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Benjamin M. Culli’s exquisite SAATB a cappella anthem uses a text by Lisa M. Clark. Inspired by Philippians 1:21, “For to me to live is Christ, and to die is gain,” this piece features a soaring tune that is supported by close, rich harmonies.

This post is adapted from The Year of the Lord by Theodore J. Kleinhans.

Just as the first Easter set the pattern for Sunday, so it also set the pattern for the Church Year. An event of such significance as the resurrection soon formed a natural focus for the entire year. No wonder one of the Church Fathers called it the festival of all festivals—the festum festorum.

This post is an excerpt from Luther on Music: Paradigms of Praise by Carl F. Schalk.

No one considering the development of worship and church music in the Lutheran church of the sixteenth century can avoid facing squarely the pivotal role played by Martin Luther. He was important, however, not only because he was the focal point of a new theological movement. He stood, as well, at the center of a new musical movement that was to affect profoundly the church that would come to bear his name.

Hart Morris’s arrangement of “Christ Jesus Lay in Death’s Strong Bands” is a Level III piece scored for 3–5 octave handbells. With roots in the Ancient Church and strong theological undercurrents, the piece is well placed on Easter Day or any Sunday during the Easter season.

This post is adapted from Praising God in Song by Carl Schalk.

The New Testament reflects in various ways both the content and vigor of the worship life of the early Christians. Among the excerpts from creeds, prayers, doxologies, and benedictions to be found in the New Testament are a variety of references to “hymns,” “psalms,” and “odes,” or “songs.” The very variety of terms suggests that no one “hymn form” was used exclusively.

This post is adapted from Gathered Guests: A Guide to Worship in the Lutheran Church, Second Edition.

The duties of an acolyte vary considerably, depending on the circumstances and location of the congregation, as well as the time of the service and the season of the Church Year. Acolytes often are young people from the congregation who assume the responsibility of lighting and extinguishing the candles before and after worship services.

In our churches, we focus a lot on welcoming visitors with the hope of them becoming regular worshipers. But what about people just passing through for a vacation or a holiday weekend? Though these vacationing visitors aren’t as likely to become members, it’s important to create a welcoming atmosphere while still acknowledging that they may not stay long term. As we move into the summer months, here are some ways your church can cater to these short-term visitors.

While handbells are a relatively easy instrument to learn, they still offer complexity and much variety in sound. Even those who have played in handbell choirs for a long time will enjoy learning new skills and honing current ones. Here are seven techniques from Successful Ringing Step by Step by John A. Behnke that will help ringers have fun and get a variety of sounds out of the bells.

Carpenters often say measure twice, cut once. With paraments, it’s measure twice and order once! Correctly measuring your church’s altar for paraments is essential in making sure the paraments lay smoothly and look good. Here is a guide to the different types of paraments and how to take measurements for them.

Setting up the vessels for the celebration of the Lord’s Supper is an intricate task that requires much attention to detail. One must understand the types of sacred vessels and their purposes as well as where they should be placed on the altar. Here is a guide to arranging the sacred vessels, adapted from What an Altar Guild Should Know by Paul H. D. Lang.