Dr. Jeannine Jordan, Concert Organist

Posts tagged ‘community’

Will you start a concert series?

Excerpted from the Guest Artist Interview of the October 2018 Pro-Motion Music e-newsletter.

Jeannine: For those who may want to start a concert series at their church, what advice would you give?

Mr. Largent: If you have an instrument that has a beautiful sound and you feel it should be shared….do it!  Be sure you have enough energy…it takes a lot of energy to host a concert.  You will need to be the main host for your artists.  Don’t assume that at the door donations or free will offerings will cover the costs of the program. You have to believe in the art form enough to ask people to support it financially.  In general, if it is free, people will feel it is not of value.  Make sure the leadership of your church is behind a series and will attend the concerts.  We’ve kept ours on Friday evenings because Friday and Saturday is when art events happen.  Saturday night doesn’t work for a church because you have to get everything ready for Sunday worship…..and who will clean the bathrooms and Sanctuary after a concert?  If you are going to do a reception after the concert make sure you have a committee of people to love to entertain in charge…..that is a special gift.  The rewards in hosting concerts are greater than the negatives.  You will demonstrate that your church values the community outside of the building.  People will come into the church for a concert that might not come to worship. It is a door opening opportunity for your congregation to become welcoming neighbors.

Jeannine:  Thank you for sharing your insights into creating and running a incredibly successful concert series.  May you be blessed in your retirement with new challenges and ever more glorious music.

Dr. Jeannine Jordan, organist and David Jordan, media artist are the creators and performers of the organ and multi-media concert experiences, Bach and Sons, From Sea to Shining Sea and Around the World in 80 Minutes.  Contact the Jordans at david@promotionmusic.org to schedule a performance in your community.

O Come, All Ye…Faithful?

O Come, All Ye…Faithful?
Jeannine Jordan

The Christmas tree was lit; the bows were perfectly tied on the swag — I think they were the plaid red and green bows that year.  The wedding candelabra were well disguised with fresh cut greenery and faintly glowed with a dozen candles, and the Advent wreath with all the proper colored candles in place was waiting to be lit.  The choir was nervously assembled at the back of the church for their semi-annual procession — down the middle aisle — up four steps to the communion table — left or right four steps — down two steps to the Christmas tree platform — around two corners — up two steps into the choir loft — turn — up four steps — turn and stand in place.  Complicated to say the least!

The light man was in place at the strategically placed light switchwhich allowed absolutely no sight of the sanctuary.  The coldly stoic pastor stood statue-like and prepared for the most joyous service of the year.  The organist had just finished a glorious prelude of Balbastre noels and she was ready to launch into the opening strains of “O Come, All Ye Faithful” — a very well-known but actually not oft-played hymn — just a one-time-per-year Christmas carol.

The stops were pulled on that great and powerful tracker organ — yes, it was an occasion for full organ!  The great strains sounded forth, the introduction was played, the unsmiling pastor started the procession with the congregation giving full voice to a favorite carol. 

The choir followed behind marching two-by-two:  the “red coats” and the “blue coats” in their respective and distinguishing robes.  The “blue coats” were the young upstart choir of the first service.  The “red coast” — the “I’ve sung in this very choir for 42 years” choir — normally sang in the second service.  Ah, but I digress;  that is a tale for another story.


The beauty of that 11:00 p.m. Midnight Candlelight Christmas Eve Service was an inspiration to behold: a great organ sounded forth, a congregation was singing with joy, and choir members made their way solemnly down the middle aisle, and up the four steps to the communion table.  There they made the turn directly in front of the not-yet-lit Advent wreath, turned, and took four steps.  Ah, the tricky part was coming: verse two of “O Come.”  The singing became a bit more indistinct as the congregation started searching for the words and the choir started negotiating the two steps down to the Christmas tree platform — around two corners — up two steps — turn — up four more steps and — (whew!) — into the choir loft.

Basses and tenors, by now not singing at all as verse three began, turned and made the final steps into the choir loft as the loudly –(but dare I say well-) played organ took over.  Verse four and the ladies of the combined choir mounted the platform, turned at the Communion table, and started down and around the dimly-lit Christmas tree.  Suddenly and without warning the lights of the ENTIRE — and I mean ENTIRE — sanctuary, including the all-important light on the music desk of the organ — went out!  BLACK!  Totally dark!  A dozen extraneous candles tried bravely to give light to the inky blackness, but to no avail.  The domino theory had begun!

The proper alto section who were just making who were just making their way past two long-reaching tree branches, were discombobulated.  They went down!  Yes, down on their hands and knees.  The all-perfect sopranos, following at the steps, also wentdown into the tree and onto the proper altos.  The “blue-coat” choir director, bringing up the rear of this procession, found herself tumbled under the tree with her most unbecoming blue-coated side facing the blind congregation as she searched frantically under the unsuspecting Christmas tree for her glasses knocked off in the fray.

Oh, and did I mention the organist?  Ah, yes!  When the glory and joyful light of that Christmas Eve night went black, her fingers ceased their faithful dance on the keys and became helpless sticks unable to find any of the proper keys to continue the carol.  But continue she did.  Also, being unable to find the stops to quiet the noise, she continued to smash keys in a random and incredibly raucous fashion.  Was it the cacophony of the angels?  Ah, but the comments hurled at the mostly deaf — and certainly now blind — sanctuary light man, probably not.  Said sound and light man simply stared as his board unaware of the chaos his simple flick of a switch had created.

What happened next?  Did the service continue?  Did it end at 12:30 — the other midnight hour — in calm and repose with the singing of “Silent Night”?  The memory has dimmed to inconsequential.

Dr. Jeannine Jordan, concert organist with her husband David, media artist, are the creators and performers of Bach and Sons, From Sea to Shining Sea, and Around the World in 80 Minutes — live organ concerts with multi-media.

Creating a Culture of Trust

In the book, The Integrity Advantage, Gostick and Telford identify ten integrity characteristics Integrity characteristics can be integrated into the life of the whole musician—the musician with all the different parts working well and delivering the functions that they were designed to deliver to students, colleagues, and audiences.  One integrity characteristic a teacher should develop in a studio is …

To create a culture of trust. You develop a work environment that will not test the personal integrity of your students or your colleagues.

Dr. Jeannine Jordan's organ students

I am privileged to have a studio of nearly twenty adult organ students with whom I share a culture of trust. Some of my students have played for churches for years and are studying to enhance their service playing skills while others are pursuing playing the organ as a new avocation.

Together we have created a wonderfully trusting and supportive community where ideas and performances are shared freely and easily.

Student recitals, play-ins, organ crawls, theory lessons, and group lessons are events which enhance the shared culture of trust.  Students become colleagues in pursuit of realizing their goals of becoming better organists.  Working together, sharing ideas and music, creates an environment of trust does not test the personal integrity of any student.

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