Music
Music is a vehicle for worshiping the triune God--Father, Son and Holy Spirit. At St. Luke's we have a blended worship style, with a blend of traditional and contemporary music at our second service. Find below all of the musical opportunities available to you at St. Luke's.
St. Luke’s Church is a member of the Royal School of Church Music in America.
St. Luke’s Church is a member of the Royal School of Church Music in America.
Sunday Music Team
The Sunday Music Team is made up of singers and instrumentalists who together lead worship music for the the 10am blended Sunday worship service. Sunday worship music includes contemporary praise, traditional hymns, and liturgical pieces.
For information on the Sunday Music Team, please contact Robert Tindle, Director of Music Ministries, at [email protected].
For information on the Sunday Music Team, please contact Robert Tindle, Director of Music Ministries, at [email protected].
Ring & Rejoice Handbells
Ringing handbells is a real team sport! Music reading is necessary but not previous ringing experience. Ring in worship monthly, at Christmas, Easter, and special services.
For more information, please contact Robert Tindle, Director of Music Ministries, at [email protected].
Rehearsals: Mondays, 5:30 PM - 645 PM.
For more information, please contact Robert Tindle, Director of Music Ministries, at [email protected].
Rehearsals: Mondays, 5:30 PM - 645 PM.
St. Luke's Choir
Men and women join together to rehearse and present special sacred music at Christmas, Easter, and for a large choral work. New singers are invited to join the choir for any of these presentations during the year!
For more information, please contact Robert Tindle, Director of Music Ministries, at [email protected].
For more information, please contact Robert Tindle, Director of Music Ministries, at [email protected].
Children and Youth ChoirsFour choirs of the Music Ministry welcome children from 4 years of age through high school. Their purpose is to lead music in worship, to develop music and worship skills in choristers and ringers, to nurture a love of singing the music of the church, and to encourage the development of faith in Jesus Christ.
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Canterbury Choir
Boys and girls 4 to 6 years old
Children explore the world of music with songs, instruments, and movement. Sing in worship occasionally and in annual musical.
Practice: Wednesdays, 4:15 – 5:00pm
Children explore the world of music with songs, instruments, and movement. Sing in worship occasionally and in annual musical.
Practice: Wednesdays, 4:15 – 5:00pm
St. Nicholas Choir
Boys and girls Grades 2 – 5
Singing is fun for these choristers as they develop vocal and worship skills. Sing occasionally in worship and play leading roles in the annual children's choir musical in January.
Practice: Wednesdays, 5:00 – 6:00pm
Singing is fun for these choristers as they develop vocal and worship skills. Sing occasionally in worship and play leading roles in the annual children's choir musical in January.
Practice: Wednesdays, 5:00 – 6:00pm
Saint Luke's Anglican Organ
The organ at Saint Luke's Anglican was built and installed in 1989 by the renowned organ firm of Gabriel Kney and Company of London, Ontario, Canada. Originally, the instrument was placed in the rear gallery. In 2000, following the remodeling and expansion of the sanctuary, the organ was moved to its present location.
The organ has 20 stops and 22 ranks of pipes. In total it has 1100 pipes. Most of the metal pipes are of tin and lead alloys; some of copper, some of brass. The wooden pipes are made of mahogany and pine.
The action is called “mechanical” or “tracker” because there is a direct linkage between the playing of the keys and the sounding of the pipes. This is accomplished by means of slender strips of wood called “trackers” (L. “tractus” – “to pull”), which connect keys and the air valves for the pipes. Thus, “mechanically connected”, the organist is able to control the sounding of the pipes as well as achieve musical phrasing of the highest degree.
The case design and placement of the pipes illustrate a classic principle called “Werkprinzip.” This means that the pipe groups for the three tonal divisions, Great, Swell, and Pedal, are placed within their own casework to enhance their distinctive tonal characteristics and to project their sound with clarity. In this organ the Swell is the group of pipes placed behind louvers and directly above the keyboards. The Great organ is the larger upper section located behind the beautiful façade pipes that are made of 80% tin.
The largest pipes of the organ are in the Pedal and are placed behind the instrument in their own case.
The casework itself is made of Appalachian oak. Additional woods for the interior are white pine, tulipwood, basswood, and mahogany. The naturals keys are covered with cow bone veneer, and the sharp keys are made of ebony wood. The draw knobs for the mechanical stop action are made of rosewood.
In 2011, a Zimbelstern was added as a crowning ornament to the top of the casework. The name means “bell star”, and the rotating star can be clearly seen when this stop is engaged. The star itself does not ring the bells. There are eight little bronze tuned bells that cover the span of an octave. Rotating brass clappers ring them, and their high-pitched sounds provide additional brilliance to joyful-sound registrations.
In addition to the accompaniment of hymn singing and Anglican music, this organ is particularly suited to organ literature of the 17th and 18th centuries (such as Bach, Handel, Wesley and many others), yet it is also very capable of playing literature from the 19th to the 21st centuries.
The Specification
GREAT SWELL
Principal 8’ Gedecktflöte 8’
Rohrflöte 8’ Gems Celeste 8’
Octave 4’ Offenflöte 4’
Blockflöte 2’ Principal 2’
Nasat 2 2/3’ Terz 1 3/5’
Tierce 1 3/5’ Quint 1 1/3’
Mixture III 1 1/3’ Rohrschalmey 8’
Trompete 8’ Tremulant
Tremulant
Zimbelstern
PEDAL COUPLERS
Subbass 16’ Swell to Great
Bassflöte 8’ Great to Pedal
Choralbass 4’ Swell to Pedal
Basson 16’
Trompete 8’
The organ has 20 stops and 22 ranks of pipes. In total it has 1100 pipes. Most of the metal pipes are of tin and lead alloys; some of copper, some of brass. The wooden pipes are made of mahogany and pine.
The action is called “mechanical” or “tracker” because there is a direct linkage between the playing of the keys and the sounding of the pipes. This is accomplished by means of slender strips of wood called “trackers” (L. “tractus” – “to pull”), which connect keys and the air valves for the pipes. Thus, “mechanically connected”, the organist is able to control the sounding of the pipes as well as achieve musical phrasing of the highest degree.
The case design and placement of the pipes illustrate a classic principle called “Werkprinzip.” This means that the pipe groups for the three tonal divisions, Great, Swell, and Pedal, are placed within their own casework to enhance their distinctive tonal characteristics and to project their sound with clarity. In this organ the Swell is the group of pipes placed behind louvers and directly above the keyboards. The Great organ is the larger upper section located behind the beautiful façade pipes that are made of 80% tin.
The largest pipes of the organ are in the Pedal and are placed behind the instrument in their own case.
The casework itself is made of Appalachian oak. Additional woods for the interior are white pine, tulipwood, basswood, and mahogany. The naturals keys are covered with cow bone veneer, and the sharp keys are made of ebony wood. The draw knobs for the mechanical stop action are made of rosewood.
In 2011, a Zimbelstern was added as a crowning ornament to the top of the casework. The name means “bell star”, and the rotating star can be clearly seen when this stop is engaged. The star itself does not ring the bells. There are eight little bronze tuned bells that cover the span of an octave. Rotating brass clappers ring them, and their high-pitched sounds provide additional brilliance to joyful-sound registrations.
In addition to the accompaniment of hymn singing and Anglican music, this organ is particularly suited to organ literature of the 17th and 18th centuries (such as Bach, Handel, Wesley and many others), yet it is also very capable of playing literature from the 19th to the 21st centuries.
The Specification
GREAT SWELL
Principal 8’ Gedecktflöte 8’
Rohrflöte 8’ Gems Celeste 8’
Octave 4’ Offenflöte 4’
Blockflöte 2’ Principal 2’
Nasat 2 2/3’ Terz 1 3/5’
Tierce 1 3/5’ Quint 1 1/3’
Mixture III 1 1/3’ Rohrschalmey 8’
Trompete 8’ Tremulant
Tremulant
Zimbelstern
PEDAL COUPLERS
Subbass 16’ Swell to Great
Bassflöte 8’ Great to Pedal
Choralbass 4’ Swell to Pedal
Basson 16’
Trompete 8’