Excellence in Music and Worship
Original Musical Compositions and Thoughts on Worship
This is an essay on the famous Christmas carol, performed live by the Odessa Christian Faith Center Vocal Ensemble, Christmas Eve 2023. It was an experiment in linear textual writing, as well as linear melodic part-writing. Added to the song are some theological thoughts.
Hope you enjoy!
God has a call upon this nation. His light will yet shine through us to the benefit of the world. As we humble ourselves under His might hand, He will bring us back to the destiny we are meant to fulfill.
As Jesus carried His cross, the awkwardness and humiliation of facing crucifixion, He did it for us, knowing He would purchase us from our sin and bring us into His family. He gave His life, laying down all privileges, so we could see Heaven. He faced hell in a way no one else could, so we could gain eternal life.
It was actually in the Garden that Jesus won the victory internally before going to the cross. He found the strength in prayer to head toward the cross, being separated from His Father for the first time. He had courage to face the humiliation and pain of crucifixion, knowing the joy that would soon follow in resurrection.
The noisy and excited crowd on Palm Sunday was enthusiastic about Jesus’ entry into Jerusalem, only to deliver Him to Crucifixion days later.
This is a composition for acapella choir, using the famous text from the Bible, as Mary greeted Elizabeth. (Lk. 1:46-55) The miracle of The Seed being placed in her womb, the Word becoming flesh, Heaven touching earth is even more astounding knowing that it happened to a young girl who was unsuspecting of her destiny to bear the Child Who would be the Savior of the world.
This was a live performance by the Odessa Christian Faith Center choir, directed by Stephanie Carter, Christmas Eve 2021.
Hope you enjoy!
Here’s an original song I wrote about crossing seemingly dangerous waters in order to get to where God wants you to go. The Other Side is where the blessings are, but sometimes we have to look above the wind, waves, and storms of life, in order to get there.
When Peter stepped out of the boat, he walked on the water until he started looking at the negative circumstances. When the disciples were struggling in the boat, thinking they would perish, Jesus was asleep in the stern, at peace, because He already gave them the word to go to the other side. He ended up rebuking them for their lack of faith because they could have done what He did, which was to command the wind and waves to desist.
We have what it takes to make it to the Other Side, where the promises are, but He expects us to utilize our faith in His Word in order to get there. We trust Him and we focus on His promises, then we Go.
This recording is taken from a live service, with score overlaid.
Hope you like it.
Here is a collage of well-known Christmas carols, framed in a unique way. Throughout the medley, a tone row is used a number of times. (You may be surprised to find its iterations.) It was presented by the Odessa Christian Faith Center choir in 2021. Hope you enjoy!
Movement 1
Movement 2
Movement 3
Movement 4
This is an experiment, using the same basic material as 1.0; however, this time, instead of moving around the ‘circle of fifths’ (derived from within the overtone series of R20), the progression goes around the opposite direction (i.e. the ‘circle of fourths).
Since the circle of fifths is derived from within the overtone series, instead of by the Pythagorean method, the tunings between the key centers are not all perfectly in a 1:3 ratio. ( More on this later, in the article Integrated Frequency 2.)
This is an illustration of how the cycle is perfectly tuned by the 1:3 keys, while the version 1.0 is not derived in a 1:3 ‘perfect’ ratio between the keys as they modulate.
As in all of these experiments, the tempo, tuning and key are congruent in frequency.
This is an experiment in modulation between the three overtone series ‘keys’ of R30 (B), R20 (E), and R22.5 (F#). There are chord progression sequences that can be made within a single overtone scale, as shown by previous experiments. In this experiment, however, I seek to expand the harmonic possibilities by essentially creating a tonic, dominant, and subdominant framework.
In addition to the above concept, I added a 12-note chromatic line, developed with the common serialism components of Prime, Retrograde, Inversion, and Retrograde/Inversion.
As the keys shift, the tempi and 12-tone lines also shift. Since the 12-tone line is derived directly from the same overtone series of its underlying harmonies, we see that serialism and harmony can co-exist.
In this work, tempo, harmony, and chromatic serialism are compatible and congruent.
This is an experiment in modulation between the key/tempos of R40 (eighth-note = 150) and R27.5 (eighth-note = 206.25). The melody, harmony, and tempo all shift from one key to the other, alternating back and forth, from zone to zone. Creating tuplets in the melody, also gives rhythmic dimensionality to the changing tempi.
More information: Integrated Frequency
Hope you enjoy!
This is an experiment using two distinctly composed lines, each in its own key. The keys are R70 (D Major) in the tempo of 131.25BPM and R40 (E Major) in the tempo of 150BPM. The lines interact in an 8-bar pattern in a 7:8 relationship.
Interestingly, even though the lines are similar in timbre, the tuning of each line causes the ear to psychoaccoustically ‘track’ with each line without confusing them. In panning, they end up trading places, and the ear can follow the motion.
See more about Integrated Frequency.
Hope you enjoy!
This experiment deals with thematic materials used from Integrated Frequency 1: ‘Full-range Melody’. However, in this case, the melodic phrase is used in three different keys: F#, B, and E. Each key is derived from within the global root of R20. The corresponding tempi relating to each key is as follows:
F# = 168.75BPM
B = 112.5BPM
E = 150BPM
The tempo/scale relationships formed between each of the parts create a macro-polyrhythm of 9:12:16 as the melodies repeat. Each of the relationships constantly change as they inter-weave with one another.
Hope you enjoy!
This is one of my second group of experiments in Integrated Frequency, developing key modulation. I took the Harmonic Progression material, from the Integrated Frequency 1 project, and utilized an extended form of the Overtone Series through other branching Overtone Series scales.
Modulating through all 12 chromatic keys, and utilizing rhythmic sounds derived from fundamental frequencies of R20 (root, 20Hz), the thematic harmonic progression material is stated three times in three different tempi, all inter-related.
Hope you enjoy!
Here is a version of Gelukkig I made with the East West Symphonic Library. The many textures and articulations necessary for this work to be successfully produced maximized the software’s capability.
Hope you enjoy it.
Here are a couple more thoughts on ‘There Is Life’. The score shown below does not contain the full orchestration, which would probably be too small to read in this format. However, this condensed score shows the basic concept of the piece. Perhaps someday it could be done with a live full group consisting of rhythm section, choir, praise team vocalists, and orchestra. Until then, I’m glad to have this presentation.
Also, since the track itself bears a good bit of work, I wanted to share it without vocals. This was my first attempt at using EastWest Hollywood Orchestra sample library in conjunction with Logic X. Hope you enjoy!
(without vocals):
This was an experimental piece, written for Easter, in which the tempo gradually morphs through the middle of the song, becoming twice as fast at the end, as the opening material returns in the same tempo in which it started, only now in ‘cut-time’. In order to make this rhythmic transition successfully, a click-track arrangement was made to guide the rhythm section players successfully.
Due to the pandemic, Easter 2020 presented a big challenge: how was I going to do a piece of this magnitude? I had already started producing the orchestration and arrangement with Logic Pro and the EastWest Hollywood Orchestra sample library. I ended up digitally producing all instrumentation together with two phoned-in choir parts, and a four-member vocal ensemble, including myself.
The original concept of the work was to blend the various stylistic elements of: 1) Praise and Worship, 2) Symphonic Orchestration, 3) Elements of folk/spiritual, using the pentatonic scale, and 4) an Obligato Choir line throughout. The piece starts in F minor and concludes in Eb Major after going through a passage of chromaticism towards the end of the piece.
I wrote the original version several years ago with limited success in our performance. The difficulty it presented to our group was a rhythmic one. Making the ‘twice as fast’ change was difficult for our team at that time. I knew the only way to successfully achieve it would be to use click across the entire group, including vocalists. Finally having this capability in my grasp, the pandemic situation caused me to abort the larger group idea, replacing the instrumentation with a fully produced track.
Following is the video performance used for Odessa Christian Faith Center’s Easter 2020, featuring Ana Young, Carmen Young, Debra Bledsoe, and myself:
There Is Life (©2020 Lowell Hohstadt)
There is life
There is life in the River,
life in the River which flows from the Throne,
it flows from the Throne,
it flows from the Throne
There is life
There is life in the breath of His Presence
There is peace beyond measure,
beyond measure,
a peace freely given,
freely given
It surrounds, it surrounds
and it covers like a flood
covers like a flood,
like a flood
There is fruit precious fruit
which grows on the Vine,
inside there is seed to be planted
If it falls up on ground that is fallow and moist,
its power, its power,
its power will reflect all of Heaven,
all of Heaven
There is fruit precious fruit
which grows on the Vine,
inside there is seed to be planted
If it falls up on ground that is fallow and moist,
its power, its power,
its power will reflect all of Heaven,
all of Heaven
All of Heaven
Jesus is the Resurrection
Jesus is the life
No one comes unto the Father
No one comes unto the Father of Lights
with Whom there is no variation,
with Whom there is no shifting shadow of turning
No one comes unto the Father of lights
by any other way but Jesus
Jesus is the Resurrection Jesus is the Life
Jesus is the Life
Resurrection, Resurrection
Resurrection, Resurrection,
If you believe there is nothing impossible
If you believe there is nothing impossible
For He said, "I Am the Resurrection, I Am the Life,
He who believes in Me will never die."
Resurrection, Resurrection
If you believe, If you believe,
All things are possible
Resurrection, Resurrection,
Resurrection, Resurrection,
Resurrection, Resurrection,
Resurrection and the Life,
Resurrection and the Life
There is life in the River
which flows from the Throne,
There is life in the breath of His Presence
There is peace beyond measure, a peace freely given,
it surrounds and it covers like a flood
There is fruit, precious fruit
which grows on the vine,
inside there is seed to be planted
If it falls upon ground that is fallow and moist,
its power, its power,
its power will reflect all of Heaven
All of Heaven
He said, "I Am the Resurrection. I Am the Life.
I Am the Resurrection. I Am the Life.
Believe in Me, Believe in Me,
You'll never die.
I Am the Life, I Am the Vine,
I Am alive, alive, alive."
There is life,
There is Life!
Here is an arrangement of the well-known Christmas hymn. Hope you enjoy!
I enjoyed writing this arrangement/composition of the well-known Christmas carol. My family, along with Tim Tyler on viola are all involved, including Jonathan Hohstadt who did the video.
I hope you enjoy it.