Psalms for All Seasons ‎#73C

73C. Why Do the Powerful Have It So Good?

Text Information

• First Line: Why do the powerful have it so good? (Why do I stand with God?)
• Title: Why Do the Powerful Have It So Good?
• Author: Andrew Donaldson
• Publication Date: 2012
• Scripture:
  Psalm 73
• Topic: Affliction; Angels; Biblical Names and Places: Israel; Bitterness; Boasting; Church Year: Advent; Desiring God; Discipleship; Doubt; Eternal Life; God as: Refuge; God as: King; God's: Seeing; God's: Deeds; God's: Forgiveness; God's: Goodness; God's: Nearness; God's: Presence; Grace; Hope; Humanity: Redeemed by God; Humanity: Sustained by God; Jesus Christ: Teacher; Judgment; Life Stages: Death; New Creation; Occasional Services: Funerals; Occasional Services: New Year; People of God / Church: Citizens of Heaven; Salvation; Temple; Ten Commandments: 10th Commandment (do not covet); Victory; Wisdom Psalms; Witness
• Copyright: © 2010 Andrew Donaldson
• Notes: Two refrains to be sung interspersed with spoken text underlined by vamps.

Tune Information

• Name: [Why do the powerful have it so good?]
• Composer: Andrew Donaldson
• Key: e minor
• Copyright: © 2010 Andrew Donaldson
• Notes: Andrew Donaldson’s setting uses rhythmic speech (in a quasi hip-hop style) with evolving vamps and refrains to capture the transformation within the psalm. Though it requires some preparation on the part of the reader and lead musicians, it is completely accessible to the congregation, which simply repeats the refrains at each occurrence. The vamp musician and reader will need to rehearse the timing of the spoken portions. The reader casts the text into rhythmic units that correspond to the vamp patterns. The red [ | ] markings serve to make these clear. Note that sometimes the reader is silent at the second half of the vamp pattern. There is no need to rush the transition between the refrains and the spoken portions. The musician can reestablish the vamp with a riff or two before the speaker begins. Note that although the tempo does not change, the second refrain feels twice as slow because of the notation (shifting to quarter and eighth notes). At the end, all should speak “God is good . . . it’s true . . .” in hushed tones. This should not be done in unison speech but with random entrances. A few “plants” in the congregation can help get this going.