Category: Default

As this pandemic drags on I’ve been thinking about all the freelancers who are scrambling to make ends meet. I can’t help them all, but maybe I can help a few of them who work for me part-time. If you commission a piece from me during the month of April, I will turn 100% of the profits into extra work for my people.

• Do you want a pandemic premiere–a new composition for the musicians who are stuck inside the house with you?
• Have you written lyrics that you’ve always wanted to be set to music?
• Do you have a favorite Psalm that you’d like me to turn into a song?
• Are you working on a video or animation that needs a soundtrack?

If you have a secure income during these unstable times, let’s make some music and help out some folks who need work!

After a particularly quick response to a music request, an appreciative GSM customer suggested there should be a coffee mug that states: “The world is a better place because of Greg Scheer.” I don’t know that I or those who live with me always agree with this sentiment, but it’s nice to hear, nonetheless!

The annual Calvin Worship Symposium kicks off on January 30 and it is shaping up to be a fun year for me. On Thursday I’ll lead my yearly songwriters’ workshop; this year I’m joined by Wendell Kimbrough, Swee Hong Lim, and Kate Williams. Friday and Saturday morning’s worship will feature a new song I wrote with Wendell, after which the plenary will begin with my arrangement of “Anta Anthemon” from Lebanon. Fri/Sat afternoon Bob Keeley and I will give a workshop entitled, “Everything I Know about Worship Bands I Learned from The Beatles” which is guaranteed to be interesting. Friday night I’ll play string bass with the Aeolians; their director, Jason Max Ferdinand, will lead the congregation in singing my new arrangement of “Children of the Heavenly Father” in the closing service Saturday. And, of course, worship symposium wouldn’t be complete without a St. Sinner Orchestra concert at Schmohz, Thursday at 9pm. If you’re attending, please say hi!

One could certainly do worse than this recent testimonial from John Lemmenes after hearing my arrangement of Keur Moussa’s “Magnificat”: Great music repeats without being repetitious; surprises without alarm; transports and we are transformed to emerge, as from a fever dream, in the embrace of the unknowable. So this. Bravo Maestro, Bravo.