draw near Savoring and Singing the Presence of God STUDENT WORKBOOK Wendell Nisly and Lloyd Kauffman A Worship and Music Curriculum for the Church Sample: Lessons 1–3 These 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. SAMPLE ONLY
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Transcript
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.
SAMPLE
ONLY
ii Draw Near: Savoring and Singing the Presence of God
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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viii Draw Near: Savoring and Singing the Presence of God
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.
°
¢
3
4
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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.
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3
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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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#13
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12 Draw Near: Savoring and Singing the Presence of God
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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.
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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 œ œ œ œ œ œ 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
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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
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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
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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
1! @ # $ $ # # # @ ! ! @ #!
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
1! @ # $ $ # # # @ ! ! @ #!
SAMPLE
ONLY
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
him
mi
all
re
crea
do
tures-
fa
here
mi
be
re
low;-
&
#
do
Praise
re
him
mi
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
him
mi
all
re
crea
do
tures-
fa
here
mi
be
re
low;-
&
#
do
Praise
re
him
mi
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
! @ # * * # @ ! @ # # @ @ ! !
! & )! @ #
!
* # @ # * # @
!# @ !
) & !
)* # * # @ !
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
! @ # * * # @ ! @ # # @ @ ! !
! & )! @ #
!
* # @ # * # @
!# @ !
) & !
)* # * # @ !
SAMPLE
ONLY
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
rock
fa
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
his
mi
name
re
in
do
song.
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ W
SAMPLE
ONLY
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)
SAMPLE
ONLY
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
SAMPLE
ONLY
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
SAMPLE
ONLY
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 œ œ œ œ œ œ œ
SAMPLE
ONLY
Lesson Two: Worship—Drawing Near to the Presence 23
38 Draw Near: Savoring and Singing the Presence of God
5
6
7
8
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
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
Study the counts (the numbers under the notes), then add the correct time signature to
each exercise. Perform each exercise counting and clapping, then speaking on takadimi.
1
ta
2
ta
3
ta
&
di
4
ta ta - a
1 - 2 3
ta
4
ta
1
ta
&
di
2
ta
3 - 4
ta - a
1
ta
2
ta
&
di
3 - 4
ta - a
1
ta
&
di
2
ta
&
di
1
ta
2
ta
&
di
1
ta
&
di ta
2 1
ta
2
ta
1
ta
2
ta
&
di
3 - 4
ta - a
1
ta
2
ta
&
di
3
ta
&
di
4
ta
1 - 2
ta - a
3
ta
4
ta
1
ta
&
di
2
ta
3 - 4
ta - a
1
ta
2
ta
&
di
1
ta
&
di
2
ta
&
di
1
ta ta
2 1
ta
&
di ta
2
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 ˙
9
10
12
11
4
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
SAMPLE
ONLY
Lesson Three: What Is Worship? 39
13
14
16
15
Look carefully at each time signature. Some measures are incomplete. Draw one note to
finish any incomplete measures. Finish writing the counts under each note. Then, perform
each exercise on counting and takadimi.
3
4
4
4
3
2
4
2
1
ta
2
ta
&
di
3
ta
1
ta
2
ta
&
di
3 - 4
ta - a
1
ta
2
ta
3
ta
&
di
1
ta
2 - 3
ta - a
4
ta
&
di
œ œ œ œ œ œ œ œ œ ˙
œ œ œ ˙ ˙ œ ˙ œ œ œ
˙ ˙ œ œ œ œ ˙ œ w ˙ œ œ
˙ w œ œ w œ œ w œ ˙
Read the following rhythm patterns.
17
18
19
20
4
4
3
2
3
4
2
2
4
4
4
2
2
4
3
2
1
ta
2
ta
3
ta
4
ta
1 - 2
ta - a
1 - 2
ta - a
1 - 2
ta - a
1
ta
&
di
2
ta
&
di ta - a - a - a
1 - 2 - 3 - 4
1 - 2
ta - a
3
ta
1
ta
2
ta
3
ta
1
ta
2
ta
&
di
3
ta
1
ta
2 - 3
ta - a
œ œ œ œ ˙ ˙ ˙ œ œ œ œ w
w ˙ ˙ ˙ ˙ ˙ œ œ ˙ ˙ w
˙ 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 w w 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 w ˙
SAMPLE
ONLY
40 Draw Near: Savoring and Singing the Presence of God
4
4
3
2
3
4
2
2
4
4
4
2
2
4
3
2
1
ta
2
ta
3
ta
4
ta
1 - 2
ta - a
1 - 2
ta - a
1 - 2
ta - a
1
ta
&
di
2
ta
&
di ta - a - a - a
1 - 2 - 3 - 4
1 - 2
ta - a
3
ta
1
ta
2
ta
3
ta
1
ta
2
ta
&
di
3
ta
1
ta
2 - 3
ta - a
œ œ œ œ ˙ ˙ ˙ œ œ œ œ w
w ˙ ˙ ˙ ˙ ˙ œ œ ˙ ˙ w
˙ 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 w w 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 w ˙
21
22
23
24
do
1
ti
7
do
1
re
2
mi
3
fa
8
re
2
mi
3
re
2
do
1
ti
7
la
6
ti
7
do
1
mi
3
do
1
3 2 1 28 3 2 3
œ 8 3 2 1 28 3
1 2 3œ 4 3 4
2
œ 4 3œ 4
2 13
3 4 3œ
1 2 31 2 3 4
6 œ 4 31
1 7 13 4 3 4
6 œ 4 œ3 4 3 2
œ
Sing the following patterns using solfege syllables.
25
26
27
28
29
SAMPLE
ONLY
Lesson Three: What Is Worship? 41
30
31
32
mi
1
re mi fa sol la sol mi fa sol la fa sol fa mi do
1
1
œ œ œ œ œ œ œœ œ œ œ
œ œ œ œœ
œœ
œ œ œœ œ œ œ
œ œ œ œ œœ œ
œ œ œœ œ œ œ
œ œ œ œœ œ
œœ
œ
Songs
Sing the following melodies on solfege, counting, takadimi, and text.
Henry van Dyke
Joyful, Joyful, We Adore Thee
Ludwig van Beethoven
4
4&
#
mi
Joy ful,
mi
-
fa
joy
sol
ful,-
sol
we
fa
a
mi
dore-
re
thee,
do
God
do
of
re
glo
mi
ry,-
mi
Lord
re
of
re
love;
&
#
mi
Hearts
mi
un
fa
fold-
sol
like
sol
flow'rs
fa
be
mi
fore-
re
thee,
do
hail
do
thee
re
as
mi
the
re
sun
do
a
do
bove.-
&
#
re
Melt
re
the
mi
clouds
do
of
re
sin
mi
and
fa mi
sad
do
ness;-
re
drive
mi
the
fa me
dark
re
of
do
doubt
re
a
sol
way;-
&
#
Giv
mi
er
mi
-
fa
of
sol
im
sol
mor-
fa
tal-
mi
glad
re
ness,-
do
fill
do
us
re
with
mi
the
re
light
do
of
do
day.
œ œ œ œ œ œ œ œ œ œ œ œ œ ™
œ
j
˙
œ œ œ œ œ œ œ œ œ œ œ œ œ ™ œ
j
˙
œ œ œœ 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
j
˙
SAMPLE
ONLY
42 Draw Near: Savoring and Singing the Presence of God
Anna L. Barbauld Asahel Abbot
Praise to God, Immortal Praise
2
2&bb
b
sol
Praise
sol
to
sol
God,
mi
im
fa
mor-
sol
tal-
mi
praise,
sol
for
sol
the
la
love
la
that
sol
crowns
me
our
re
days;
&bb
b
fa
Boun
fa
teous-
mi
source
mi
of
sol
ev
do
'ry-
sol
joy,
F
la
let
la
thy
sol
praise
mi
our
fa
tongues
re
em
mi
ploy.-
˙ ˙ ˙# $ ˙
#˙ ˙ ) ) ˙
# @
$ $ # #˙
!) ) ˙
# $@ #
Anna L. Barbauld Asahel Abbot
Praise to God, Immortal Praise
2
2&bb
b
sol
Praise
sol
to
sol
God,
mi
im
fa
mor-
sol
tal-
mi
praise,
sol
for
sol
the
la
love
la
that
sol
crowns
me
our
re
days;
&bb
b
fa
Boun
fa
teous-
mi
source
mi
of
sol
ev
do
'ry-
sol
joy,
la
let
la
thy
sol
praise
mi
our
fa
tongues
re
em
mi
ploy.-
˙ ˙ ˙˙ ˙ ˙
w˙ ˙ ˙ ˙ ˙
˙ w
˙ ˙ ˙ ˙˙
˙w ˙ ˙ ˙
˙ ˙˙ w
SAMPLE
ONLY
Lesson Three: What Is Worship? 43
Challenge!
Sing this melody on solfege, counting, takadimi, and text.
Isaac Watts Gregorian Chant, Arr. Lowell Mason
When I Survey the Wondrous Cross
2
4&
#
See,
For
Were
When1.
2.
3.
4. the
I
bid
from
-
whole
sur
it,
his
vey
Lord,
head,
realm
-
his
the
that
of na
hands,
I
won
should
drous
ture
his
-
-
feet,
mine,
cross,
boast,
on
sor
that
save
which
in
row
were
-
the
the
and
a
love
death
pres
Prince
flow
ent
of
of
-
glo
far
min
Christ
ry
too
my
gled
-
- down;
died,
Lord;
small;
&
#
All
My
Did
Love
rich
the
e'er
so
vain
est
a
such
- gain
maz
things
love
-
I
and
ing,
that
- so
count
sor
charm
but
row
di
me
-
loss,
most,
meet,
vine,-
I
or
de
and
sac
thorns
pour
mands-
con
ri
my
com
-
-
fice
soul,
tempt
pose
-
- so
them
on
my
all
to
life,
rich
my
his
my
a
blood.
crown?
all!
pride.
1 1 2 3 2 3 8 3 2 # 3 3 3 8 3 2 1 7 1 @
1 1 2 3 2 3 8 3 2 # 3 3 3 2 1 2 3 2 !
Reflection
1. How does understanding the words the Bible uses for worship challenge or expand
your ideas of worship?
2. We have defined worship as “bowing all that we are before all that God is.” How does
this look in your life?
3. What is the relationship between worship (as defined in this lesson) and singing?
SAMPLE
ONLY
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 purchase Draw Near, please visit musiccamp.info/shop.