Music Notes: July 1st, 2012

Fifth Sunday After Pentecost

This Sunday we will be having a dual focus in worship.  The readings in the Lectionary focus on Jesus' healing ministry.  Not only did Jesus bring the 12 year old daughter of Jairus nearly back from the dead by holding her hand, but an unclean woman was cleansed of her disease by simply touching the robe of Jesus.  The doubters were surely taken aback by this.  Jesus then ordered them to not reveal the healing of Jairus' daughter to anyone.  

The healing ministry of Jesus will be the central focus of the service, but the beginning and end will be recognizing Independence Day, the spirit of workers and students, and pride in both our nation and all others worldwide.  

PRELUDE

Earth and all Stars- Wayne Wold (Prelude- 9:00 AM)

This joyous interpretation of the David Johnson tune is in three parts.  The first and third parts use syncopation in the hands with fragments of the tune in the pedals.  The middle section is quieter, reduced to a single reed, and features a more fleshed out version of the tune in the top voice.

OPENING HYMN

Earth and all Stars (Opening Hymn- 9:00 AM)

This hymn was composed jointly by Herbert Brokering and David Johnson to celebrate the 75th anniversary of St. Olaf College.  There's reference to the stormy Minnesota weather ("Hail, wind and rain! Loud blowing snowstorm."), St. Olaf's music program (Trumpet, pipes, cymbals, harp, lute, lyre, cellos (also referencing Psalm 150)), builders and workers (limestone (most St. Olaf buildings were built out of the native limestone), beam, hammers, workers), and the students, teachers, and others that make up the community.

Though the hymn was written for a specific occasion at a specific place, it has a universal joy that can be celebrated anywhere.  It is particularly appropriate here in Waverly, where we have a college very similar in many ways to St. Olaf (minus the limestone!).  

Stanza three will be interpreted by choir and organ.  The whistling choir depicts the "loud, building workers" referenced in stanza three.  In honor of Independence Day, you'll also hear a brief excerpt from a certain march commonly associated with this holiday.

HYMN OF THE DAY

We Come To You For Healing, Lord (Hymn of the Day- 9:00 AM)

Much like the woman in the street with leprosy was overwhelmed with the need for healing, as well as Namaan asking for healing from the prophet Elisha in 2 Kings, it is also a need that we have at times.  Our bodies, minds, and souls all need some form of healing at some point, and through prayer, we can hope to receive it.  Herman Stuempfle, the long time leader of the Lutheran Theological Seminary in Gettysburg, penned this lovely hymn with the need for healing in mind.  The image of Christ as the great physician is referenced in stanza three, and gives thanks to all the physicians and nurses around the world that heal our wounds with their God given gifts and willingness to serve.

This text is set to the hymn tune MARTYRDOM, a rather common tune from late 18th century England.  It accompanies the Stuempfle text quite nicely, and as the end of stanza four says, we "trust that through our nights and days your grace will heal, sustain."

OFFERING

Lord of the Dance- arr. John Ferguson (Summer Choir- Offering: 9:00 AM)

This charming recollection of Jesus' life is set to a tune that most people associate with the folk song, "Simple Gifts" or with Bernstein's Appalachian Spring.  There are five stanzas, each one focusing on a different aspect or period of Jesus' life, all revolving around the metaphor of dance as life.  

Stanza one tells the story of Jesus descending down from heaven and being born at Bethlehem.  In stanza two he recruits his first disciples.  Verse three focuses on his healing ministry and then quickly transitions into his crucifixion.

Stanza four is where the music takes a huge turn.  The accompaniment disappears, and in a spooky, solemn tone, the choir tells the story of Good Friday.  With the emphatic saying of the word "BUT!" the music returns with the resurrection story.

COMMUNION HYMNS

In The Singing (Communion Hymn- 9:00 AM)

This beautiful song is both Christ centered and focused on the Eucharist.  Each verse describes elements or characteristics of both of these things.  Singing and silence, open, waiting hands, the blessing and the breaking of the bread, and the sensation of Jesus' presence there with us are all captured in the first stanza.  The second stanza focuses more generally on allowing Jesus into our lives as Christians.  

Healer Of Our Every Ill (Communion Hymn- 9:00 AM)

This is one of Marty Haugen's many wonderful singable tunes, with a beautiful corresponding text.  Each stanza takes a personality trait or descriptor of Jesus to focus on.  They are comfort, vision, kindness, and passion.  Jesus can feel our fears and sadness and gives us comfort.  He gives us direction through his vision. His kindness gives us strength to love each other, and his passion is evident in all of his thoughts, feelings, and teaching.

There Is A Balm In Gilead (Communion Hymn- 9:00 AM)

The origins of this African American spiritual come from the Old Testament.  In Jeremiah 8, we see the question being asked, "Is there no balm in Gilead?  Is there no physician there?  Why then is there no healing of the wounds for my (God's) people?"  This question is answered by the spiritual.

The verses are a compilation of texts from various sources.  This idea of the "wandering hymn" was quite common with spirituals, as they frequently related to each other.

CLOSING HYMN 

This Is My Song (Closing Hymn- 9:00 AM)

The ELW hymnal has a brief selection of patriotic songs, but this compilation text by two 20th century poets Lloyd Stone (st. 1-2) and Georgia Harkness (st. 3), is probably the best known "national" hymn that doesn't necessarily declare an allegiance to a specific country.  Rather, it is an ecumenical (if you will) prayer for unity within and among nations of the world.  Stanza two sums up the aura of the hymn perfectly...

My countriy's skies are bluer than the ocean,

and sunlight beams on cloverleaf and pine,

(sounds rather pompous so far, yes?)

BUT other lands have sunlight too, and clover,

and skies are ev'rywhere as blue as mine.

So hear my song, O God of all the nations,

a song of peace for their land and for mine.

It is set to the tune FINLANDIA, originally a chorale from the symphonic poem of the same title by Finnish composer Jean Sibelius.  Though that was where it originated, this tune has become unbelievably attached to this text, and it is nearly impossible now to separate the two.

POSTLUDE

Earth and all Stars- David Johnson (Postlude: 9:00 AM)

Unlike the first arrangement by Wayne Wold, David Johnson actually made this arrangement on his own tune.  It is a little more straightforward, starting with a statement of the tune as though it were the hymn being accompanied, and concluding with a slower version using the technique called "augmentation," where the tune is stretched out and made longer.  

Music Notes: June 24th, 2012

4th Sunday After Pentecost


To steal a musical term from the late 18th century, we all have a little sturm und drang in our lives.  Fighting this "storm and stress" is a constant battle for a lot of us.  Trying to keep a balance in our lives between stress and relaxation is clearly difficult, particularly when nature throws adverse weather conditions in our path.

This week in our Gospel reading, Jesus manages the literal sturm und drang in his life as he manages to sleep aboard a small boat as it is rocked by a turbulent, torrential rainstorm.  While his disciples were  panicking, frustrated by his lack of action or caring, Jesus calmly stood up, told the sea to be still, and it was so.

While we not be able to replicate this act of supernatural power, we can certainly follow the example of the calm and relaxed nature Jesus was able to portray during this time of stress.  Our music this week explores the ideas of Jesus the rock guiding us through times of trouble and showing us the path to peace and salvation.

PRELUDE


"Melodie" from Orfeo ed Euridice- Christoph Willibald von Gluck (Prelude- 9:00 AM)

We are privileged this week to have Dr. Daniel Kaplunas joining us this week.  As the director of the Wartburg Community Symphony, he is also an accomplished violinist.  For the Prelude this week, we will be playing Fritz Kriesler's arrangement of this famous Gluck melody.  Commonly known as the "Dance of the Blessed Spirits," this melody, originally for solo flute, occurs in the second scene of Act II of the opera Orfeo ed Euridice.

OPENING HYMN


Precious Lord, Take My Hand (Opening Hymn- 9:00 AM)

Most people erroneously attribute this to be African American spiritual from the same tradition as those such as "Nobody Knows the Trouble I've Seen" or "Wade In The Water," both of which were passed down by oral tradition from the time of slavery and beyond.  In truth, it was actually written in the 20th century.  The Reverend Thomas Dorsey wrote this hymn in the early 1930's following the death of both his wife and his infant son.

This has been one of the most widely performed and recorded hymns since its inception.  A favorite of the Reverend Dr. Martin Luther King, Jr., his final words were actually in reference to this hymn.  It was also sung by Leontyne Price at the funeral of  President Lyndon B. Johnson.

HYMN OF THE DAY

Eternal Father, Strong To Save (Opening Hymn- 9:00 AM)

As many of you probably know, this hymn has strong ties to both the English Royal Navy and the U.S. Navy, among many other military institutions involving water.  It's concluding line "for those in peril on the sea" obviously references those who sacrifice themselves at sea for their countries.  In our case on this Sunday, it could also be treated as a metaphor for the aformentioned sturm und drang.

Stanza two directly references our Gospel reading, where we see the winds and waves submit to the word of Jesus.  His "calm amidst the storm" is something I have personally thought about a lot lately.  Recently, I have noticed a lot of people being stuck on something out of their control, and letting it control their lives.  I fell victim myself to this recently.  The lessons this week remind me that one should not focus on something out of their control, but rather dedicate their energy to the inner peace and comfort given to us by Jesus.

OFFERING


Liebeslied- Fritz Kreisler (Offering- 9:00 AM)

Dr. Kaplunas joins us again on this original violin piece by Fritz Kreisler.  Kreisler, an Austrian born violinist and composer, is regarded as one of the greatest violinists of all time.  The Liebeslied, which translates as "Love Song" is in the form of a waltz.  Like most waltzes of the time period, it has two contrasting parts.  The first, in A minor, is led primarily by the violin, but the second, in the parallel major key, has some counter-melodies in the piano part as well.


COMMUNION HYMNS


Calm To The Waves (Communion Hymn- 9:00 AM)


This short chorus by Mary Louise Bringle summarizes our Gospel lesson in two brief sentences.  Thanks to the calm actions of the whispering of Jesus, he acts as a balm to our hearts, ends our fears, and calls that we hear his voice in stillness.


The short melody and harmony was composed by Slovak-Ukranian composer Thomas Pavlechko.  A long time member of the Association of Lutheran Church Musicians and the Hymn Society of the United States and Canada, he has had hymns and tunes premiered for both organizations.  This tune, titled CALM SEAS, has a beautiful, symmetric form where the first half ascends, followed the the calming, descending second half.


If You But Trust In God To Guide You (Communion Hymn- 9:00 AM)


This is a hymn of assurance and promise.  As dark and worrying as life can be, the four stanzas of this hymn clearly lay out exactly why we should trust in God throughout all our days.

Despite this hymn being written 450 years ago, both the original text and the composite translation we currently have is one of the clearest, most straightforward messages there is in the hymnal.  Georg Neumark, the German poet and hymn writer, penned this in 1641.  He was actually educated in law and was a tutor for awhile, but he devoted most of his later life to poetry and music.  This is certainly his most well known hymn, and was used famously in Bach's cantata of the same name.  Mendelssohn also wrote a short cantata based on this text and chorale as well.

POSTLUDE


Fanfare and Toccata on MELITA- Wayne L. Wold (Postlude- 9:00 AM)

This two movement work begins with a fanfare in the style of a Grand Chorale Dialogue, with the fuller organ contrasting with a smaller reed chorus.  The toccata builds off the theme of water and waves, with the left hand providing an almost constant wave throughout the piece.





      

Music Notes: June 17th, 2012

Third Sunday After Pentecost

Last week, Music Notes was titled 'A Celebration of Creation And The Gift Of Land.'  This lay led worship stepped outside of the Lectionary and used scriptures and messages with the theme of stewardship in mind.  This week we return to the Lectionary, and interestingly enough, the Gospel of Mark gives us a nature-themed metaphor for contemplation.

Jesus compares the Kingdom of God to someone scattering seed on the ground in the parable of the mustard seed.  The seed grows, but we may not necessarily understand why.  The mustard seed may be one of the smallest seeds in the world, but when it sprouts and grows, it becomes a grand plant that even gives shelter and comfort to birds and other animals.

In addition, this Sunday we are celebrating the ordination anniversaries of both of our pastors.  Both Pastors Schneider and Sandberg were ordained 35 years ago this year, and several pieces of music have been requested by them and are dedicated to them.

One last thing... you may or may not have noticed that physical copies of Music Notes are being placed in a manila envelope on the music bulletin board.  The form of those packets are slightly different than the form here.  In the physical Music Notes, I put the order of the entries in the order they appear in the service, and here online, I separate them into categories.  This week, I've decided to switch the online version to match the print version, describing the elements in the order that they appear in the service.  So I'll start by describing the prelude, finish with the postlude, and everything else will be in between.

PRELUDE

"Aria" from The Goldberg Variations- J.S. Bach

The Goldberg Variations is one of Bach's best known works, and was originally published in 1714.  On the title page of the original publication, it is described as a work for "harpsichord with two manuals."  The two manuals distinction is very important.  The work is significantly more difficult to perform on the modern piano, due to the awkward hand crossing that needs to take place in a large portion of the movements. 

What can be done on a multi-manual harpsichord can also be done on a multi-manual organ, so I will be playing the Aria there this week.  While most scholars agree that the work as a whole is a set of variations, they cannot seem to come to a consensus on whether or not the Aria is the theme itself, or actually the first variation.  Regardless of its intent, it is in the form of a Sarabande (a slow dance in 3/4 time with an emphasis on beat 2), using a variety of ornaments to decorate the melody.  Each section repeats.

For the ordination anniversary, Pastor Sandberg requested that I play Bach for the prelude, and since I have been studying and learning the Goldberg Variations on my own, it seemed appropriate that I present it this week.  I will hopefully play some of the other variations throughout the summer.

OPENING HYMN

What Is This Place

This Danish hymn has been requested by Pastor Schneider for quite awhile now.  It initially took me awhile to warm up to it, but the idea of a mere building that comes alive with the spirit of God and its congregants has proven itself to provide a rather profound, moving hymn.

A nod to the Gospel is given in stanza two, where the word of God is sown in us like a small seed.  This word is remembered and spoken in the walls of the church, and the "free, redeeming word" of God lives and flows through the church.

We've discussed the "word" portion of "word and sacrament," and in stanza three, the hymn acknowledges the sacrament of Eucharist as well.  Again, this gift is received inside the four walls of the church, and the justice and peace of God is handed out to us as we depart.

Musically, this is a joyful, sprightly homophonic chorale.  Unlike the German chorales of its day, there is far less interior movement and counterpoint.  Rather, the harmonies stay quite simple, employing only one secondary dominant (4th measure from the end).  The melody is in three parts, with the first two parts being identical, and the third extended section leading to the final cadence.

HYMN OF THE DAY 

For The Beauty Of The Earth

Most singers probably know this text as set by John Rutter in his choral anthem of the same name.  This text, composed around 1850, is known to church goers as set to the hymn tune DIX, composed in 1838. 

The purpose of this hymn is two fold... first, it recognizes all of the glory in the world, whether it is nature (beauty of earth and skies), time (wonder of each hour, day, and night), the senses (joy of ear and eye, mystic harmony linking senses), family (human love, family, friends), or gifts from God.  Second, the refrain gives thanks for all of these as we raise our sacrifices of praise to God.

"Sacrifice of praise" is quite an interesting phrase.  One normally thinks of a sacrifice as something they have to relinquish for the good of something else.  It hardly seems like a "sacrifice" to give praise to God.  The phrase may be a little antiquated, but the message still remains poignant.

COMMUNION HYMNS

Seed That On Earth Is Dying

The title of this hymn is a perfect example of the necessity of reading the beyond the first line and on to the second.  "Seed that on earth is dying" is a title that doesn't bear much hope.  If you continue to read, you see the second line is "rises to bear much fruit," much like the mustard seed, so tiny and frail, can blossom into a majestic plant.

This Norwegian hymn comes to us from a pair of professors at the University of Norway in Oslo.  In addition to the seed being born, the grapes crushed in the vessel are also referenced.  Taken together, these form our communion elements.  To close the hymn, the "seed" is used as a metaphor for Christ, rising from the earth at the resurrection.


Let Us Ever Walk With Jesus

This is a hymn of praise and ultimate faith, chosen by Pastor Schneider for this service.  This was written in the 1650's, right in the midst of the Reformation.  Whether it is military and political turmoil then, now, or any time, walking with Jesus is one of those everlasting ideas that exemplifies faith and trust.  Many hymns reference taking a walk with Jesus (In The Garden, for example), but this is one of the most faith and hope-filled in our hymnal. 

This text actually shares many characteristics with a lot of African American spirituals.  In the middle of stanza two for example, we see the line "Though today we sow no laughter, we shall reap celestial joy."  The idea is that no matter how down or hopeless things may seem in our earthly place and time, there is always the promise of joining the Kingdom of God if we keep our faith.

Musically, this hymn is similar to other German chorales from the mid 18th century.  Where some of the Reformation-era chorales are more rhythmic and dance-like, this has a flowing, mostly step-wise melody with a sound, singable harmony supporting it.  This is more in the style of what would become the standard in the late 18th/early 19th centuries.

Children Of The Heavenly Father

With hymns such as "Children of the Heavenly Father," and "Day By Day," Lina Sandell has placed herself into the hearts of Christian worshipers young and old, creating two of the most timeless, relatable texts in all of hymnody.

Though Sandell penned these texts, they may not have been successful and widely known if it weren't for the Swedish troubador Oskar Ahnfelt.  He traveled through both Sweden and Norway with a 10-string guitar, singing Sandell's hymns and sharing his ministries.  He was even endorsed by Swedish King Karl XV, who declared that these songs should be shared throughout the entire kingdom.  He later assisted in the publishing of Sandell's texts, which paved the way for them to be included in hymnals throughout the world.

This hymn was chosen by Pastor Sandberg for inclusion this morning.

POSTLUDE

Fugue in C Major- Johann Pachelbel

This is one of Pachelbel's most virtuosic and active fugues.  Set in three voices, the subject is a rhythmic succession of eighth and sixteenth notes, traversing up and down the entire keyboard.  The subjects come fast and furious throughout the entire piece, with very little time dedicated to any type of development.  As is common with many fugues from this time period, the subjects begin overlapping nearer and nearer to each other in a compositional technique known as stretto. 
 

Music Notes: June 10th, 2012

A Celebration of Creation and the Gift Of Land


You may have immediately noticed that the title of Music Notes this week is slightly different.  Normally, I use the title of the Liturgical week for the heading each week.  If that were the case this week, it would be the "Second Sunday after Pentecost."

However, due to the NE Iowa Synod gathering this weekend at Wartburg College, our worship here will be lay led, focusing not on the Lectionary readings, but rather a group of readings focusing on creation, nature, and stewardship of our land.  For example, the opening prayers are based on Matthew 6 (Consider the lilies of the field...).  The first reading is from Genesis, where God hands down the punishment to Adam and Eve for tasting of the forbidden fruit.  Symbolically, this is a warning to us to be good stewards of our earth and environment.  Our Gospel reading is from the Gospel of Mark, where Jesus explains that seed will either flourish into grain or die depending on where it falls.  Our music this week reflects these readings and ideas.

HYMNS AND SONGS

Lord, Your Hands Have Formed (Opening Hymn- 9:00 AM)

The general message of this hymn is that God constantly renews everything around us.  Nature is such a fresh entity.  The smell of dew in the morning, flowers and trees coming back to life each year, everything is made fresh and vibrant by the grace of God, which is why each stanzas of this hymn close with the line "... signs that you make all things new."  While the hymn is primarily about the renewal of nature, the Christological aspect is present at the conclusion.  The entire third stanza builds from God rolling out the land where we build not only our earthly homes, but our homes for Christ.

This beautiful song is a folk tune from the Philippines.  There are so many beautiful melodies from around the world.  Eastern melodies in particular, which are based on pentatonic scales (play the five black keys on a piano for how a pentatonic scale sounds), are particularly singable and very well suited for use in hymnody.  The calm, gentle lilt matches this text beautifully.

God, The Sculptor Of The Mountains (Hymn of Praise - 9:00 AM)

I was introduced to this hymn by its author, John Thornburg, while I was at St. Olaf.  Initially, I was not convinced at all, but as it has grown with me and I have grown in spirit, it has become one of my favorites.

The cohesion of the hymn is very impressive, and difficult to portray easily in prose.  Rather, I can demonstrate its form using a little diagram...

Stanza One (based on creation): God as creator - womb of all creation - shapes the formless
Stanza Two (references Exodus of the Israelites): God as leader - fount of all deliverance - leads the sightless
Stanza Three (Gospel Of Matthew): God as steward - host at every table - feeds the hungry
Stanza Four (Life of Christ): God as Christ - present every moment - meets the searching

If you study the hymn with this guide, you'll see the correlations pop out at you.  Much like the opening hymn, the final stanza adds a Christological component.  Each of the four opening petitions describes beautifully the stages of Christ's life (unexpected infant, calm determined youth, table-turning prophet, resurrected truth).

Musically, the tune is kind of like a fuse.  It steadily burns upwards for the first four petitions of each verse, before finally igniting on a high D at the climax of both text and melody on the word "you" (which he interestingly chooses not to capitalize).  

We Plow The Fields And Scatter (Hymn of the Day - 9:00 AM)

This hymn comes in two forms in our ELW.  We did the other version here at St. Paul's during Holden Evening Prayer this year.  The tune is from the Latin American folk tradition and is set in F minor.

Contrasting that is the tune we are singing today.  Set in A major and composed in 18th century Germany, it is difficult to find two tunes that are more contrasting than these two.  Both tunes work in their own way though.  The tune we use today is a joyful march of thanksgiving for the stewardship of God.  While it may be us that that tills the soil and plants the seed, it is God that brings sun, water, snow in winter, warmth in summer, breezes, sunshine, and the water of life in the form of rainfall to enable those seeds to flourish.  It is all summed up with the refrain...

"All good gifts around us are sent from heaven above.  We thank you, Lord, we thank you, Lord, for all your love."

For The Fruit Of All Creation (Closing Hymn - 9:00 AM)

This hymn of thanksgiving was penned by Fred Pratt Green (1903-2000), who was a British methodist pastor and hymn writer.  While a majority of his most famous texts appear in the United Methodist Hymnal from 1989, we were lucky enough to have this lovely hymn spill over into the ELW.

While the majority of this hymn is thanking God for the gifts (nature or otherwise) that we have received from God, there are some very profound thoughts that close this hymn and our worship this Sunday.  "For the wonders that astound us, for the truths that still confound us, most of all that love has found us, thanks be to God."  Wow.  How true, yet how interesting it is to be thankful for things that are either too large or too awe-inspiring to comprehend.

OTHER SERVICE MUSIC


While most Sundays we sing a liturgy throughout the service comprised of various musical and liturgical elements, we are taking a different approach this week due to our worship being lay led.

Our Kyrie uses the traditional Kyrie text, and will be surrounded with prayers inspired from Matthew 6.  The Gospel Acclamation comes from the Hasidic Jewish tradition of music and will bookend the Gospel.  How appropriate that the Gospel reading ends with the words, "Let anyone with ears listen."!  And our Offertory this week will be the first two stanzas of the hymn Praise and Thanksgiving, which are two aspects of our faith that we share with God along with our monetary offerings.

In addition, soprano Emma Rathe will provide our offering music, singing an arrangement of the hymn "Come Thou Fount of Every Blessing."  The piano accompaniment, arranged by Richard Walters, is comprised of a lot of open fifths and rather "primal" harmonies.  This style hearkens back to the original style of music that this hymn was born from.  Early American tradition has a lot of these types of sound, and this arrangement, along with vocal embellishments, is a very pure, yet modern, example of that style.

INSTRUMENTAL MUSIC


The Sunken Cathedral- Claude Debussy (Prelude - 9:00 AM)

Claude Debussy's compositional style is beautifully represented in his series of 24 preludes.  This prelude, titled The Sunken Cathedral, represents an enormous church building rising from the murky waters and soaring through the air before sliding back down and returning to its original and final resting place.

This action is depicted beautifully through the music.  The opening fifths of the piece represent the church bells sounding (due to it being the prelude, I'll be able to use our actual church bells as an extension of these depictions).  When the music modulates to B major and picks up speed, you can hear the church rising from the depths.  The large, sonorous chords towards the middle of the piece is actually the church organ playing. As the piece concludes, this same motive is heard again, only from underwater, with a murky ostinato sounding in the lowest depths of the piano.  The piece concludes as it began, with the church bells sounding from under the water.

Improvisation on WIR PFLUGEN (Postlude - 9:00 AM)

I have improvised my service music before, and several people have asked me what I think about as I am doing it.  I'll try to explain my ideology a little bit.

When I do an improvisation, there are two elements to consider.  The first is the natural musical element, which is already present in the tune.  The improvisation of the music is usually best when the improv itself fits the style of the original tune.  The second element is the text of the hymn.  Typically, a text will already be in accordance with its tune, so there are always certain elements to search for to depict certain words or ideas in each text.

In the case of this hymn, I see myself using some sort of march-like, melodic ostinato surrounding fragments of the tune.  We will see how it materializes on Sunday!