My Musical Musings Blog | betsyleebaileymusic.com - The Music of Betsy Lee Bailey

An Upbeat Text Needs an Upbeat Tune

6/14/2025

The timeless tradition of beautiful folk hymns is part of our American History. We owe a lot to our forebears for the gorgeous melodies and texts of "Come Thou Fount," "Be Thou My Vision," "Simple Gifts," "Saints Bound for Heaven," and the "Battle Hymn of the Republic," to name a few. These songs and hymns reach into our souls and provide voice to the yearnings and feelings of devotion that we long to express.

Many of these tunes and texts were in effect written "by committee." In other words, the ideas have been sung and modified and developed over many years from many situations. Verses have been added and arrangements have been made that may or may not have modified the original melodies. The originals may never have been written down, so how would we know? What we have had handed down to us is the best of the collective memories. Each succeeding generation has had an arranger or two that puts his unique stamp on the piece and gives it new life.

Many of the tunes and texts that we so admire were actually written separately. Congregations in olden times generally only had the texts of the hymns printed for their use. Most congregations sang without accompaniment, in unison or made up their own harmony parts. The tunes were well-known and matched to whatever text suited them that day. Many texts were matched to several different tunes. The tunes even had their own titles, such as "Old Hundredth" that we know today as the tune to "Praise God From Whom All Blessings Flow."

The song leader or clergyman would stand up and announce the page of text and state which tune it would be sung to. Some hymnbook collections today have a list of tunes and texts in the glossary that gives meters and suggestions for matching tunes and texts. Only in recent times have the hymn texts and tunes become so synonymous. Then again, there are also newer hymns that were written with composer and lyricist collaboration and would never be considered for alternate tunes. (But very likely could be!)

For example, "Choose the Right" was written by a separate author and composer, Joseph Townsend (1849-1942) and Henry A. Tucket (1952-1918) sometime before 1909. Since the leaders of the Church made "Choose the Right" such a motto for the youth and even created the CTR shield logo and rings, no one even thinks of putting those words to a different melody. However, there have been many new arrangements made. Here's mine:

"Choose the Right" - sung by the Fruit Heights Stake Children's Chorus and a Young Women's Chorus

Celebrating International Women's Day

3/8/2025

On this International Women's Day 2025, it is appropriate to celebrate the largest Women's organization in the world.

March is the month that celebrates the anniversary of the Founding of the Relief Society.  This is the women's organization of the Church of Jesus Christ of Latter-Day Saints. It was officially started on March 17, 1842 to help provide service to the needy in Nauvoo, Illinois. And now, through the efforts of Relief Society Sisters around the world, much service is provided for those in need.

And yet, the Relief Society is much more. It offers a place for all the women to gather together not only to love and serve each other, but also to learn and grow by teaching each other gospel principles in word and deed.

Some years ago, a call went out for music to be created that reflected the history and mission of Relief Society. Many of these songs were premiered at a Relief Society Music Festival held on Temple Square in November of 2014. One of my songs was sung on that concert, too.  "Come and Sit With Us" was inspired by a picture of African Relief Society sisters. It was obvious that this picture was snapped as the women were actually just getting ready for the picture to be taken.

These women were indicating for the other women to join them for the photo. They were adjusting their positions on the benches to make room for everyone. Their smiles of welcome were infectious. The caption read "Come and sit with me."  Is this not the great mission of Relief Society throughout the world? Do we not want all of our sisters to be included in the joy of our worldwide sisterhood?

As I was thinking through the ideas for the song, a friend of mine presented me with a lovely framed piece of art that she had penned in beautiful calligraphy. It was a quote by one of the first members of the Relief Society.

"We must cherish one another, we must watch over one another, comfort one another, and gain instruction that we may all sit down in heaven together."
-- Lucy Mack Smith

This quote became the perfect pairing for the other ideas for my song. I went to work and had the song finished relatively quickly. Lucy Mack Smith, mother of the prophet Joseph Smith who was the founder of the LDS Church, knew how important it was for women to come together, to work together, to love and serve each other, and share that special bond of sisterhood. She also used the word "sit." (It isn't the physical act of sitting that is important, it is what sitting represents - making a comfortable place where love is a common bond.)

Sister Smith talked of the hope that we will be able to sit down in heaven all together. That is the idea I wanted to connect to the first part of my song -- women making space for all to sit down together in love and sisterhood on earth connecting to the idea that we may someday also be able to sit down in heaven all together.

As you plan your celebrations for the Relief Society Birthday this year, give a thought to how we invite all to "Come and Sit With Us" in a worldwide sisterhood. Perhaps you could include this song in your celebration. Enjoy!

Report on Music Workshop

2/6/2025

Darling Demonstration Dude

Whenever I teach at one of these Music Workshops, I wonder out of all the things I've prepared, which I will really get a chance to share.

This was a first ever music training in this small Pennsylvania stake. The people live hours away from each other and from the building we were using. We wondered who if anybody would show up. I had 10 people come to my Primary break out session. My 10-year-old grandson I coaxed into helping me out. He was my "Demonstration Dude." He helped me set up a display of visual aids and games and other stuff. Then we practiced a few interactive "routines" to demonstrate how the visual aids, games, singing skills, and simple instruments like chimes worked. We even did some straight up movements to show how actions can be used to teach or review a song.

The trouble always is trying to stick strictly to an outline. I did not know exactly what these Primary Music Leaders were interested in or needed help with. I am afraid I left some things out in favor of addressing their questions. Then we just ran out of time. Hopefully I gave them some good information and infused some energy into new things they might try in their own wards.

Then, one lady asked, "Where can I get transposed songs. The Primary songbook has songs that are too high for me to sing."

I found myself saying, "Oh, no, you mustn't lower the key just for your benefit. The children need to sing in the keys as they were written. Children naturally have light high voices with a singing range of roughly one octave Middle C up to Treble C. They need to sing in their head voices so they can learn to hear and match pitches."

Then we talked about how when children try to sing along with and imitate lower adult voices, they tend to match pitches only on the few notes in their speaking range and then they monotone croak the rest.

"And never ask them to 'Sing Louder" to the point that they just yell!"

I told them a story of when I jumped in to accompany in a Primary I was visiting. The song leader handed me a piece of music that I was unfamiliar with. She said the children had learned it, so I just needed to play the piano part. As I sight-read the 5-page song, I realized that I was naturally slipping into "rock-band" mode. It was clearly a rock power ballad in chord progression, rhythm, and style. I caught myself, and reigned back my pop inclinations when I realized that the kids were singing about the Atonement of the Savior. I wouldn't have known, though, from how they were singing. They were yelling loudly in mostly monotone.

Probably, the song leader had told the children to sing louder, but the song was too low. When the melody got down below Middle C (which was most of the song), all they could do was croak out a noise. Then when it got above an F4, they had not been encouraged to sing in their light head voices and couldn't match pitches, they just yelled in monotone. This hurt my heart. It was so hard to listen to such irreverent treatment of such a sacred message.

If no other instructions resonated with these Primary Song Leaders, I hope that did!

Clinicians at a Church Music Workshop

1/27/2025

Bonnie Lee with one of the Choir's Emmy Awards

This weekend, my sister Bonnie Lee and I will be clinicians at a Church Music Workshop in Gettysburg, PA. My sister will be giving a keynote address, then we both will be teaching classes. My sister is somewhat of a celebrity due to the fact that she recently retired from the Tabernacle Choir after serving for 22 years. She will be speaking about "Music: the Heart of Worship" and will probably use some examples from her many years singing in the choir. Then she will be teaching a class on "Accessing the Power of the Hymns" with the focus on sharing backgrounds of some new hymns released last year for the new hymnbook. I have been asked to teach a class on Primary Music

Bonnie Lee and Betsy Lee Bailey on Temple Square about 2013

We have both been struggling to narrow our topics down to what can really be accomplished in a 40 minute class period. When you serve a long time doing something you love (22 years in TabChoir for her and six years in the TabChoir and 43 years leading Primary Music for me), you tend to have many, many inspirational stories and a lot of stored up information you could share.

So how to pare down your thoughts to essentials? We were told that the main purpose of this Workshop is to inspire other music leaders to get excited about serving in their callings.

Here are some other topics we are to address:
1. Just how Music is so important for worship.
2. Inviting the Spirit into the meetings through the music, teaching activities, and good preparation.
3. Be as polished as possible so that you don't do things that break the spirit of reverence and worship.
4. In Primary especially, talk about how reverence is so important in setting the tone for worship.
5. How to "work the room" during Primary Singing Time to be able to switch effortlessly between the fun stuff and more reverent moments.
6. Model the excitement of serving in music callings and how special music is to worship

Because I like art, I could easily bring examples of 43 years worth of collecting and using Visual Aids and Games. But I think that could overwhelm some people --- especially the newly called Primary Music Leaders. So, I've decided to stick to essentials like:

1. Memorizing the Primary Songs before teaching them
2. Modeling good singing techniques (posture, breathing, tone, diction, etc.)
3. Learning good PACING (packing a lot into limited time)
4. Striving for the Magic 7 Mark (teaching to the seven learning styles)
5. Assembling a Song Leader's Bag of Tricks
6. Teaching the Gospel through Music
7. Bearing personal testimony.

Dr. Randolph Lee, Trumpet

We also want to encourage people in music callings to expound their love of REHEARSING. "Nearly every true musician has a life made up of rehearsals. "We like rehearsals!"

Here is a quote about rehearsing from our nephew Randy Lee who currently teaches at BYU and plays in the Orchestra at Temple Square. "As musicians we rehearse until there is no possibility of making a mistake."

This is such a privilege to be able to do this Church Music Workshop. I hope and pray that we can encourage the attendees to find joy and excitement in their Music Callings.

Picking Music for Stake Conference

1/15/2025

At rehearsal for a Stake Conference Choir the other night I was asked by a friend, "So, is it fun or boring to sing songs that you know so well and could probably sing in your sleep?" This friend knew I had sung in the Tabernacle Choir and that we were singing one of Mack Wilberg's arrangements that we had sung regularly in that choral organization. All I could answer was "yes."

The trouble with singing the Wilberg arrangement of "The Spirit of God" is that small choirs can't really do it justice. It starts with one male voice, then goes to two, then a trio, then 4-part men, then finally SSAATTBB when the women are added at the end. It keeps building and building, or it should, but our group of less than fifty voices just can't seem to make that happen. But we will do our best.

I just feel bad when a group of singers are all trying so hard but they run out of gas before the climax. Mack Wilberg wrote for large college choirs and then an even larger group with the Tabernacle Choir and Orchestra at Temple Square plus rather powerful organs in the Tabernacle and Conference Center with equally powerful organists. No wonder that particular arrangement is so masterful.

But then there is reality.

Personally, I would rather listen to a choral group that sings music that plays to their strengths such as sticking with solid SATB with possible splits with a descant or high note for the soprani at the very end. I love when the group sounds balanced, blended, and powerful --- not when they fizzle out before the climax.

Another problem with singing a song you have memorized and your part doesn't even come in until the last few pages is that you have to wait through everyone else's learning time. Now, generally, I like rehearsals, but even for me, I start to lose patience when the other women in the choir just can't keep from whispering and talking amongst themselves during their down time. It seems to me that the choir director would take that into account and at least choose music that everybody gets equal time to sing.

On a more positive note, however, I was told at rehearsal that the other song that will be sung during this January Stake Conference will be one of my duet arrangements. "Lead Kindly Light" will be sung by two competent singers. So, though I don't know if they will sing the higher or lower version, I am sure they will do a good job. I am excited to hear them sing.

"Lead Kindly Light" is available in 2-part chorus or duets of equal voices in both higher and lower versions.

Youth Chorus for Conference

10/16/2024

As a Ward or Stake Choir Director, I have been very fortunate. Through the years, my family was very supportive. So if I needed to do a special Ward Choir number or provide a Youth Chorus for Stake Conference, I simply convinced my family to come sing and we were halfway there. That's the blessing of having a big family who enjoyed singing together. They could anchor the sections allowing us to sing in three or four parts easily.

Now I am at a different stage of life. I am definitely an empty nester. And I am not currently serving as a Ward or Stake Choir Director. However, I still get asked a lot about music I have used for Choirs of all types, especially for a Youth Chorus for Stake Conference. I have filing cabinets full of music I could recommend, but I will limit this to a couple of pieces I was inspired to write.

Sometimes the instruction from leadership about what to sing for a certain meeting is very specific. And I have often been frustrated looking for just the right piece to fit our needs, and not finding it. Then, at the most inopportune times when I'd be out chauffeuring kids around or while waiting in the parking lot to pick up kids from activities, that's when I would get a bit of inspiration. At that point, the challenge was to get home and write out the new song or arrangement before I lost that train of thought.

Here are two examples of pieces that came through a combination of desperation and inspiration. They are in completely different musical styles, as well.

"Come We That Love the Lord" was written for a Youth Chorus for Stake Conference. The lady who was going to accompany us on the organ really only liked Baroque music. She could play hymns from the hymnal and she could play pieces heavily influenced by J. S. Bach, but she didn't play anything else. So, I wrote this arrangement with that in mind. She was happy, the kids were happy, and so was the Stake President. All was well. Besides, I got so many comments from people saying how much they loved the music.

"By Small and Simple Things" was inspired by seeing a beautiful plaque of Alma 37:6 done in calligraphy. I don't know why I felt so prodded to write a piece on that scripture. There have been so many songs written on that text. But, I had the inspiration, so I began to write. The music is definitely in a more modern style and complicated with some layered melodic ideas. And yet, to this day, whenever I hear this scripture quoted, I immediately think of the lines I was given to provide counterpoint to the main idea:

"As many strokes create a portrait, so our lives reflect the Lord.
Every time I read the holy scriptures, I feel the goodness of His word.
And every day I'll wear the armor that befits a son of God.

By small and simple things are great things, are great things,
Are great things brought to pass."

Hymn Texts with Particular Meaning

9/3/2024

Last Sunday was a Fast and Testimony meeting. While I direct the hymn singing and select the hymns, I choose them months in advance of the meetings. That's why I was so surprised to learn that one of these hymns had particular meaning for many people. A recurring theme for some of the testimonies that day was about "In Humility, Our Savior" text by Mabel Jones Gabbott set to the Welsh hymn tune "Hyfrydol" written by Rowland H. Pritchard.

Mabel Jones Gabbott 1910-2004

In Humility, Our Savior

1. In humility, our Savior,
Grant thy Spirit here, we pray,
As we bless the bread and water
In thy name this holy day.
Let me not forget, O Savior,
Thou didst bleed and die for me
When thy heart was stilled and broken
On the cross at Calvary.

2. Fill our hearts with sweet forgiving;
Teach us tolerance and love.
Let our prayers find access to thee
In thy holy courts above.
Then, when we have proven worthy
Of thy sacrifice divine,
Lord, let us regain thy presence;
Let thy glory round us shine.

Text: Mabel Jones Gabbott, b. 1910–2004 © 1948 IRI
Music: Rowland H. Prichard, 1811–1887 Welsh tune "HYFRYDOL"

Apparently, the words we sing are unique to the LDS faith, no matter the language translation. However, the tune has been around a long time and many other texts have been sung to it. One of my favorite texts is "Love Divine, All Love's Excelling" by Charles Wesley. Mack Wilberg wrote a powerful arrangement of this hymn for the Tabernacle Choir to the "Hyfrydol" tune.

The Mabel Jones Gabbott text is about Jesus' sacrifice and Atonement and is used primarily for preparation to take the Sacrament. The Charles Wesley text is about looking forward to the 2nd Coming of our Lord and Savior Jesus Christ.

Text: Charles Wesley, 1707-1788

Love Divine, All Love's Excelling

1. Love divine, all loves excelling,
Joy of Heav’n to earth come down;
Fix in us thy humble dwelling;
All thy faithful mercies crown!
Jesus, Thou art all compassion,
Pure unbounded love Thou art;
Visit us with Thy salvation,
Enter every trembling heart.

2. Breathe, O breathe Thy loving Spirit
Into every troubled breast!
Let us all in Thee inherit;
Let us find that second rest.
Take away our bent to sinning;
Alpha and Omega be;
End of faith, as its beginning,
Set our hearts at liberty.

3. Come, Almighty to deliver,
Let us all Thy life receive;
Suddenly return, and never,
Nevermore Thy temples leave.
Thee we would be always blessing,
Serve Thee as Thy hosts above,
Pray and praise Thee without ceasing,
Glory in Thy perfect love.

4. Finish, then, Thy new creation;
Pure and spotless let us be;
Let us see Thy great salvation
Perfectly restored in Thee;
Changed from glory into glory,
Till in Heav’n we take our place,
Till we cast our crowns before Thee,
Lost in wonder, love, and praise.

Text: Charles Wesley, 1707-1788
Music: Rowland H. Prichard, 1811–1887 Welsh tune "HYFRYDOL"

Both are powerful texts paired with wonderful music. No wonder people have had such spiritual experiences with this hymn and have called it their favorite! It is mine, too!

Grasping a New Concept

7/29/2024

Sometimes the population in our ward coordinates when they take vacations. Yesterday was one of those days. The front half of the chapel was basically empty. Aside from the family that usually sits on the second row on the left and the Deacons Quorum that sits on the right and a very few others, the pews down front were empty. More people came during the Opening Hymn, but they slid into the back pews and the chairs in the overflow.

I wondered if I would be singing a solo during the hymns. But I could hear some of the voices ok. The weird thing was that I didn't see many visitors, if any. We have kept up our numbers this summer mostly because of Family Reunions, Missionary reports and farewells, and "just because" visitors. Yesterday was different.

The opening hymn was "Now We'll Sing With One Accord" 25, all about the Restoration. It's got a lively tune and great words about the coming forth of the Book of Mormon, the prophet Joseph Smith, the Gathering, and coming to Christ. Even though we have some talented singers in the ward, even they had their noses in their hymnals struggling to sing. Many people told me that they had never sung that hymn before. Too bad, it's a good one.

Then for the closing hymn we sang "Come Thou Fount" 1001, one of the newly released hymns. I was doing a test to see how many people would use their smart phones for the music. We have been explaining how to use the Gospel Library Music app to access the new hymns for the past few weeks in preparation. Well, I noticed that most people were able to use their phones without any issues. Some shared with others sitting next to them. But it was a very familiar hymn, and many people count it as a favorite, so no problems with hearing the congregational singing.

Many in our ward are older, and I have been concerned whether they could grasp this new concept to utilize an app on their phones. It seems that these people can. In fact, some of the comments were that it was "kind of fun."

Who said an old dog can't learn new tricks...

Love for the Hymns of the Restoration

7/15/2024

Yesterday I gave a talk about how to access the newly released hymns from the upcoming LDS hymnal, basically from our smartphones. I had worked hard on preparing the talk, wrote it on Thursday and refined and practiced it for the next few days. It's a good thing I planned ahead, so when I left my carefully printed out remarks at home on the kitchen table, all was not lost.

The talks previous to mine were about relating to our ancestors and doing work for them in the Temples. It felt good that I began with a story about one of my ancestors that then led into my topic. (I just felt bad that I had to tell it from memory.) Here is that story:

"My great-great-grandfather was 9 years old in the mid 1800's when the Mormon missionaries came through his village in northern England. They had set up a street display to try to attract people to hear their message. They also sang the hymns of the Restoration that were unique to the new religion. My great-great-grandfather loved to sing, and he loved what the missionaries were saying. He was taught by the missionaries, believed their message, and soon was baptized a member of the Church of Jesus Christ of Latter-Day Saints.

Before long, though, the missionaries invited the members in his village to emigrate to Salt Lake City along with other new converts from England, which they all did. Except William Bosomworth, at nine years old and the only member in his family, was too young to join them. For many years, William had only the Book of Mormon and the LDS Hymnal to help him keep his faith alive. He loved singing the hymns of the Restoration. Eventually William grew up, got married, and started raising his family. As the children came along, he loved rocking them to sleep by singing.

Many years later, his 16-year-old daughter Jane, my great-grandmother, passed another street display by Mormon missionaries. They too were singing hymns to try to attract people to listen to their message. Jane stopped to listen to the singing. She was so surprised that she recognized their songs, but these were not hymns she sang in their parish Church. She wondered why she knew them.

Jane was a good singer, too. She was excited to go home to sing a bit of the music to her father. He told her those were Hymns of the Restoration that he sang to her as lullabies when she was little. He said, "That's probably why you recognized them."

Jane decided then and there to be taught by the missionaries. She also joined the Church. Later, she and her husband emigrated to Utah, well Idaho really. Because of this conversion story and many others, we in our family have great cause to love the Hymns of the Restoration."

I explained how the first LDS Hymnal was so small it could easily fit in a pocket and only contained words. Then I went on to talking about the new 2026 LDS Hymnal and how to access the new Hymns just released.

To close I related my thoughts back to my Family History story:

"I know that the Hymns and Children's songs have been given to us to bless our lives, to teach us the great truths of the Gospel and help us write those truths deep in our souls. My love for my Heavenly Father and my Savior has deepened as I have sung sacred songs and hymns. Like my great-great-grandfather William Bosomworth, the hymns of the Restoration have helped keep my faith alive.

May they help keep your faith alive, too."

"I Know That My Redeemer Lives" was included in the first LDS Hymnal compiled by Emma Smith. This is my arrangement for solo voice, sung in this recording by my sister Bonnie Lee.

Singing for Prelude?

5/4/2024

Yesterday I was asked to direct the hymn singing for one of the Women's Conference sessions held at BYU. I had trouble getting a parking place at the Marriott Center, so I just barely made it down onto the floor in time to do my job. The organist, a friend from TabChoir Nora Hess, was there ready to play. We were instructed by the sound guy what our cues would be. I took a big breath (to try to catch my breath from running in heels several blocks and down the hundred stairs because I was late) and we were ready.

Whoever expected thousands of women to come into a big arena quietly to sing hymns for 10 minutes reverently BEFORE an event SURE GOT THEIR WIRES CROSSED!!!!! These women came in very chatty trying to find the rest of their parties and wanting to catch up and plan their day. They were so excited to see each other. They had absolutely NO IDEA that they should be sitting quietly and singing reverently. They were too busy trying to find seating near their friends.

So there I was singing a solo for 10 minutes waving my arms like a lunatic.

Every so often someone new gets put in charge and tries what they think is a novel idea. They think it is something that has never been tried before and will work splendidly and put everyone in the right frame of mind and will set a reverent mood for the meeting. (Oh, but this has been tried before and has never worked satisfactorily.) At an event like this, ladies need to have time to meet and greet and chat and just be excited with each other.

Even at General Conference in the Conference Center, the General Authorities never ask the Congregation to sing hymns reverently while they are filling that enormous building. Big halls take upwards of 45 minutes to fill. People make noise enough just shuffling around trying to get seated. And after a long drive, having difficulties parking, getting registered, hooking up with their friends, planning what classes to go to, and find seating together --- they just have to talk!!!! People settle down just fine once the actual meeting starts.

This was pretty ridiculous.

The Music of Betsy Lee Bailey copyright 2020