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GOOD FRIDAY

MUSIC & WORSHIP RESOURCES

Friday, April 22, 2011

Tony McNeill, Guest Lectionary Liturgist
Guest Lecturer in Choral Music, Appalachian State University, Boone, NC

Worship Planning Notes

In the book Ancient-Future Time, Robert E. Webber states:

On this special day in biblical history, the church that shouted, “Crucify Him! Crucify Him!” now witnesses and reflects on the sorrow and pain of their vengeful outcry. Jesus is dead. This radical teacher who professed to be the Son of God has been crucified. In the larger picture of salvation, this death is much more than judgment handed down by human authority. This death is the unfolding of a divine drama, mysteriously orchestrated by the Triune God that began in a manger in Bethlehem some 30 years prior.

Nolan Williams underscores this notion in one of his contemporary hymns, “Messiah Now Has Come”: “With His gift of life, He sacrificed from a manger to a tree.” Understanding Jesus’ death as a necessary part of a divine drama set forth by God (even before Jesus’ birth) gives way for the church not to wallow aimlessly in the death itself. The crucifixion is a reminder of how “God proves his love for us in that while we still were sinners Christ died for us.” And because “we have been justified by his blood, we will we be saved through him from the wrath of God.”

The dialogue between sorrow (John 19:31-37) and hope (Romans 5:1-9) is evident in the scriptural passages selected for this day. It is suggested that the music and other artistic expressions for this service not be only be reflective and mournful but also point to the grace and hope made accessible because of this death. The challenge for some may be finding the balance in the artistic choices so that both dimensions of this day are understood and experienced by the congregation. One way to help illustrate this dichotomy is to incorporate Holy Communion right before dismissing congregants in silence.

Another way to establish balance is to include an appropriate lament and praise passage from the Book of Psalms. If a choir participates, it is suggested that they and the musicians wear all black.

Clergy should wear all black. If Holy Communion is served, the elements could be covered with red or black satin fabric or not covered at all.

If the selected Scriptures are to be shared, it is suggested that someone (or more than one person) with an exceptional speaking voice and a solid understanding of the texts proclaim the Scriptures from memory (with a laviler microphone, if available). The John text could be offered from the pulpit area, while the Romans text could be offered from the aisle in the middle of the church or in a location among the people. If the church has screens, it may be helpful finding appropriate, but not offensive, images to underscore the crucifixion and hope of the Scriptures selected for the day. In an effort to keep the “divine drama” at the core of the worship service, the offering could be received as persons enter the worship space or as they leave in silence.

1. Litany, Responsive Reading, Invocation, or Call to Worship

Invocation
On this most sacred night (day), we gather to remember. We remember the greatest sacrifice of love. We remember the journey of Jesus to the cross. We remember the price Jesus paid for our salvation. And we remember our sinfulness. We remember that Jesus’ disciples ran away afraid. We remember that Jesus was left alone. Tonight (Today), we gather to be present. Gracious God, this night (day), we gather to remember. Thank you for Jesus. Thank you for your presence. Thank you for your love. Thank you for this holy memory. For the sake of Jesus Christ we pray.
Amen.

Responsive Reading

One:	Faithful God, we stand in the dim shadows of a cross, longing for resurrection. But today we pause to remember the pain of the cross, and the pain of the crosses we face.
All:	We pause to cry for Sudan, for Rwanda, for more than one-third of the African continent suffering from full-blown AIDS. As the disciples wept on that fateful day so long ago, we weep for the Savior and for the tree, and all the trees that one from which he hung represents.
One:	We cry for our ecology: birds slick from oil, forests decimated causing mudslides and runoff, air polluted from our disdain for the creation that cries with us.
All:	As those first disciples wondered whether that fateful day was the end of their dreams, we admit we are afraid that our dream of a just, non-violent world is fleeting and in peril of death. Help us, God, as we live in the tension between this death and your seeming silence, the time after the crucifixion and before the resurrection, in the name of the crucified one. Amen.

2. Hymns and Congregational Songs
(a) At Calvary. By William R. Newell. Tune, (AT CALVARY), by Daniel B. Towner

(b) Down at the Cross. By Elisha A. Hoffman. Tune, (GLORY TO HIS NAME), by John H.Stockton

(c) He Will Remember Me. Text and Tune, (REMEMBER ME), by Eugene M. Barlett

3. Spirituals or Traditional Songs
(a) I Know It Was the Blood. African American Traditional Song. Tune, (IT WAS THE BLOOD).

(b) He Never Said a Mumblin’ Word. African American Spiritual

(c) Were You There? Negro Spiritual. Tune, (WERE YOU THERE), arr. by John Work and Frederick Work

(d) There Is Power in the Blood. Text and Tune, (POWER IN THE BLOOD), by Lewis E. Jones

4. Gospel Songs for Choirs, Ensembles, or Praise Teams
(a) Justified by Faith. By Michael A. Brooks

(b) You Did It All for Me. By Richard Smallwood

(c) The Blood Still Has Miraculous Power. By Kurt Carr

(d) The Blood Song. By Kirk Franklin

5. Liturgical Dance or Mime Ministry Music
(a) Just for Me. By Donnie McClurkin

(b) Justified. By Smokie Norful

(c) Two Thieves and a Lamb. By Nolan Williams Jr.

(d) Why Did He Do It? By John Patrick Adams

6. Anthems
(a) The Precious Blood of Jesus. By Joseph Joubert

(b) And It Happened on Calvary. By Raymond Wise

(c) God So Loved the World. By John Stainer

7. Modern Songs (Written between 2005–2010)
(a) These Nails. By Donald Lawrence

(b) Above All. By Michael W. Smith

(c) The Blood Still Works. By Malcolm Williams

8. Offertory Song or Instrumental
(a) Blood Restoreth My Soul. By Roland Perry II

(b) Lamb of God. By Glenn Burleigh

(c) Calvary. African American Spiritual. Tune, (CALVARY).

9. Song or Instrumental for the Period of Prayer
(a) Just for Me. By Kenneth Lewis. (Suggestion: Chorus only)

(b) He Looked Beyond My Faults. By Dottie Rambo. Tune, (LONDONDERRY AIRE). (Suggestion: Chorus only, starting at “I shall forever lift mine eyes to Calvary”)

(c) O Sacred Head, Sore Wounded. By Paulus Gerhardt, Robert S. Bridges, and James W. Alexander. Tune, (REDDING), by David Hurd. (Suggestion: Stanzas 1 and 4 only)

(d) Oh, It Is Jesus. By Andraé Crouch

10. Sermonic Selection
(a) Calvary. Arr. by Richard Smallwood

(b) The Blood Still Works. By Malcolm Williams

(c) Because of the Blood. By Christopher J. Watkins

(d) Follow Me. By Glenn E. Burleigh

11. Invitational Song or Instrumental
(a) There’s Room at the Cross for You. Text and Tune, (STAMPHILL), by Ira Stamphill    

(b) A Perfect Sacrifice. By V. Michael McKay

(c) My Faith Has Found a Resting Place. By Lidie H. Edmunds. Tune, (NORWEGIAN MELODY), by William J. Kirkpatrick

(d) Alas! And Did My Savior Bleed. By Issac Watts. Sung to the Tune, (CLEANSING FOUNTAIN).

12. Benediction Song or Instrumental
(a) Nothing but the Blood of Jesus. Text and Tune, (PLAINFIELD), by Robert Lowery

(b) How Can You Recognize a Child of God? By Margaret P. Douroux

(c) Victory in Jesus. Text and Tune, (HARTFORD), by Eugene M. Barlett

(d) The Blood Will Never Lose Its Power. Text and Tune, (THE BLOOD), by Andraé Crouch

Cites and Additional Information for Music and Materials Listed

1. Litany, Responsive Reading, Invocation or Call to Worship

Invocation. By James Abbington and Linda H. Hollies
Location:
Responsive Reading. By Tony McNeil

2. Hymns and Congregational Songs
(a) At Calvary. By William R. Newell. Tune, (AT CALVARY), by Daniel B. Towner
Location:
(b) Down at the Cross. By Elisha A. Hoffman. Tune, (GLORY TO HIS NAME), by John H. Stockton
Location:
(c) He Will Remember Me. Text and Tune, (REMEMBER ME), by Eugene M. Barlett
Location:
3. Spirituals or Traditional Songs
(a) I Know It Was the Blood. African American Traditional Song. Tune, (IT WAS THE BLOOD).
Location:
(b) He Never Said a Mumblin’ Word. African American Spiritual
Location:
(c) Were You There? Negro Spiritual. Tune, (WERE YOU THERE), arr. by John Work and Frederick Work
Location:
(d) There Is Power in the Blood. Text and Tune, (POWER IN THE BLOOD), by Lewis E. Jones
Location:
4. Gospel Songs for Choirs, Ensembles, or Praise Teams
(a) Justified by Faith. By Michael A. Brooks
Location:
(b) You Did It All for Me. By Richard Smallwood
Location:
(c) The Blood Still Has Miraculous Power. By Kurt Carr
Location:
(d) The Blood Song. By Kirk Franklin
Location:
5. Liturgical Dance or Mime Ministry Music
(a) Just for Me. By Donnie McClurkin
Location:
(b) Justified. By Smokie Norful
Location:
(c) Two Thieves and a Lamb. By Nolan Williams Jr.
Location:
(d) Why Did He Do It? By John Patrick Adams
Location:
6. Anthems
(a) The Precious Blood of Jesus. By Joseph Joubert
Location:
(b) And It Happened on Calvary. By Raymond Wise
Location:
(c) God So Loved the World. By John Stainer
Location:
7. Modern Songs (Written between 2005–2010)
(a) These Nails. By Donald Lawrence
Location:
(b) Above All. By Michael W. Smith
Location:
(c) The Blood Still Works. By Malcolm Williams
Location:
8. Offertory Song or Instrumental
(a) Blood Restoreth My Soul. By Roland Perry II
Location:
(b) Lamb of God. By Glenn Burleigh
Location:
(c) Calvary. African American Spiritual. Tune, (CALVARY).
Location:
9. Song or Instrumental for the Period of Prayer
(a) Just for Me. By Kenneth Lewis
Location:
(b) He Looked Beyond My Faults. By Dottie Rambo. Tune, (LONDONDERRY AIRE).
Location:
(c) O Sacred Head, Sore Wounded. By Paulus Gerhardt, Robert S. Bridges, and James W. Alexander. Tune, (REDDING), by David Hurd
Location:
(d) Oh, It is Jesus. By Andraé Crouch
Location:
10. Sermonic Selection
(a) Calvary. Arr. by Richard Smallwood
Location:
(b) The Blood Still Works. By Malcolm Williams
Location:
(c) Because of the Blood. By Christopher J. Watkins
Location:
(d) Follow Me. By Glenn E. Burleigh
Location:
11. Invitational Song or Instrumental
(a) There’s Room at the Cross for You. Text and Tune, (STAMPHILL), by Ira Stamphill
Location:
(b) A Perfect Sacrifice. By V. Michael McKay
Location:
(c) My Faith Has Found a Resting Place. By Lidie H. Edmunds. Tune, (NORWEGIAN MELODY), by William J. Kirkpatrick
Location:
(d) Alas! And Did My Savior Bleed. By Isaac Watts. Sung to the Tune, (CLEANSING FOUNTAIN).
Location:
12. Benediction Song or Instrumental
(a) Nothing but the Blood of Jesus. Text and Tune, (PLAINFIELD), by Robert Lowery
Location:
(b) How Can You Recognize a Child of God? By Margaret P. Douroux
Location:
(c) Victory in Jesus. Text and Tune, (HARTFORD), by Eugene M. Barlett
Location:
(d) The Blood Will Never Lose Its Power. Text and Tune, (THE BLOOD), by Andraé Crouch
Location:

Note

1. Webber, Robert E. Ancient-Future Time: Forming Spirituality through the Christian Year. Grand Rapids, MI: Baker Books, 2004, p. 130.

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