A Little 'Extra Crunchy' in My Creamy Hymn Peanut Butter

A Little 'Extra Crunchy' in My Creamy Hymn Peanut Butter

Hymn #88 — “Great God, Attend While Zion Sings”

Text: Isaac Watts (1674-1748)
Music: Joseph J. Daynes (1851-1920; LDS)
Tune name: KIMBALL

I’m in a bit of a rush today, so this will be kinda short.

Full disclosure, it’s fall break and we’re taking our 5 kids to Lagoon. We’re leaving in a bit, so I had to dash this off quickly.

Please take the time to read Jason’s commentary below. I love that he had this beautiful hymn programmed at the Episcopalian Church where he works (and where I used to work).

For my part, I say 3 quick things.

He's Great, But Is The Song? I'm Not Sure

He's Great, But Is The Song? I'm Not Sure

Hymn #86 — “How Great Thou Art”

Text: Stuart K. Hine (b. 1899)
Music: Swedish melody; arranged by Stuart K. Hine
Tune name: O STORE GUD

The fact that our hymnal has some selections which should be classified as a “Song” not a “Hymn” is fine with me.

Well, let me add a caveat

…As long as they are good.

The Good Shepherd Sings This Hymn To Soothe and Empower Us

The Good Shepherd Sings This Hymn To Soothe and Empower Us

Hymn #85 — “How Firm a Foundation”

Text: Attributed to Robert Keen, ca. 1787. Included in the first
LDS hymnbook, 1835.
Music: Attributed to J. Ellis (ca. 1889)
Tune name: FIDELITY

Imagine…

The Lord Almighty, in all His Glory… the Creator of Heaven and earth… who lit the stars, who organized the rotation of solar systems, who’s voice is obeyed by winds and seas and mountains and planets…

Imagine Him singing a song to you. What would He sing?

My Old "Catholic" Home

My Old "Catholic" Home

Hymn #84 — “Faith of Our Fathers”

Text: Frederick W. Faber (1814-1863)
Music: Henri F. Hemy (1818-1888); refrain by James G. Walton (1821-1905)
Tune name: ST. CATHERINE

Frederick Faber, who wrote the text of today’s hymn, was a Priest in the Church of England.

He really liked some of the Catholic ways of doing things and started introducing them in his Parish. He decided he wanted to follow a ‘monastic’ way of life and so converted to Roman Catholicism, the former official faith of his country. But that was before Henry VIII and all that mess with Anne Boleyn.

A Trinity of Heavenly Hymns

A Trinity of Heavenly Hymns

First of all, let me apologize for my absence from the daily posts.

When you’re wife is out of town, you’re left alone with 5 kids, and your eight-year-old has crazy lower right abdominal pain, it’s not the best mixture of circumstances.

Our four-year-old had an appendectomy just a few months ago, and her appendix had ruptured, causing all sorts of problems.

Naturally, I was worried we might be having a reprise of the previous appendix performance.

Luckily, she did NOT have appendicitis. But I spent most of the day Friday attending to her. We’re still not sure what’s going to with her. More tests will be done next week.

In the mean time, we went ahead with her scheduled baptism Saturday morning. She was feeling much better.

I had every intention of making up these posts yesterday afternoon. Yet I found myself crashed on my favorite chair and de-composing for the rest of the day.

An 80 day streak was pretty good. Better than Joe DiMaggio!

To get back on track, today I’ll comment on 3 of the greatest hymns in our hymnal which are published right next to each other. These won’t be as long or detailed, but these hymns speak for themselves. I don’t need to add anything really. But since they’re so great, I’ll say a few things about each.

 

Hymn #81 — “Press Forward, Saints”

Text: Marvin K. Gardner (b. 1952; LDS)
Music: Vanja Y. Watkins (b. 1938; LDS)
Tune name: EDGECOMBE

This hymn excites me ever time I sing it or play it. And I love how clearly it sets a favorite Book of Mormon verse, 2 Nephi 31:20

For those trying to write their own hymn text, this is a great way to go about it. Start with a favorite scripture verse. Borrow freely from it and fit it to a hymn meter. We could use many more hymns based on verses from the Book of Mormon and Doctrine and Covenants.

The tune is robust and full of big leaps that are a ton of fun to sing. It starts with a leap of a 5th, then goes down to the bottom of the register in line two before leaping up a 6th to a high D. Meanwhile, the bass is on the move and the inner voices follow the marching cadence. It’s like a battle version of “The Primary Children Sang As They Walked and Walked and Walked…”

Line 3 is really cool. The composer combines the opening licks from line 1 and line 2. We get the leap up to high C, then the same leap up to high D. Our expectations are tingling. Where will she take us next? Being a wise hymn composer, she does not shoot for the high F knowing a congregation will choke on that high note. Instead, she takes aim and nails the high E-flat harmonized by a fantastic minor 5 chord with a 7th (C, E-flat, G, B-flat). C minor doesn’t belong in this key. But it works SO beautifully to kick off the “Amen” section.

10 out of 10 in my book.

 

Hymn #82 — “For All the Saints”

Text: William Walsham Huw (1823-1897); altered
Music: Ralph Vaughan Williams (1872-1958)
Tune name: SINE NOMINE

Gosh, this is such a great hymn! It’s an out-of-the-park-home-run composed by the great Ralph Vaughan Williams.

The tune is captivating and fun to sing, the Alleluia’s are a blast, and the bass line, marching as “the Saints go marching one by one, hoora, hoora!”

We’ve had a few discussions over the past weeks here on the blog and on Facebook about setting texts to music and how sometimes the verses of the text don’t line up with every syllable.

Have a look at what Vaughan Williams does in this hymn. In almost every phrase there are optional or alternate pick-up notes to give room for extra syllables here or there. I think this is very, very well done. If you have a text that you fell you “must” set, but it has some beats that don’t match exactly, why not craft the music in such a way that the language can feel natural, and the music avoid strange speed bumps that come from off-set syllables?

Of course, a first rate composer like Vaughan Williams would take the time to really craft music that allowed the text to flow in this way, as did Brahms, as did Bach, as many others have done. It’s not good enough to simple leave the music and let an unstressed word like “the” take a strong beat when the composer can easily offer an alternative option.

And I love the 3rd and 4th verse in their 4-part harmony texture. Anyone who decides not to sing all 5 verses is really cutting short a great hymn experience. These are not EXTRA verses.

Take a look at all the internal motion. Like his other great hymn, “All Creatures Of Our God And King,” “For All The Saints” is expertly crafted on every level. Or, as the British might say, “from top to toe!”

 

Hymn #83 — “Guide Us, O Thou Great Jehovah

Text: William Williams (1717-1791);
verse one translated by Peter Williams (1722-1796)
Music: John Hughes (1873-1932)
Tune name: CWM RHONDDA

I can never decide which is more fun to sing in this hymn, the melody or the bass line. This has to be one of the most exciting bass lines of any hymn.

The message of the hymn reminds me of a President Monson talk from a while back. “Pray and go!” The text of the hymn is a prayer, but it’s a pray on the go! There’s no waiting around for confirmation. This is pure action!

I love how the tune is shaped and ornamented with running eighth notes. I also really like the several leaps in a row in bar 3, which the bass line sings as well, but a 10th lower.

Line 3 is particularly fun with the sequence. A-B-C-A in the first bar, then up a step, B-C-D-B, then starting on the high D and continuing the sequence rhythm before holding the high D.

I don’t think this fermata should be held very long. I think it works well without the fermata all together.

The final little tag is a nice way to end the piece. And the tenor’s get the last word with their A-C-B resolution.

All 3 of these hymns deserve a great deal more time and attention and study. They are each prime specimens. As I’m in the “catch-up” zone, I don’t have the time to do them justice.

That’s all for today. We’ll be back on track now.

Take care,

Doug


Commentary from “The Bench Warmer” — Hymn #81

by Jason Gunnell, Organist

I think this is one of the very best Latter-day hymns and an outstanding hymn altogether. The text is a wonderful paraphrase of 2 Nephi 31:20 and the tune is a marvelous musical vehicle to convey the text. In addition to this being a wonderful hymn, it is one of my very favorites!

I have had a similar experience in music writing to Sister Watkins, who reports that she “was puzzled to hear a tune to these words insistently going through my mind one evening. I wasn’t home, and it was several hours before I could put the tune down on paper. Then I awoke several times during the night thinking of it and mentally harmonizing it. In the morning I wrote the harmony I had heard and continued to work with it for several days. Then, since I knew of no reason to submit it, I put it away in a drawer without mentioning it to anyone.” When the committee was looking for a musical setting to this text, Sister Watkins submitted her setting and it was accepted. She said that she “knew it was through the Lord’s inspiration that I was given the music to accompany these choice words.”

Karen Davidson says “the optimism and encouragement of this hymn text are complemented by the tune’s brisk tempo and emphatic melody line. The opening musical phrases in lines one and three are almost like a fanfare. And the alleluias in line four have a bold refreshing sound that leads to a joyful expression of praise to the Lord.”

The tune seems to want a tempo just slightly faster than the suggestion, around 122-124 beats per minute. One of the things that I like to do in the final verse at the alleluias is on the half notes of the ‘le’ and ‘lu’ is play the unison melody note on the first beat and then punch the chord on the second beat to give more emphasis to this wonderful part. This hymn is wonderful employing the full resources of the organ, with plenum through mixture at the beginning and adding brilliant chorus reeds for the final verse.

Registration Starting Point:
Great: Principal 8’, 4’, 2’, Mixture
Swell: Principal 8’, 4’, 2’, Flute 8’, String 8’, Larigot 1 ⅓’, Mixture
Pedal: Principal 16’, 8’, 4’, Bourdon 16’, Flute 8’, 16’ Reed
Sw/Gt, Sw/Ped

Possible Final Verse Additions:
Great: Mixture, Trumpet 8’
Swell: Mixture, Bassoon 16’
Pedal: 32’ Flue and Reed,  Heavy Reed 16’

 

Commentary from “The Bench Warmer” — Hymn #82

by Jason Gunnell, Organist

Here we come to another of the all-time great hymns in hymnody. Tremendous text is coupled with an outstanding tune to combine for a wonderful hymn. This text has eight verses in the Hymnal 1982 and eleven verses in the original text. It was written as a processional hymn by Anglican Bishop William W. How.

The tune by Ralph Vaughan Williams was left unattributed in the first publication it appeared in, as Vaughan Williams was the editor of that hymnal and “was reluctant to let it be known that he was the tune’s composer.” Since it originally appeared without the composer’s name, the tune is known as SINE NOMINE, Latin for ‘without a name.’”

This hymn is unique in that it has both harmonization for unison singing and harmonization for part singing, both harmonizations masterful in their construction. This is widely considered one of the greatest tunes in hymnody, and rightly so.

I don’t know why the suggested tempo in our book is so wide, but I think the upper range of the suggestion is a good tempo for this stately tune. Quarter note equal to 116 beats per minute is a nice, robust tempo for this tune and it’s great walking bass line. A strong plenum is recommended, pulling back on inner verses, utilizing chorus reeds on the final verse.

Registration Starting Point:
Great: Principal 8’, 4’, 2’, Mixture
Swell: Principal 8’, 4’, 2’, Flute 8’, String 8’, Mixture, Hautbois 8’
Pedal: Principal 16’, 8’, 4’, Bourdon 16’, Flute 8’, 16’ Reed
Sw/Gt, Sw/Ped

Possible Final Verse Additions:
Great: Mixture, Trumpet 8’
Swell: Mixture, Bassoon 16’, Clairon 4’
Pedal: 32’ Flue and Reed,  Heavy Reed 16’

 

Commentary from “The Bench Warmer” — Hymn #83

by Jason Gunnell, Organist

This hymn is another that is beloved in most Christian denominations and is one of the more well-known hymns in Christianity. The text is by a Welsh itinerant preacher who penned the first verse in Welsh. When it was translated into English and proved to be popular, he wrote in English the second and third verses we use today. The original text has six verses in total.

The tune is a fantastic hymn tune that pairs very well with the text. There is something about a bass line that has great movement that really energizes a tune or makes it very interesting. It stands apart from many other Welsh tunes that tend to be in a minor key and perceived as rather gloomy. A great arrangement for organ that I often use as a postlude for services is by Paul Manz (often titled as God of Grace, another text set to this tune).

Again, I must gripe with the suggested tempo markings. I cannot imagine how 76 beats per minute would be a tolerable tempo for this hymn. The vigorous and pushing nature of the text and tune desire for a much more robust tempo, such as between 112-116 beats per minute. This tempo is much more singable and energizing. A strong plenum is again recommended here for this great hymn. I will also concur with Doug that the fermata marking is superfluous. The half note is the right length for that spot before moving to the concluding phrase.

Registration Starting Point:
Great: Principal 8’, 4’, 2’, Mixture
Swell: Principal 8’, 4’, 2’, Flute 8’, String 8’, Nazard 2 ⅔’, Mixture, Hautbois 8’
Pedal: Principal 16’, 8’, 4’, Bourdon 16’, Flute 8’, 16’ Reed
Sw/Gt, Sw/Ped

Possible Final Verse Additions:
Great: Mixture, Trumpet 8’
Swell: Mixture, Bassoon 16’
Pedal: 32’ Flue and Reed,  Heavy Reed 16’

How A Latter-day Prophet Ruined This Hymn For Me

How A Latter-day Prophet Ruined This Hymn For Me

Hymn #80 — “God of Our Fathers, Known of Old”

Text: Rudyard Kipling (1865-1936)
Music: Leroy J. Robertson (1896-1971; LDS)
Tune name: ALICE

Usually music speaks more powerfully than words… at least it does to me.

But not this time. This one’s all turned around and backwards.

I blame President Hinckley….

How Beethoven Stomped His Way Into Our Hymnal

How Beethoven Stomped His Way Into Our Hymnal

Hymn #79 — “With All the Power of Heart and Tongue”

Text: Isaac Watts (1674-1748)
Music: Lowell M. Durham (1917-1992; LDS)
Tune name: PRAISE

When a piece of music is labeled “Symphony No. 1 in C major,” what is the first thing you expect to hear?

Wouldn’t it be a C major chord? Or maybe the not C followed by some other notes in the C major chord?

Well, yes. And that’s exactly what audiences were expecting to hear when a young firebrand from Bonn, Germany premiered his 1st symphony.

However, the first chord, though built on C, was a C dominant 7 chord. C-E-G-B-flat.

There are NO B-flats in the key of C major. How could he start a C major symphony IN. THE. WRONG. KEY??

Well, he did. He jumped around playing several 5 chord to 1 chord resolutions, until finally arriving in the right key.

Hymn #79 takes the lead from Beethoven’s 1st. Though the hymn doesn’t begin with this WRONG chord, that’s exactly the tactic used to begin the 2nd half.

I Really Hope We Don't Lose This One

I Really Hope We Don't Lose This One

Hymn #78 — “God of Our Fathers, Whose Almighty Hand”

Text: Daniel C. Roberts (1841-1907)
Music: George W. Warren (1828-1902)
Tune name: NATIONAL HYMN

This has been one of my favorites for a long time.

The trumpets, the big G-flat major chord, the powerful and imitative melody that climbs and climbs.

I fear that it will be put on the chopping block…

How A Few Small Tweaks Can Take a Hymn Up a Notch

How A Few Small Tweaks Can Take a Hymn Up a Notch

Hymn #77 — “Great Is the Lord”

Text: Eliza R. Snow (1804-1887; LDS)
Music: Ebenezer Beesley (1840-1906; LDS)
Tune name: EBENEZER

This is a fine, bold hymn. I really like the internal unison phrases. We often get them at the start of a phrase, but starting with a full chord and then going to a brief unison passage is a nice way to change it up a bit.

However, there are 4 things that I think could make the hymn a bit stronger.

How to Follow the 'Latter-day' Yellow Brick Road

How to Follow the 'Latter-day' Yellow Brick Road

Hymn #76 — “God of Our Fathers, We Come unto Thee”

Text: Charles W. Penrose (1832-1925; LDS)
Music: Ebenezer Beesley (1840-1906); LDS)
Tune name: WOOBURN GREEN

For the first of 2 Ebenezer Beesley hymns, we have a lovely setting of a text by Charles w. Penrose. Penrose’s text “School Thy Feelings” is one of my all time favorites.

Actually, I have an arrangement of “School Thy Feelings” for 2-part mens choir and either piano or organ. If you’re interested, you can have a look here.

https://www.douglaspew.com/school-thy-feelings-choir

The text of hymn #76 is another lovely Penrose text. I like how Beesley takes advantage of the core message of the text, “never from thee let us stray!” by repeating the “never” and “ever” in the chorus. It’s kind of like our own version of “Follow the Yellow Brick Road.”

High Praise for a Praiseworthy Hymn of Praise

High Praise for a Praiseworthy Hymn of Praise

Hymn #75 — “In Hymns of Praise”

Text: Ada Blenkhorn
Music: Alfred Beirly
Tune name: OUR KING

Having slipped back into the sealed portion of the hymnal, I wasn’t feeling too excited about the current batch of hymns. Though, #78 is on it’s way, one of my favorites.

What a pleasant surprise to re-discover Hymn #75, "In Hymns of Praise."

Sherlock Hymn-Holmes Gets On the Composer's Case

Sherlock Hymn-Holmes Gets On the Composer's Case

Hymn #73 — “Praise the Lord with Heart and Voice

Text and Music: Tracy Y. Cannon (1879-1961; LDS)
Tune name: ROSE ANN

Something about this hymn bugs me.

I played through it many times trying to pin point what exactly was rubbing me the wrong way.

I guess I’ve been watching too many detective shows lately because my half-asleep brain started imagining I was Sherlock Holmes examining the dust lines between bars, deducing from skins of 1 chords, examining the ash from 5 chords.

Hey, any time I can feel akin to Benedict Cumberbatch, I’m happy!

So, what did my super-detective spidey-senses find? (sorry, mixing my fictional characters…)

A Panoply of Praise

A Panoply of Praise

Hymn #72 — “Praise to the Lord, the Almighty”

Text: Joachim Neander (1650-1680);
translated by Catherine Winkworth (1829-1878)
Music: From Stralsund Gesangbuch, 1665;
arranged by William S. Bennett (1816-1875) and
Otto Goldscmidt (1829-1907)
Tune name: LOBE DEN HERREN

We’re on a roll with a string of great “praise” hymns.

Hymn #72 is a particular favorite. I love how each verse begins with the same text, “Praise to the Lord.” And within the first line the kinds of important words that are used right off the bat setup a regal air, “Almighty,” and “King.”

I love the little rhythmic difference in bar 2, the dotted quarter eighth figure. It fits the language so perfectly. And when the tempo is fast, which I really like, I can imagine a grand orchestra and timpani emphasizing the eighth and ending quarter of the bar.

A "Bohemian Rhapsody" in Our Hymnal?

A "Bohemian Rhapsody" in Our Hymnal?

Hymn #70 — “Sing Praise to Him”

Text: Johann J. Schütz (1640-1690);
translated by Frances Elizabeth Cox (1812-1897)
Music: From Bohemian Brethren’s Songbook, 1566; altered
Tune name: MIT FREUDEN ZART

No, not THAT “Bohemian Rhapsody,” you know, the one from the 90s movie “Wayne’s World.”

That is a pretty cool song…

It’s like a mini rock-’n-roll opera.

The connection with Hymn #70 is pretty slight. But when I read that the music comes from the “Bohemian Brethren’s Songbook,” I had a funny image of Freddie Mercury and Queen dressed in Monk’s robes singing pious hymns in a old Cathedral…Haha!

A Saint's Get-Out-Of-Jail-Free Card

A Saint's Get-Out-Of-Jail-Free Card

Hymn #69 — “All Glory, Laud, and Honor”

Text: St. Theodulph of Orleans (ca. 760-821)
Music: Melchior Teschner (1584-1635)
Tune name: ST. THEODULPH

Legend has it that while St. Theodulph was in prison around the year 820, on a certain Palm Sunday (the Sunday before Easter), the King of France, who had put Theodulph in prison, was processing through the streets on his way to the cathedral.

As the King passed below the prison tower, St. Theodulph began to sing a hymn he had written while imprisoned: “All Glory, Laud and Honor.”

The king was so moved by his song that he released him and declared that the hymn was to be sung on Palm Sunday every year from then on. (Hymnayr.org).

It’s hard to say if this is just a good story or if it is true. But it sounds good to me. A hymn as a get-out-of-jail card. Pretty cool!

What If Joseph Smith Had Been a Composer?

What If Joseph Smith Had Been a Composer?

Hymn #68 — “A Mighty Fortress Is Our God”

Text: Martin Luther (1483-1546); adapted
Music: Attributed to Martin Luther
Tune name: EIN FESTE BURG

It has been said many times by modern Apostles and Prophets that without great men like Martin Luther, there would have been no Restoration of the fullness of the gospel.

Joseph Smith acknowledged this truth himself.

Martin Luther is to Protestants in general, and to Lutherans specifically, as Joseph Smith is to Latter-Day Saints. His importance in the Reformation which led to the Restoration cannot be overstated.

But did you know that Martin Luther was a composer?

Worthy the Lamb Hymn!

Worthy the Lamb Hymn!

Hymn #67 — “Glory to God on High”

Text: James Allen (1734-1804); altered
Music: Felice de Giardini (1716-1796)
Tune name: ITALIAN HYMN

Yesterday I bequeathed Hymn #66 as possibly the most perfect hymn in our book.

Actually, hymn #197 is THE perfect hymn in our hymnal, Bach’s PASSION CHORALE. We’ll get there in another 130 days…

Let’s say that #66 is in my top 10, to be sure. And today’s hymn, #67, is definitely in my top 20 and possibly top 10. I’d have to do a tally to be sure.

One of my favorite moments in Handel’s immortal “Messiah” is the final movement entitled “Worthy Is The Lamb” which quotes the same scripture as our Hymn #67.