This Joyful Eastertide (VRUECHTEN)
O Sons and Daughters (O FILII ET FILIAE, plainsong version)
O Praise Ye the Lord (LAUDATE DOMINUM)
Come Ye Faithful, Raise the Strain (GAUDEAMUS IGITUR)
A nice group of hymns, I think. Eastertide is one of my favorite seasons for hymns, as there are so many good choices.
Jesus, you are here with me; Jesus, you are all I need Holy, holy, holy, Lord God Almighty As the deer pants for the water Tis so sweet to trust in Jesus All to Jesus I surrender I lift my hands to the coming king
(All apart from the first and last ones pitched so high as to be virtually unsingable .)
Alleluia Alleluia hearts to heaven (Lux Oei)
Nicholson in C
Easter Anthems
Lord enthroned (St Helen)
On the resurrection morning (Mansfield)
Ye choirs of new Jerusalem (St Fulbert)
Evensong
The Lamb's high banquet (Wareham)
Jesus lives (St Albinus)
O sons and daughters let us sing (Victory)
Our day of praise is done (Carlisle)
All hail the power of Jesus’ name. (Miles Lane was suggested, but I conspired with the organist and we sang Diadem instead)
Through the night of doubt and sorrow. (Lux Eoi)
Love’s redeeming work is done (Savannah)
Ye choirs of new Jerusalem (St Fulbert)
It was Youth Sunday at our place today, meaning the youth planned (including hymns) and led (including prayers and preaching) the service. A highlight was the dedication of the new outdoor water bottle refilling and exchange station, which was the Eagle project of one of our youth and which is intended for use by anyone walking by, but particularly students (we’re next to a university) and people experiencing homelessness. This led to a “water” theme to the service. The hymns were:
Low Sunday so I put in a dep - competent VIth form organ student. Reports came back that the voluntarywas OK but he made a bit of a hash of Thine be the glory ...
The most common mistake with that one (in my experience) is not going back to the beginning of the tune when you start verse 2. Heard many a congregation mess that up.
There are a number of confusing songs, for instance "Beauty for brokenness" which only has the refrain after verses 2, 4 and 5; there's another fairly modern song (can't remember what it is!) which - depending on the musician - inserts or does not insert an extra bar of music between lines 3 and 4.
. . . there's another fairly modern song (can't remember what it is!) which - depending on the musician - inserts or does not insert an extra bar of music between lines 3 and 4.
“I the Lord of Sea and Sky” would fit that bill. My tribe’s previous hymnal had the extra bar, while our current hymnal does not.
. . . there's another fairly modern song (can't remember what it is!) which - depending on the musician - inserts or does not insert an extra bar of music between lines 3 and 4.
“I the Lord of Sea and Sky” would fit that bill. My tribe’s previous hymnal had the extra bar, while our current hymnal does not.
Ha! Yes, I the Lord of sea and sky has caught us out on more than one occasion...
Make me a channel of your peace comes to mind as another hymn which sometimes goes awry.
. . . there's another fairly modern song (can't remember what it is!) which - depending on the musician - inserts or does not insert an extra bar of music between lines 3 and 4.
“I the Lord of Sea and Sky” would fit that bill. My tribe’s previous hymnal had the extra bar, while our current hymnal does not.
. . . there's another fairly modern song (can't remember what it is!) which - depending on the musician - inserts or does not insert an extra bar of music between lines 3 and 4.
“I the Lord of Sea and Sky” would fit that bill. My tribe’s previous hymnal had the extra bar, while our current hymnal does not.
Ha! Yes, I the Lord of sea and sky has caught us out on more than one occasion...
Make me a channel of your peace comes to mind as another hymn which sometimes goes awry.
When I was at school in the 70s you only sang the ‘O Master…’ bit after 2 verses. At some point it changed to after every verse.
Another hymn tune which can cause problems is "Sine Nomine" - "For all the saints", with its introductory note at the start of each verse. In the church of my youth, the organist played an elongated first note in every verse of every hymn, with the congregation pausing before starting to sing. That worked fine as everyone knew the rules, unil we got to "Sine Nomine" - should we prolong the introductory note or the first note of the actual sung tune? (I can't remember what we did!).
. . . there's another fairly modern song (can't remember what it is!) which - depending on the musician - inserts or does not insert an extra bar of music between lines 3 and 4.
“I the Lord of Sea and Sky” would fit that bill. My tribe’s previous hymnal had the extra bar, while our current hymnal does not.
Ha! Yes, I the Lord of sea and sky has caught us out on more than one occasion...
Make me a channel of your peace comes to mind as another hymn which sometimes goes awry.
When I was at school in the 70s you only sang the ‘O Master…’ bit after 2 verses. At some point it changed to after every verse.
Another hymn tune which can cause problems is "Sine Nomine" - "For all the saints", with its introductory note at the start of each verse. In the church of my youth, the organist played an elongated first note in every verse of every hymn, with the congregation pausing before starting to sing. That worked fine as everyone knew the rules, unil we got to "Sine Nomine" - should we prolong the introductory note or the first note of the actual sung tune? (I can't remember what we did!).
The technical term for that introductory note is the "bonk" - as in (BONK) For all the saints, and I've never known it to be elongated - it's just a single beat - the first beat of the bar (the tune's in 4/4, and begins on the second beat of the bar, i.e. straight after the "bonk"). In my experience it's played at the start of every verse (although I'm racking my brains to remember whether that includes the three quieter harmony verses in the middle).
I think in most of the shacks I've been involved with over the years, the congregation just knew that there was a "bonk" before they would come in!
Regarding your elongated first note, are you talking about the Presbyterian Semibreve*, as used to great effect in some of the metrical psalm tunes (notably Dundee)?
* David used to refer to Scotland affectionately as "the land of shortbread and semibreves".
I think in most of the shacks I've been involved with over the years, the congregation just knew that there was a "bonk" before they would come in!
Regarding your elongated first note, are you talking about the Presbyterian Semibreve*, as used to great effect in some of the metrical psalm tunes (notably Dundee)?
That may well be it, I don't know. The issue wasn't the "bonk" per se - as you say, people knew that. It was whether it, or the note following, would behave in a Presbyterian way.
BTW another tune which causes problems is "Slane" as it exists with two slightly different metres.
And don't even think about "Londonderry Air" - oops, I just did!
Holst's "Jupiter" as set to "I vow to thee" is also in my view unsingable (so are the words, but that's not a musical matter!)
The Holst tune is still unsingable despite being mangled in the vain attempt to make it so. Just leave it alone and write a more voice-friendly tune, folks.
I think in most of the shacks I've been involved with over the years, the congregation just knew that there was a "bonk" before they would come in!
Regarding your elongated first note, are you talking about the Presbyterian Semibreve*, as used to great effect in some of the metrical psalm tunes (notably Dundee)?
That may well be it, I don't know. The issue wasn't the "bonk" per se - as you say, people knew that. It was whether it, or the note following, would behave in a Presbyterian way.
BTW another tune which causes problems is "Slane" as it exists with two slightly different metres.
Slightly different meters and very different time signatures.
Regarding your elongated first note, are you talking about the Presbyterian Semibreve*, as used to great effect in some of the metrical psalm tunes (notably Dundee)?
* David used to refer to Scotland affectionately as "the land of shortbread and semibreves".
My funeral instructions include that the psalm be “I to the Hills Will Lift My Eyes,” to DUNDEE, of course. Our current hymnal inexplicably uses the version without the semibreve/half-note, so my instructions make clear that the “correct” version, not the version in the current hymnal, is to be used.
Awful memories of Sunday School when the pianist was away and a girl volunteered to accompany. Elongated bonk to give us the note for each verse, and thumping great base note in the left hand to accompany the melody, the same unchanging note, reminding me of bagpipes.
I've certainly heard it played like that - it seems to be fashionable! I'm not sure MP is to blame, though, but I don't have a music copy to hand to check.
I've certainly heard it played like that - it seems to be fashionable! I'm not sure MP is to blame, though, but I don't have a music copy to hand to check.
I just checked and I have unfairly maligned MP - all they're guilty of is their usual liberties with the lyrics.
Indeed so. I have heard this version more than once on "Songs of Praise"; it also appeared in an open-air ecumenical Pentecost service I attended about 12 years ago, and seems quite popular in Baptist circles. To me the relentless rhythm totally changes and spoils the "feel" of the tune.
Its the rhythm that lots of guitar strummers are comfortable with - they don't like triple time. I always think it makes Slane sound a bit sleazy and louche, especially when sung "slowly and meaningfully."
And don't even think about "Londonderry Air" - oops, I just did!
Holst's "Jupiter" as set to "I vow to thee" is also in my view unsingable (so are the words, but that's not a musical matter!)
The Holst tune is still unsingable despite being mangled in the vain attempt to make it so. Just leave it alone and write a more voice-friendly tune, folks.
Eh? What's unsingable about it? Other than the lyrics.
I think these versions may not have made the trip across The Pond. At least if they have, they haven’t found their way into any church I’m familiar with.
And don't even think about "Londonderry Air" - oops, I just did!
Holst's "Jupiter" as set to "I vow to thee" is also in my view unsingable (so are the words, but that's not a musical matter!)
The Holst tune is still unsingable despite being mangled in the vain attempt to make it so. Just leave it alone and write a more voice-friendly tune, folks.
Eh? What's unsingable about it? Other than the lyrics.
Anyone who has the original tune in their head will be flummoxed by the way the hymn tune leaps octaves to accommodate voices.
And don't even think about "Londonderry Air" - oops, I just did!
Holst's "Jupiter" as set to "I vow to thee" is also in my view unsingable (so are the words, but that's not a musical matter!)
The Holst tune is still unsingable despite being mangled in the vain attempt to make it so. Just leave it alone and write a more voice-friendly tune, folks.
Eh? What's unsingable about it? Other than the lyrics.
Anyone who has the original tune in their head will be flummoxed by the way the hymn tune leaps octaves to accommodate voices.
Yes, and those octave leaps deeply mar the beauty of the original tune and dilute its power.
I seem to be the only person on planet Earth who likes THAXTED as a hymn tune...and FWIW I find it quite singable and have never had an issue with a congregation finding it too difficult, and it seems to be a crowd-pleaser.
Although I suppose a difference might be I have no association with "I Vow to Thee" being an American, so I only know it with a couple of texts, but most notably "O God, Beyond All Praising."
I don’t think you’re alone in liking it, @RecoveringCynic. I should say I’ve usually found it to be a crowd-pleaser, too, and I don’t think many American congregations have trouble singing it. That said, I’m not sure how many folks in American congregations are really familiar with Jupiter, the Bringer of Jollity.
But I do think THAXTED trades jollity with a sense of majesty for gravity with a sense of meh. The original is beautiful colors, while THAXTED is all sepia-toned. I don’t think THAXTED was one of Elgar’s better ideas.
I think I read somewhere that Mr Holst wasn't too happy with the way his melody had been adapted for the use of *I vow to thee, my country*.
It was Holst himself who, at the suggestion of Ralph Vaughan Williams (as noted in the story to which @Baptist Trainfan linked), adapted the melody for the text of “I Vow to Thee, My Country.”
I think I read somewhere that Mr Holst wasn't too happy with the way his melody had been adapted for the use of *I vow to thee, my country*.
It was Holst himself who, at the suggestion of Ralph Vaughan Williams (as noted in the story to which @Baptist Trainfan linked), adapted the melody for the text of “I Vow to Thee, My Country.”
Comments
O Sons and Daughters (O FILII ET FILIAE, plainsong version)
O Praise Ye the Lord (LAUDATE DOMINUM)
Come Ye Faithful, Raise the Strain (GAUDEAMUS IGITUR)
A nice group of hymns, I think. Eastertide is one of my favorite seasons for hymns, as there are so many good choices.
Holy, holy, holy, Lord God Almighty
As the deer pants for the water
Tis so sweet to trust in Jesus
All to Jesus I surrender
I lift my hands to the coming king
(All apart from the first and last ones pitched so high as to be virtually unsingable
"BCP Choral Communion"
Alleluia Alleluia hearts to heaven (Lux Oei)
Nicholson in C
Easter Anthems
Lord enthroned (St Helen)
On the resurrection morning (Mansfield)
Ye choirs of new Jerusalem (St Fulbert)
Evensong
The Lamb's high banquet (Wareham)
Jesus lives (St Albinus)
O sons and daughters let us sing (Victory)
Our day of praise is done (Carlisle)
Through the night of doubt and sorrow. (Lux Eoi)
Love’s redeeming work is done (Savannah)
Ye choirs of new Jerusalem (St Fulbert)
“Down in the River to Pray”
“Rain Down”
“Baptized in Water”/BUNESSAN
“You Are Holy” (“Prince of Peace”)
Ha! Yes, I the Lord of sea and sky has caught us out on more than one occasion...
Make me a channel of your peace comes to mind as another hymn which sometimes goes awry.
That's the one!
When I was at school in the 70s you only sang the ‘O Master…’ bit after 2 verses. At some point it changed to after every verse.
We sing it once, after verse 2.
The technical term for that introductory note is the "bonk" - as in (BONK) For all the saints, and I've never known it to be elongated - it's just a single beat - the first beat of the bar (the tune's in 4/4, and begins on the second beat of the bar, i.e. straight after the "bonk"). In my experience it's played at the start of every verse (although I'm racking my brains to remember whether that includes the three quieter harmony verses in the middle).
I think in most of the shacks I've been involved with over the years, the congregation just knew that there was a "bonk" before they would come in!
Regarding your elongated first note, are you talking about the Presbyterian Semibreve*, as used to great effect in some of the metrical psalm tunes (notably Dundee)?
* David used to refer to Scotland affectionately as "the land of shortbread and semibreves".
That may well be it, I don't know. The issue wasn't the "bonk" per se - as you say, people knew that. It was whether it, or the note following, would behave in a Presbyterian way.
BTW another tune which causes problems is "Slane" as it exists with two slightly different metres.
Holst's "Jupiter" as set to "I vow to thee" is also in my view unsingable (so are the words, but that's not a musical matter!)
The Holst tune is still unsingable despite being mangled in the vain attempt to make it so. Just leave it alone and write a more voice-friendly tune, folks.
Slightly different meters and very different time signatures.
My funeral instructions include that the psalm be “I to the Hills Will Lift My Eyes,” to DUNDEE, of course. Our current hymnal inexplicably uses the version without the semibreve/half-note, so my instructions make clear that the “correct” version, not the version in the current hymnal, is to be used.
The line lengths vary depending on the version, can be 10 10 10 10 but some versions are 10 11 11 11 or something in between.
Mission Praise, if memory serves, manages to hammer the tune into 4/4 time, presumably the better to accommodate a drummer in a box.
I just checked and I have unfairly maligned MP - all they're guilty of is their usual liberties with the lyrics.
Eh? What's unsingable about it? Other than the lyrics.
Londonderry Air is worse as it goes down to A below middle C - although, unlike Thaxted, it doesn't spend much time grovelling in the lower reaches.
May it ever be thus.
Anyone who has the original tune in their head will be flummoxed by the way the hymn tune leaps octaves to accommodate voices.
Although I suppose a difference might be I have no association with "I Vow to Thee" being an American, so I only know it with a couple of texts, but most notably "O God, Beyond All Praising."
But I do think THAXTED trades jollity with a sense of majesty for gravity with a sense of meh. The original is beautiful colors, while THAXTED is all sepia-toned. I don’t think THAXTED was one of Elgar’s better ideas.
But he didn’t ask my opinion.
Anyway a tune called Thaxted should surely be all Morris Dance-y.
I think I read somewhere that Mr Holst wasn't too happy with the way his melody had been adapted for the use of *I vow to thee, my country*.
Other lyrics - such as *O God, beyond all praising* - are fine, and Thaxted is, when all's said and done, a jolly good tune...
This may shed some light (I haven't listened to it but I seem to remember doing so some years ago): https://www.bbc.co.uk/sounds/play/b0076xbb
I am astonished!
It was Holst himself who, at the suggestion of Ralph Vaughan Williams (as noted in the story to which @Baptist Trainfan linked), adapted the melody for the text of “I Vow to Thee, My Country.”
Ah - in that case, I stand corrected. Thank you!