music opens up to them.
• Printed music makes it easier for the entire congregation to sing together in harmony.
Nevertheless, not everyone in the congregation necessarily needs to know how to read music. Still, in order to make use of the hymnal, it’s helpful for most to have music reading skills, just
as it’s helpful for most to have word reading skills.
Thoughts About Singing
The goal of healthy congregational singing is meaningful and enthusiastic worship, with as much skill as lies within our gifts and capabilities, to the glory of God and the benefit of the body of Christ.
Since God’s people are universally commanded to sing, just as they are universally commanded to pray, we should expect that all are capable of both singing and praying. Of course, not all are equally gifted in song or words. The body of Christ has different gifts according to the grace given to each individual (Rom. 12:6). These varying gifts are both a difficulty and a joy. They are sometimes difficult to give (others may not appreciate my gift), and they are sometimes difficult to receive (others have gifts I do not—but wish I did).
Nevertheless, part of the maturing of the body is to give and receive the gifts that are given us in varying quantities. As with any gift, we should exercise that gift to the glory of God, to the benefit of the body of Christ, and to the best of our personal capacity. Giving and receiving gifts requires great humility and love. When each part is working properly, so that the body builds itself up in love, the result is great joy (Eph. 4:16).
Congregational singing has many purposes, including worshiping God, and strengthening and bringing harmony to the brotherhood. In singing together, then, the people of God honor the
two great commandments of the Kingdom of God.
If you are one who despairs of
reading music, take heart! You
learned to read words. The
same skills will teach you how
to read music. Mastery and
confidence in any skill (e.g.,
furniture-making, baking,
or raising children) requires
learning, understanding and
practice in bite-size pieces.
In the process of learning
to read music, you will gain
confidence in singing.
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Lesson One: An Introduction 11
Though both versions represent the same music, one uses a round-note system and the other
uses a shape-note system. Some people find round notes confusing, and others find shape
notes confusing. Both systems have advantages and disadvantages. Because each system has
unique strengths, in this course you will study both round notes and shape notes.
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A maz- ing- grace! How sweet the sound that saved a wretch like me!
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Figure 1.1 “Amazing Grace”—round notes
Figure 1.2 “Amazing Grace”—shape notes
Course Goals
In summary, this course should help you learn
• principles of worship as taught in the Bible
• basics of reading music from a hymnal
• basics of healthy singing
Introduction to Reading MusicThe skill of reading music aloud is almost identical to the skill of reading words aloud. Both
are processes which take time and practice. If you don’t yet know how to read music, you will
find yourself understanding more as you persist.
There are many different systems for teaching reading literacy (just ask first grade teachers!).
In the same way, there are different systems for teaching musical literacy. Moreover, musical
notation is not all the same. Below are two written versions of “Amazing Grace” that look
different on the page, but sound the same when sung.
°
¢
3
4
3
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A maz- ing- grace! How sweet the
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sound that saved a wretch like me!
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#13SA
MPLE
ONL
Y
12 Draw Near: Savoring and Singing the Presence of God
œ
œœ
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Properties of MusicMusic is a language that communicates through sound. But not every sound is music. A jet
taking off makes a lot of sound—but that’s not music. It’s noise. Musical sounds are made up of
tones. Tones have four properties that make them tones:
1. Pitch—how high or low a sound is
2. Duration—how long or how short a sound is held out, also known as rhythm or timing
3. Dynamics—how loud or soft a sound is, also known as volume
4. Timbre—the quality of a sound, also known as tone color. The timbre of a sound is
how you tell one voice or instrument from another.
Duration is also indicated by notes. Whereas pitch is indicated by
where a note lies on the staff, duration is indicated by the note
alone. A tone will be longer or shorter depending on whether
the note head (the round part) is open or closed, or whether it
has a stem or a flag.
Duration
Whole Note
Half Note
Quarter Note
Eighth Note
Sixteenth Note
Short Long
Pitch is indicated by notes placed on a staff. As the notes go up
or down on the staff, pitch goes up or down.Pitch
Higher Lower Lower Higher Lower Lower
Dynamics are not indicated by the notes, but by other symbols.
Hymns usually do not include these dynamic markings. Here are
a few examples:
Dynamics
piano—quiet decrescendo—gradually become quieter
forte—loud or full crescendo—gradually become louder
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Lesson One: An Introduction 13
Although learning the rudiments of music requires some understanding of all four properties,
we will deal primarily with the first two. Hymnals rarely have dynamic markings, and never
have timbre markings. So that leaves us with pitch and duration, which are the primary focus
of this book.
Timbre, or tone color, isn’t prescribed in music. Different
tone colors are achieved by choosing different instruments.
For the purposes of speaking and singing, we have the timbre
God gave us—that’s how we can tell one person from another
just by listening.
Timbre
Practice
Listen as your instructor sings a series of two pitches. Indicate whether the second pitch
is higher or lower than the first by pointing upward or downward with your finger.
SolfegeShape notes are based on a pitch system called solfege. Solfege is the ABC’s of music. Developed around 1000 years ago, solfege assigns a syllable or name to each note of the scale.
The solfege scale is a series of pitches that go up and come down. The most common solfege scale looks like this:
Do
Re
MiFa
Sol
La
Ti
Do
Figure 1.3 Solfege scale
Solfege was devel-
oped by an Italian
monk around 1000
AD. This system is
still in use by singers
all over the world.
Music is a language, and learning a language takes time. For this language, solfege is the singer’s alphabet. Time invested learning solfege pays off, and singers who learn it are well on their way to reading songs quickly.
SAMP
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14 Draw Near: Savoring and Singing the Presence of God
Practice
Sing up and down the scale. Repeat. You may be surprised how quickly it moves from
feeling awkward to feeling normal.
do re mi fa sol la ti do do ti la sol fa mi re do
œ œœ œ
œ œœ œ œ œ œ œ œ œ œ œ
Counting and TakadimiJust as solfege is a system for reading pitch, counting and takadimi are systems for reading
duration. Each method has its own advantages and disadvantages, and both will be used
throughout this curriculum.
In these systems, as in much of life, more is “caught than taught.” Explaining them is much
more difficult than simply doing them. Your teacher will help you learn by practice.
Practice
Repeat these rhythms after your instructor.
ta di ta di ta di ta di ta ta ta ta ta di ta di ta di ta di ta - a ta - a
ta ta ta ta ta di ta di ta di ta di ta - a ta - a ta - a - a - a
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙
œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ w
SAMP
LE O
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Lesson One: An Introduction 15
2. What property of music describes how high or low a sound is? _______________
3. What term describes how long or short a sound is held? _____________
4. What term describes how loud or soft a sound is? __________________
5. What term describes the quality, or tone color, of a sound? _________________
Match the following terms.
EXERCISESConcepts
1. Name the notes of the solfege scale on the diagram below.
6. _____
7. _____
8. _____
9. _____
10. _____
11. _____ forte
12. _____ piano
13. _____ crescendo
14. _____ decrescendo
a. quiet
b. eighth note
c. quarter note
d. gradually become louder
e. half note
f. loud or full
g. sixteenth note
h. gradually become quieter
i. whole note
SAMP
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16 Draw Near: Savoring and Singing the Presence of God
Skills
Sing the drills below, one measure at a time, or an entire line at a time. Continue to drill
these until you can sing them accurately.
1
2
3
4
7
5
8
6
9
do
1 f
re
f
mi
f
mi
f
mi
f
re
f
do
f
do
f
do
f
re
f
re
f
do
f
do
f
do
f
re
f
mi
f
do
1 f
do
f
re
f
do
f
do
f
re
f
re
f
do
f
do
f
re
f
mi
f
mi
f
mi
f
re
f
re
f
do
f
do
1 f
re
f
mi
f
fa
f
sol
f
sol
f
fa
f
mi
f
mi
f
mi
f
re
f
do
f
do
f
re
f
mi
f
do
f
do
1 f
re
f
mi
f
fa
f
sol
f
fa
f
mi
f
re
f
do
f
re
f
mi
f
mi
f
re
f
re
f
do
f
do
f
do
1 f
ti
f
la
f
sol
f
do
f
re
f
mi
f
do
f
fa
f
mi
f
re
f
mi
f
sol
f
fa
f
mi
f
re
f
do
1 f
mi
f
re
f
do
f
la
f
ti
f
do
f
sol
f
la
f
fa
f
sol
f
mi
f
fa
f
mi
f
re
f
do
f
do
1
re
2
mi
3
mi
3
mi
3
re
2
do
1
do
1
do
1
re
2
re
2
do
1
do
1
do
1
re
2
mi
3
do
1
do
1
re
2
do
1
do
1
re
2
re
2
do
1
do
1
re
2
mi
3
mi
3
mi
3
re
2
re
2
do
1
do
1
re
2
mi
3
fa
4
sol
œ̇
sol
œ̇
fa
4
mi
3
mi
3
mi
3
re
2
do
1
do
1
re
2
mi
3
do
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#!
do
1 f
re
f
mi
f
mi
f
mi
f
re
f
do
f
do
f
do
f
re
f
re
f
do
f
do
f
do
f
re
f
mi
f
do
1 f
do
f
re
f
do
f
do
f
re
f
re
f
do
f
do
f
re
f
mi
f
mi
f
mi
f
re
f
re
f
do
f
do
1 f
re
f
mi
f
fa
f
sol
f
sol
f
fa
f
mi
f
mi
f
mi
f
re
f
do
f
do
f
re
f
mi
f
do
f
do
1 f
re
f
mi
f
fa
f
sol
f
fa
f
mi
f
re
f
do
f
re
f
mi
f
mi
f
re
f
re
f
do
f
do
f
do
1 f
ti
f
la
f
sol
f
do
f
re
f
mi
f
do
f
fa
f
mi
f
re
f
mi
f
sol
f
fa
f
mi
f
re
f
do
1 f
mi
f
re
f
do
f
la
f
ti
f
do
f
sol
f
la
f
fa
f
sol
f
mi
f
fa
f
mi
f
re
f
do
f
do
1 f
re
f
mi
f
mi
f
mi
f
re
f
do
f
do
f
do
f
re
f
re
f
do
f
do
f
do
f
re
f
mi
f
do
1 f
do
f
re
f
do
f
do
f
re
f
re
f
do
f
do
f
re
f
mi
f
mi
f
mi
f
re
f
re
f
do
f
do
1 f
re
f
mi
f
fa
f
sol
f
sol
f
fa
f
mi
f
mi
f
mi
f
re
f
do
f
do
f
re
f
mi
f
do
f
do
1 f
re
f
mi
f
fa
f
sol
f
fa
f
mi
f
re
f
do
f
re
f
mi
f
mi
f
re
f
re
f
do
f
do
f
do
1 f
ti
f
la
f
sol
f
do
f
re
f
mi
f
do
f
fa
f
mi
f
re
f
mi
f
sol
f
fa
f
mi
f
re
f
do
1 f
mi
f
re
f
do
f
la
f
ti
f
do
f
sol
f
la
f
fa
f
sol
f
mi
f
fa
f
mi
f
re
f
do
f
do
1 f
re
f
mi
f
mi
f
mi
f
re
f
do
f
do
f
do
f
re
f
re
f
do
f
do
f
do
f
re
f
mi
f
do
1 f
do
f
re
f
do
f
do
f
re
f
re
f
do
f
do
f
re
f
mi
f
mi
f
mi
f
re
f
re
f
do
f
do
1 f
re
f
mi
f
fa
f
sol
f
sol
f
fa
f
mi
f
mi
f
mi
f
re
f
do
f
do
f
re
f
mi
f
do
f
do
1 f
re
f
mi
f
fa
f
sol
f
fa
f
mi
f
re
f
do
f
re
f
mi
f
mi
f
re
f
re
f
do
f
do
f
do
1 f
ti
f
la
f
sol
f
do
f
re
f
mi
f
do
f
fa
f
mi
f
re
f
mi
f
sol
f
fa
f
mi
f
re
f
do
1 f
mi
f
re
f
do
f
la
f
ti
f
do
f
sol
f
la
f
fa
f
sol
f
mi
f
fa
f
mi
f
re
f
do
f
do
1 f
re
f
mi
f
mi
f
mi
f
re
f
do
f
do
f
do
f
re
f
re
f
do
f
do
f
do
f
re
f
mi
f
do
1 f
do
f
re
f
do
f
do
f
re
f
re
f
do
f
do
f
re
f
mi
f
mi
f
mi
f
re
f
re
f
do
f
do
1 f
re
f
mi
f
fa
f
sol
f
sol
f
fa
f
mi
f
mi
f
mi
f
re
f
do
f
do
f
re
f
mi
f
do
f
do
1 f
re
f
mi
f
fa
f
sol
f
fa
f
mi
f
re
f
do
f
re
f
mi
f
mi
f
re
f
re
f
do
f
do
f
do
1 f
ti
f
la
f
sol
f
do
f
re
f
mi
f
do
f
fa
f
mi
f
re
f
mi
f
sol
f
fa
f
mi
f
re
f
do
1 f
mi
f
re
f
do
f
la
f
ti
f
do
f
sol
f
la
f
fa
f
sol
f
mi
f
fa
f
mi
f
re
f
do
f
do
1 f
re
f
mi
f
mi
f
mi
f
re
f
do
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do
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do
f
re
f
re
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do
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do
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re
f
mi
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do
1 f
do
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mi
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mi
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do
1 f
re
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mi
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sol
f
sol
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fa
f
mi
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mi
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mi
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do
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do
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f
mi
f
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do
1 f
re
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mi
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sol
f
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mi
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re
f
do
f
re
f
mi
f
mi
f
re
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re
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1 f
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1
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2
mi
3
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3
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3
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1
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1
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1
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1
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1
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1
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1
do
1
re
2
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1
do
1
re
2
mi
3
mi
3
mi
3
re
2
re
2
do
1
do
1
re
2
mi
3
fa
4
sol
œ̇
sol
œ̇
fa
4
mi
3
mi
3
mi
3
re
2
do
1
do
1
re
2
mi
3
do
1! @# $ $ # # # @ ! ! @
#!
do
1
re
2
mi
3
mi
3
mi
3
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2
do
1
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1
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1
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2
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2
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1
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1
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2
mi
3
fa
4
sol
œ̇
sol
œ̇
fa
4
mi
3
mi
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re
2
do
1
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2
mi
3
do
1! @# $ $ # # # @ ! ! @
#!
SAMP
LE O
NLY
Lesson One: An Introduction 17
Thomas Ken Genevan Psalter, 1551
Praise God From Whom
4
2&
#
do
Praise
do
God
ti
from
la
whom
sol
all
do
bless
re
ings-
mi
flow;
mi
Praise
mi
himmi
all
re
crea
do
tures-
fa
here
mi
be
re
low;-
&
#
do
Praise
re
himmi
a
re
bove,-
do
ye
la
heav'n
ti
ly-
do
host;
sol
Praise
mi
Fa
do
ther,-
re
Son,
fa
and
mi
Ho
re
ly-
do
Ghost.
˙ ˙ ˙ ˙ ˙˙ ˙
˙ ˙ ˙ ˙ ˙ ˙˙ ˙ ˙
˙ ˙˙ ˙ ˙
˙ ˙˙
˙˙
˙ ˙˙ ˙ ˙ ˙
Thomas Ken Genevan Psalter, 1551
Praise God From Whom
4
2&
#
do
Praise
do
God
ti
from
la
whom
sol
all
do
bless
re
ings-
mi
flow;
mi
Praise
mi
himmi
all
re
crea
do
tures-
fa
here
mi
be
re
low;-
&
#
do
Praise
re
himmi
a
re
bove,-
do
ye
la
heav'n
ti
ly-
do
host;
sol
Praise
mi
Fa
do
ther,-
re
Son,
fa
and
mi
Ho
re
ly-
do
Ghost.
! ! & ) ˙! @
# # # # @ !
* # @
! @# @ !
) &!
˙#
! @* # @ !
Songs
Sing the songs below on solfege, then on text. Continue to drill these until you can sing
them accurately.
10
12
13
do
1
re
2
mi
3
fa
8
sol
œ̇
fa
8
mi
3
re
2
do
1
re
2
mi
3
mi
3
re
2
re
2
do
1
do
1
do
1
ti
7
la
6
sol
œ
do
1
re
2
mi
3
do
1
fa
8
mi
3
re
2
mi
3
sol
œ
fa
8
mi
3
re
2
do
1
mi
3
re
2
do
1
la
6
ti
7
do
1
sol
œ
la
6
fa
8
sol
œ
mi
3
fa
8
mi
3
re
2
do
1
! @# * * # @ ! @
# # @ @ ! !
! & )! @
#!
* # @ #* # @
!# @ !
) &!
)* # * # @ !
do
1
re
2
mi
3
fa
8
sol
œ̇
fa
8
mi
3
re
2
do
1
re
2
mi
3
mi
3
re
2
re
2
do
1
do
1
do
1
ti
7
la
6
sol
œ
do
1
re
2
mi
3
do
1
fa
8
mi
3
re
2
mi
3
sol
œ
fa
8
mi
3
re
2
do
1
mi
3
re
2
do
1
la
6
ti
7
do
1
sol
œ
la
6
fa
8
sol
œ
mi
3
fa
8
mi
3
re
2
do
1
! @# * * # @ ! @
# # @ @ ! !
! & )! @
#!
* # @ #* # @
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)* # * # @ !
do
1
re
2
mi
3
fa
8
sol
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fa
8
mi
3
re
2
do
1
re
2
mi
3
mi
3
re
2
re
2
do
1
do
1
do
1
ti
7
la
6
sol
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do
1
re
2
mi
3
do
1
fa
8
mi
3
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2
mi
3
sol
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fa
8
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3
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2
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1
mi
3
re
2
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1
la
6
ti
7
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1
sol
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la
6
fa
8
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mi
3
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3
re
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1
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SAMP
LE O
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18 Draw Near: Savoring and Singing the Presence of God
Reflection
Take some time to ponder the questions below. Discuss and compare your responses with
someone else.
1. What are some actions of worship the Bible describes?
2. How would you describe the relationship between worship and singing?
3. What are a few principles the Bible teaches about singing in worship? How might you grow
in honoring these principles?
Challenge
For an additional challenge, help each other read the melody below.
From Psalm 95
Come and Let Us Sing
Lloyd Kauffman
4
2&bb
b
do
Come
Voice 1
ti
and
do
let
re
us
mi
sing
2
Canon in 2, 3, or 4 voices
re
for
mi
joy
fa
un
sol
to
3
-
la
the
sol
rockfa
of
mi
our
4
fa
sal
mi
va-
re
tion,-
&bb
b
do
Come
ti
and
do
shout
re
a
mi
loud-
re
to
mi
God
fa
the
sol
Lord
la
of
sol
all,
fa
and
mi
praise
fa
hismi
name
re
in
do
song.
˙ ˙ ˙˙ ˙ ˙ ˙
˙ ˙˙ ˙ ˙ ˙ ˙ ˙ ˙
˙ ˙ ˙˙ ˙ ˙ ˙
˙ ˙˙ ˙ ˙ ˙ ˙ ˙ ˙ W
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Lesson Two: Worship—Drawing Near to the Presence 19
LESSON TWO
Worship: Drawing Near to the PresenceConversations about worship often center on human actions. We debate the most appropriate
ways to sing, preach, baptize, or commemorate the Lord’s Supper. As important as these actions
are, they are not the center. The center and focus of worship is the presence of God.
Humans were created to live in God’s presence. In the presence of God is abundant, overflowing
life:
In your presence there is fullness of joy,
At your right hand are pleasures forevermore. (Ps. 16:11)
Away from the presence of God is death. One of the most devastating effects of Adam and Eve’s
sin was not just that they were expelled from the Garden, but that they lost the closeness of
communion with God in his very presence.
God’s plan has always been to dwell with his people—to have his people live in his presence,
deeply satisfied with his goodness. Even after we sinned, God did not abandon his plan!
God’s plan became evident when he delivered the children of Israel from Egypt. He said these
precious words to his people: “You yourselves have seen . . . how I bore you on eagles’ wings
and brought you to myself” (Ex. 19:4).
God then designed a place where part of what was lost in Eden could be rediscovered. The
tabernacle sanctuary, or the “tent of meeting,” was the place where God would manifest his
presence and draw his people near. “There,” God said,
I will meet with the people of Israel, . . . I will dwell among the people of Israel and will be their God. And they shall know that I am the Lord their God, who brought them out of the land of Egypt that I might dwell among them. (excerpts from Ex. 29:43-46)
The people could never enter into the very presence of God in the Most Holy Place, which was
set off by a heavy veil. Only one man—the high priest—could enter there, and only once a year.
This anticipated a time when all God’s people could draw near to him through Christ (Heb 10:22).
Let us remember that the most essential thing about worship is not our actions, but that we
are drawing near to a holy God, coming into his presence. Only in the presence of God will
we find what we have been created for.
Blessed is the one you choose and bring near,to dwell in your courts!
We shall be satisfied with the goodness of your house,the holiness of your temple! (Ps. 65:4)
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20 Draw Near: Savoring and Singing the Presence of God
Whole
Half
Quarter
Eighth
Sixteenth
Short
Note ValuesDuration—the length of a tone—is indicated by the note itself, known
as the note value. How long the tone is held is indicated by the way the
note is constructed.
The most common notes are shown below from longest to shortest.
As you can see, these notes are mathematically related to each other, as illustrated below. The
note each level down is one-half the length of the note above it.
Practice
These notes work as math, but they can also become sound. Repeat these rhythms after
your instructor.
Figure 2.2 Length of notes
Whole Note
Half Note
Quarter Note
Eighth Note
Sixteenth Note
Figure 2.1 Types of notes
Each shorter note adds one
feature to the previous note.
A half note looks like a whole
note with a stem, a quarter
note like a half note with a
filled-in notehead, an eighth
note like a quarter note with
a flag, and so on.
flagstem
notehead
Long
ta
1
di
&
ta
2
di
&
ta
3
di
&
ta
4
di
&
ta
1
ta
2
ta
3
ta
4
ta
1
di
&
ta
2
di
&
ta
3
di
&
ta
4
di
& 1 - 2
ta - a
3 - 4
ta - a
1
ta
2
ta
3
ta
4
ta
1
ta
&
di
2
ta
&
di
3
ta
&
di
4
ta
&
di
1
ta
2-
- a
3
ta
4
a
-
-
1 - 2 - 3 - 4
ta - a - a - a
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙
œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ w
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Lesson Two: Worship—Drawing Near to the Presence 21
ScaleSongs are built from the musical scale, a set of pitches that go up and come down. Each of these
pitches has a name.
There are many different scales. The major scale runs from do to do by
steps—some half steps and some whole steps (which you will study
later). In a major scale, the half steps occur between mi & fa, and ti & do.
Look at the illustration for the placement of whole steps and half steps.
Scale is derived from the
Italian word scala, a staircase
or ladder.
Figure 2.3 Solfege scale
Round and Shape NotesMost music is written using round notes. Round notes indicate pitch by their placement
on the staff. Singers often read round notes using solfege.
Do
Re
MiFa
Sol
La
Ti
Do
Do
Re
Mi Fa
So
La
Ti
Do
Figure 2.4 Round note solfege scale
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22 Draw Near: Savoring and Singing the Presence of God
You have seen that duration is indicated by
the construction (or shape) of the note itself.
Similarly, pitch can be indicated by the shape
of the notehead itself.
Just as each solfege syllable has its own name
(do, re, mi, etc.), each solfege syllable has its
own shape.
Thus shape notes indicate the pitch in two ways:
the placement on the staff, and the distinctive
shape of each note. Round notes indicate pitch
in only one way: the placement on the staff.
Figure 2.5 Seven-shape (Aiken) system
We are using the solfege system. Another
system utilizes numbers. Numbers
are used extensively by many singers,
students, and composers.
Do
Re
Mi Fa
So
La
Ti Do
1
2
3 4
5
6
7 1
StaffWhether round or shape, the notes are placed on a staff, a graph of 5 lines and four spaces.
Notes may be centered either on a line (“line notes”) or in a space (“space notes”). Each note
represents a single pitch.
Figure 2.6 The musical staff
line notes
space notes
œ œœ œ
œ œœ œ
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Lesson Two: Worship—Drawing Near to the Presence 23
EXERCISESConcepts
Draw notes as indicated.
1. whole note ________________________________________________________________________________________________
2. half note __________________________________________________________________________________________________
3. quarter note ________________________________________________________________________________________________
4. eighth note ________________________________________________________________________________________________
5. sixteenth note ________________________________________________________________________________________________
Answer the questions.
6. Define scale. _______________________________________________________________________________________________
7. What kind of scale runs from do to do? _____________________________________________________________
8. What two kinds of steps make up a major scale? ________________________ ________________________
9. How do round notes indicate pitch? ________________________________________________________________
10. In what two ways do shape notes indicate pitch? _______________________ ________________________
Label each note on the scale diagram below using both solfege and numbers.
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24 Draw Near: Savoring and Singing the Presence of God
– = ______
– = ______
+ = ______
+ + + = ______
1
1 5
5
2
2 6
6
3
3 7
4
4 8
1
ta ta
2
ta
3 1 - 2
ta - a
3
ta
1
ta
2
ta
3
ta
1 - 2
ta - a
3
ta
œ œ œ ˙ œ œ œ œ ˙ œ
œ ˙ œ ˙ œ œ œ œ ˙
œ œ œ œ ˙ ˙ w œ œ ˙ ˙ ˙
œ œ œ œ ˙ ˙ w
ta
1
ta
2
ta
3
di
& 1 - 2
ta - a
3
ta
1
ta
&
di
2
ta
&
di
3
ta
1
ta
2
ta
&
di
3
ta
œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ ˙ œ œ ˙ œ œ œ œ œ œ œ œ
˙ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ
Answer each equation below with a single note.
Example: + =
+ = ______
– = ______
+ = ______
+ = ______
Skills
Count and clap the rhythms below, then speak them on takadimi.
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Lesson Two: Worship—Drawing Near to the Presence 25
Sing through the scales below on solfege.
Sing through the exercises below on solfege. As you may see below, in shape notes the
notehead for fa may point either left or right.
7
9
11
13
8
10
12
14
ta
1
ta
2
ta
3
di
& 1 - 2
ta - a
3
ta
1
ta
&
di
2
ta
&
di
3
ta
1
ta
2
ta
&
di
3
ta
œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ ˙ œ œ ˙ œ œ œ œ œ œ œ œ
˙ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ
do
1
re
2
mi
3
fa
9
sol la
6
ti
7
do
1
do
1
ti
7
la
6
sol fa
9
mi
3
re
2
do
1
do re mi fa sol la ti do do ti la sol fa mi re do
œ œ
œ œœ œ
œ œœ œ œ œ œ œ œ œ œ œ
do
1
do
1
ti
7
do
1
do
1
re
2
re
2
mi
3
do
1
re
2
mi
3
re
2
mi
3
fa
4
mi
3
re
2
do
1
ti
7
la
6
ti
7
ti
7
do
1
re
2
mi
3
do
1
re
2
mi
3
fa
4
do
1
fa
4
fa
4
mi
3
mi
3
re
2
re
2
do
1
do
1
re
2
ti
7
do
1
do
1
re
2
mi
3
fa
4
sol
œ
sol
œ
fa
4
mi
3
sol
œ
fa
4
mi
3
re
2
sol
œ
mi
3
re
2
do
1
sol
-œ-
la
6
ti
7
do
1
mi
3
re
2
re
2
do
1
do
1
re
2
mi
3
fa
4
sol la
6
ti
7
do
1
do
1
ti
7
la
6
sol fa
4
mi
3
re
2
do
1
œ œ
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26 Draw Near: Savoring and Singing the Presence of God
Songs
The following song is given in a number of formats. Sing each one on solfege and text.
do
1
do ti do do re re mi do re mi re mi fa mi re
do
1
ti la ti ti do re mi do re mi fa do fa fa mi
mi
1
re re do do re ti do do re mi fa sol sol fa mi
sol
1
fa mi re sol mi re do sol la ti do mi re re do
œ œ œ œ œœ œ œ œ œ
œ œ œœ œ œ
œ œ œ œ œœ œ
œœ œ
œ œ
œ
œ œ œ
œ œ œ œ œ œ œ œ œœ œ
œ œ œ œ œ
œ œ œ œ
œœ œ œ
œ œœ œ
œ œ œ œ
Do can be located on any line or space on the staff. Until we learn key signatures, we will show
the position of do on the staff with a small triangle.
15
17
16
18
All
do
1
do
praise
1
ti
to
7
do
thee,
1
do
my
1
re
God,
2
re
this
2
mi
night,
3
do
For
1
fa
all
8
fa
the
8
mi
bless
3
mi
ings
3
-
re
of
2
re
the
2
do
light;
1
sol
Keep
œ
fa
me,
8
re
O
2
mi
keep
3
mi
me,
3
re
King
2
re
of
2
do
kings,
1
sol
Be
œ
la
neath
6
-
ti
thine
7
do
own
1
al
mi
3
might
re
2
-
re
y
2
-
do
wings.
1
! ! & ! !@ @ # !
# # @ @ !
@ # # @ @ !) &
!# @ @ !
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Lesson Two: Worship—Drawing Near to the Presence 27
do
All
1 f
do
praise
f
ti
to
f
do
thee,
f
do
my
f
re
God,
f
re
this
f
mi
night,
f
do
For
f
fa
all
f
fa
the
f
mi
bless
f
mi
ings
f
-
re
of
f
re
the
f
do
light;
f
sol
Keep
f
fa
me,
f
re
O
f
mi
keep
f
mi
me,
f
re
King
f
re
of
f
do
kings,
f
sol
Be
f
la
neath
f
-
ti
thine
f
do
own
f
mi
al
f
-
re
might
f
re
y
f
-
do
wings.
f
Thomas Ken
Canon for 4 voices
Thomas Tallis
All Praise to Thee, My God
4
2&
#Voice 1 2 3 4
All praise to thee, my God, this night, For all the bless -ings of the light;
&
#
Keep me, O keep me, King of kings, Be -neath thine own al -might - y wings.
˙ ˙ ˙ ˙ ˙˙ ˙ ˙ ˙
˙ ˙ ˙ ˙ ˙ ˙ ˙
˙ ˙˙ ˙ ˙ ˙ ˙ ˙
˙ ˙˙ ˙
˙ ˙ ˙ ˙
As you have just seen, shape notes indicate pitch both by their placement on the
staff, and by their shapes. Round notes indicate pitch by their placement on the
staff alone. Pitches in either method can be sung on solfege.
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28 Draw Near: Savoring and Singing the Presence of God
Challenge!
Sing through the two forms of this song on solfege. It may be in a single voice, or 2
or 3 voice canon.
Reflection
1. Why are our actions not the most essential thing about worship?
2. Do you tend to think of being in the presence of God as the height of pleasure? How
might the scriptures quoted above challenge your perspective?
Solfege Canon 2
4
2&b
Voice 1 2 3
&b
˙ ˙ ˙˙
˙ ˙ ˙˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
˙
˙ ˙ ˙˙ ˙ ˙ ˙ ˙
˙ ˙ ˙˙ ˙
˙w
Solfege Canon 1
4
2&b
Voice 1 2 3
&b
! ! @#
˙ ) ˙# # @ # ! ! & !
#
˙ ) ˙# # @ # !
# * #! !
˙!
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Lesson Three: What Is Worship? 29
LESSON THREE
What Is Worship?Everyone has an idea of what worship is, but these ideas often disagree with each other.
For some, “All of life is worship.” They rightly understand that our service to God can’t be
confined to pew and pulpit. But at times they may undervalue the gathering together of the
church in a formal worship service.
For others, worship is defined as what the gathered church does, usually on a Sunday morning.
Some define worship even more narrowly, so that “Let’s have a time of worship” means “Let’s
have a time of singing.”
Worship in the Bible is broad, and includes both the worship services when God’s people come
together, but also the lives they live in the everyday world of the kitchen, classroom, office,
or highway.
The Old and New Testaments have numerous words that refer to worship. In both, however,
two main meanings emerge.
The most common meaning is “to bow down.” If you worship in this sense, you prostrate
yourself; your face is on the ground in the presence of someone vastly superior. When Ezra
brought the Book of the Law and opened it, the people “bowed their heads and worshiped the
Lord with their faces to the ground” (Neh. 8:6).
Another set of words mean “to serve” as a slave serves a master. Paul appealed to the church
at Rome to “present your bodies a living and holy sacrifice, acceptable to God, which is your
spiritual service of worship” (Rom. 12:1 NASB). He was beseeching them to see their entire lives
as a service of worship to their Lord.
We should see biblical worship, then, as a broad term that includes all of life. It is both bowing
down before God and serving him. We might define worship as “bowing all that we are before
all that God is.”1
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30 Draw Near: Savoring and Singing the Presence of God
Figure 3.1 Musical symbols relating to time
measurebar line bar line
double bar line
time signature
Measure
In music, beats exist in groups of strong and weak beats called
measures.
• The first beat of a measure is accented—a strong beat.
• Measures usually have 2, 3, or 4 beats per measure. These are called duple, triple, or quadruple time.
• A time signature (written after the clef) indicates whether a song is in duple, triple, or quadruple time.
• A measure (sometimes called a bar) is represented on the staff as the space between bar lines.
• A double bar line indicates the end of the song.
Practice
Draw a simple staff with two bar lines and a double bar line.
The idea of beat is built into
creation itself. Like music, your
heart also has a regularly occur-
ring pulse, called your heartbeat.
Walking, running, the chirp of a
katydid, the regular rushing of
ocean waves on the shore—all of
these have a sense of beat. Beat,
along with rhythm, are among
the many good gifts God has
given to humanity.
Beat, Measure, Bar LinesMusic is sound in time. Various words and musical symbols describe and represent the
relationship of music and time.
Beat
You have probably noticed that you can often tap your finger or toe to the music. You are
tapping the beat, a regularly occurring pulse.
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Lesson Three: What Is Worship? 31
Simple Time SignaturesThe time signature consists of two numbers. If the top number is 2, 3, or 4, the time signature
is in simple time.
Triple Time
Quadruple Time
Je-sus is ri-sen, the great King of hea-ven.
Lamb of God our souls a-dore thee,
While u-pon thy face we gaze.
1 2 3 1 2 3 1 2 3 1 2
1 2 3 4 1 2 3 4
1 2 3 4 1 2 3
> w w > w w > w w > w
> w m w > w m w
> w m w > w m
Figure 3.3 Triple time
Figure 3.4 Quadruple time
The groupings of strong and weak beats are illustrated in the poetry below.
Duple Time
Joy-ful, joy-ful, we a-dore thee.
1 2 1 2 1 2 1 2> w > w > w > w
Figure 3.2 Duple time
(quarter note) (half note)= =
The top number represents the number of beats in a measure.
The bottom number represents the note reckoned as the beat.
Figure 3.5 The anatomy of a time signature
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32 Draw Near: Savoring and Singing the Presence of God
In simple time, the beat note is divided into two. Study the following chart, which indicates
time signature, beat, and beat division.
Reading Simple TimeStudy and speak the examples below.
Duple 2 beats per measure
Triple3 beats per measure
Quadruple 4 beats per measure
Figure 3.6 Beats per measure
2
4
3
4
4
4
2
2
3
2
4
2
1
ta
2
ta
1
ta
&
di
2
ta
&
di
1
ta
2
ta
3
ta
1
ta
&
di
2
ta
&
di
3
ta
&
di
1
ta
2
ta
3
ta
4
ta
1
ta
&
di
2
ta
&
di
3
ta
&
di
4
ta
&
di
1
ta
2
ta
1
ta
&
di
2
ta
&
di
1
ta
2
ta
3
ta
1
ta
&
di
2
ta
&
di
3
ta
&
di
1
ta
2
ta
3
ta
4
ta
1
ta
&
di
2
ta
&
di
3
ta
&
di
4
ta
&
di
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
˙ ˙ œ œ œ œ ˙ ˙ ˙ œ œ œ œ œ œ ˙ ˙ ˙ ˙ œ œ œ œ œ œ œ œ
Practice
Add the time signature in these examples. Sing on solfege, counting, and takadimi.
&
#
Ho
ta-a
1-2
ta
3
ly-
1
God
ta
2
ta
3
we
ta
1
praise
ta
2
ta
3
ta
Thy
1-2-3
ta-a-a
name.
1&
#
Ho
1-2
ta-a
3
ta
ly-
1
God
ta
2
ta
3
ta
we
ta
praise
1
ta
2
ta
Thy
3 1-2-3
name.
ta-a-a
&
1
An
ta
&
di
2
ta
gels-
&
di
ho
3
ta
4
ta
ly,-
1
high
ta
&
di
2
and
ta
&
di
3
ta
low
4
ta
ly-
-
1
1
&
1
An
ta
-
&
di
2
gels
ta
-
&
di
ho
3
ta
4
ta
ly,-
1
ta
high
di
& 2
and
ta
&
di
low
3
ta
4
ta
ly-
! 1 1 7 12 3 2 ! ™ ˙ œ œ œ œ
œ œ œ ˙ ™
3 2 34 ˙ ˙ 4 3 4
œ ) )œ œ œ
œ ˙˙ œ œ œœ ˙ ˙
1
2
&
#
Ho
ta-a
1-2
ta
3
ly-
1
God,
ta
2
ta
3
we
ta
1
praise
ta
2
ta
3
ta
thy
1-2-3
ta-a-a
name.
1&
#
Ho
1-2
ta-a
3
ta
ly-
1
God,
ta
2
ta
3
ta
we
ta
praise
1
ta
2
ta
thy
3 1-2-3
name.
ta-a-a
! 1 1 7 12 3 2 ! ™ ˙ œ œ œ œ
œ œ œ ˙ ™
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Lesson Three: What Is Worship? 33
You are already familiar
with how length and
thickness of vibrating
strings affect pitch.
Smaller instruments,
with shorter and
thinner strings,
have higher tones.
Larger instruments,
with longer and thicker
strings, have lower tones.
Voices High and LowThe human voice is a marvelous instrument. The
vocal cords or vocal folds are two muscle tissues in the
throat housed in the “Adam’s apple” or larynx. They
vibrate as air passes between them, creating sound.
Their length and thickness help to determine
the pitch of the sound they produce. Men’s vocal
folds are longer and thicker, and women’s vocal
folds are shorter and thinner, so men have lower
voices and women have higher voices.
Adult female vocal folds are less than 2 cm long
(about the breadth of a nickel), while the male
vocal folds may be up to 2.5 cm long (about the
breadth of a quarter).These vocal folds have an
astonishing range (low to high pitch), and can
produce a tremendous amount of sound for
their size!
Singing voices are divided into four classes, or
voice parts. From low to high, these are bass, tenor,
alto, and soprano. Bass and tenor are usually sung
by men, with the lower voices singing bass and
the higher voices singing tenor. Soprano and alto
are usually sung by women and children, with the
lower voices singing alto and the higher voices
singing soprano.
The keyboard of a piano is helpful to illustrate
the approximate range of each voice class from
bass to soprano. Figure 3.7 Human vocal folds can sing a wide range of pitches.2
bass
tenoralto
soprano
Figure 3.8 Common vocal ranges
SAMP
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34 Draw Near: Savoring and Singing the Presence of God
Figure 3.10 Parts ranges on a grand staff
Letter NamesEach pitch on the piano is played by a single white or black key. Each key has a single letter
name. The white key letter names are the first seven letters of the alphabet: A, B, C, D, E, F, and
G. These seven letters make up what is known as the musical alphabet.
Grand StaffEach pitch above can be represented on paper by placing it on a grand staff. The grand staff
is simply two connected staffs (or staves, the common plural of staff). The pitches on a grand
staff correlate generally to the entire range of the human voice, from the low notes of basses
to the high notes of sopranos.
F G A B C D E F G A B C D E F G
The black keys derive their
names from the white keys,
e.g. A-flat (written A ) or
C-sharp (written C ). We will
study the black keys later. Figure 3.9 White letter key names
FG
AB
CD
EF
GA
BC
DE
FG
AB
CD
EF
G
soprano
altotenor
bass
F G A B C D E F G A B C D E F G A B C D E F G
MIDDLE
SAMP
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Lesson Three: What Is Worship? 35
In the middle of the grand staff is middle C. Because it appears above the bottom staff and below
the top staff, it is written using a ledger line—a short line which extends the range of a staff. Note
that middle C also falls roughly in the middle of the piano keyboard.
Practice
Practice the pitch names on the grand staff by singing the following exercise. As you sing,
observe first the notes above, then the notes below the text. For an extra challenge, sing
the note names while covering up the text.
°
¢
°
¢
C C C D E E D E F G C C G G E E C C G F E D C
C C C D E E D E F G C C G G E E C C G F E D C
4
4
4
4
4
4
4
4
&
?
&
?
œ œ œ œœ œ œ œ
œ ˙œ œ
œ œœ œ
œ œ
œ œ œ œ ˙
œ œ œ œœ œ œ œ
œ ˙œ œ
œ œœ œ
œ œ
œ œ œ œ ˙
1 1 1 23 3 2 3
4 ˙1 1
œ œ3 3
1 1œ 4 3 2 !
1 1 1 23 3 2 3
8 ˙1 1
œ œ3 3
1 1œ 8 3 2 !
SAMP
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36 Draw Near: Savoring and Singing the Presence of God
EXERCISESConcepts
Identify the terms.
1. a regularly occurring pulse ______________
2. groups of strong and weak beats ______________
3. two beats per measure ______________
4. three beats per measure ______________
5. four beats per measure ______________
6. indicates whether a song is in duple, triple, or quadruple time _________________________________
7. time signatures with 2, 3, or 4 as the top number ________________________________________
8. a short line that extends the range of a staff ________________________________________
9. two connected staves _________________________________________
10. on a grand staff, the pitch that occurs exactly in the middle of the two staves
__________________________________________________________________
11. human muscle tissues that vibrate to create sound _________________________________________
Identify the musical symbols.
1312
14 15
12. __________________________________________
13. __________________________________________
14. __________________________________________
15. __________________________________________
SAMP
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Lesson Three: What Is Worship? 37
Fill in any missing letter names or noteheads on the grand staff below.
Fill in the chart below with the correct time signatures.
Duple Triple Quadruple
beat note =
beat note =
Skills
Compare the similarities and differences between examples with the quarter-note and
half-note beat. Perform each exercise counting and clapping, then speaking on takadimi.
1
1 2 3
A E A B A D F
4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23
2
3
2
4
2
2
3
4
3
2
4
4
4
2
3
4
4
4
1
ta
2
ta
&
di
1
ta
&
di
2
ta ta
1
ta
2 1
ta
&
di
2
ta
&
di
1
ta
2
ta
&
di
1 - 2
ta - a
ta
1
ta
2 &
di ta
1 &
di ta
2
ta
1
ta
2
ta
1 &
di ta
2 &
di ta
1 2
ta
&
di
1 - 2
ta - a
1
ta
2
ta
&
di
3
ta
1
ta
&
di
2
ta
3
ta
&
di
1
ta
2 - 3
ta - a
1
ta
&
di
2
ta
&
di
3
ta
1
ta
2
ta
&
di
3
ta
1
ta
&
di
2
ta
3
ta
&
di
1
ta
2 - 3
ta - a
1
ta
&
di
2
ta
&
di
3
ta
1
ta
2
ta
3
ta
4
ta
&
di
1
ta
2
ta
&
di
3
ta
&
di
4
ta
1
ta
&
di
2
ta
&
di
3
ta
4
ta
&
di
1
ta
2
ta
&
di
3
ta
4
ta
1
ta
2
ta
3
ta
4
ta
&
di
1
ta
2
ta
&
di
3
ta
&
di
4
ta
1
ta
&
di
2
ta
&
di
3
ta
4
ta
&
di
1
ta
2
ta
&
di
3
ta
4
ta
ta
1
ta
2
ta
3
di
& 1 - 2
ta - a
3
ta
&
di
1
ta
&
di
2
ta
3
ta
&
di
1
ta
2
ta
&
di
3
ta
1
ta
2
ta
3
ta
&
di
4
ta ta - a
1 - 2 3
ta
4
ta
&
di ta
1
ta
2
di
&
ta
3
ta
4
di
&
ta
1
di
&
ta - a
2 - 3 4
ta
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
˙ œ œ œ œ ˙ ˙ ˙ œ œ œ œ ˙ œ œ w
œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ
˙ œ œ ˙ œ œ ˙ œ œ ˙ w œ œ œ œ ˙
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
˙ ˙ ˙ œ œ ˙ œ œ œ œ ˙ œ œ œ œ ˙ œ œ ˙ œ œ ˙ ˙
œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ ˙ œ
2
4
2
2
3
4
3
2
4
4
4
2
3
4
4
4
1
ta
2
ta
&
di
1
ta
&
di
2
ta ta
1
ta
2 1
ta
&
di
2
ta
&
di
1
ta
2
ta
&
di
1 - 2
ta - a
ta
1
ta
2 &
di ta
1 &
di ta
2
ta
1
ta
2
ta
1 &
di ta
2 &
di ta
1 2
ta
&
di
1 - 2
ta - a
1
ta
2
ta
&
di
3
ta
1
ta
&
di
2
ta
3
ta
&
di
1
ta
2 - 3
ta - a
1
ta
&
di
2
ta
&
di
3
ta
1
ta
2
ta
&
di
3
ta
1
ta
&
di
2
ta
3
ta
&
di
1
ta
2 - 3
ta - a
1
ta
&
di
2
ta
&
di
3
ta
1
ta
2
ta
3
ta
4
ta
&
di
1
ta
2
ta
&
di
3
ta
&
di
4
ta
1
ta
&
di
2
ta
&
di
3
ta
4
ta
&
di
1
ta
2
ta
&
di
3
ta
4
ta
1
ta
2
ta
3
ta
4
ta
&
di
1
ta
2
ta
&
di
3
ta
&
di
4
ta
1
ta
&
di
2
ta
&
di
3
ta
4
ta
&
di
1
ta
2
ta
&
di
3
ta
4
ta
ta
1
ta
2
ta
3
di
& 1 - 2
ta - a
3
ta
&
di
1
ta
&
di
2
ta
3
ta
&
di
1
ta
2
ta
&
di
3
ta
1
ta
2
ta
3
ta
&
di
4
ta ta - a
1 - 2 3
ta
4
ta
&
di ta
1
ta
2
di
&
ta
3
ta
4
di
&
ta
1
di
&
ta - a
2 - 3 4
ta
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
˙ œ œ œ œ ˙ ˙ ˙ œ œ œ œ ˙ œ œ w
œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ
˙ œ œ ˙ œ œ ˙ œ œ ˙ w œ œ œ œ ˙
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
˙ ˙ ˙ œ œ ˙ œ œ œ œ ˙ œ œ œ œ ˙ œ œ ˙ œ œ ˙ ˙
œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ ˙ œ
2
4
2
2
3
4
3
2
4
4
4
2
3
4
4
4
1
ta
2
ta
&
di
1
ta
&
di
2
ta ta
1
ta
2 1
ta
&
di
2
ta
&
di
1
ta
2
ta
&
di
1 - 2
ta - a
ta
1
ta
2 &
di ta
1 &
di ta
2
ta
1
ta
2
ta
1 &
di ta
2 &
di ta
1 2
ta
&
di
1 - 2
ta - a
1
ta
2
ta
&
di
3
ta
1
ta
&
di
2
ta
3
ta
&
di
1
ta
2 - 3
ta - a
1
ta
&
di
2
ta
&
di
3
ta
1
ta
2
ta
&
di
3
ta
1
ta
&
di
2
ta
3
ta
&
di
1
ta
2 - 3
ta - a
1
ta
&
di
2
ta
&
di
3
ta
1
ta
