Let Us With A Gladsome Mind (Tune: Monkland)

In this series on revisiting old treasures you may find this old hymn is not as stodgy as you have been led to believe. Look at some of our oldest hymns through new eyes and they often take on new life.

Standing Back - Taking Stock

If you check out the form of this hymn you'll notice a few interesting things straight away. In most hymnals the last two lines of each stanza text are indented, and contain the same text each time. This is of course because this hymn is a setting a psalm 136, and these two lines are a refrain, or chorus as such.

What this may suggest is that the last two lines of each stanza be sung by the whole gathering, and that the first two lines be treated differently each time. This will give the hymn a natural momentum that is harder to attain if everyone sings every single bit of the song. But it may also heighten the significance of the text as people will tuned into to the text they are not singing themselves.

Some ways to achieve this may be as follows:

1. Various solosists sing the first two lines and the athered people sing the refrain.

2. Left side sings the first two lines and right side the second (or alternate)

3. Female voices and males voices

4. Adults and children

5. First two lines of each verse sing first by women, second verse by men, third verse by kids, fourth by a soloist and so on.

Putting the Hymn into Context

Knowledge about composer is usually very illuminating and informs the treatment of songs. John Milton's paraphrase of Psalm 136, was set to music by John Antes, a American born composer of Moravian descent, who was born in Pennsylvania in 1740, and died in England in 1811. He was a violin maker, watchmaker, inventor, missionary, theoretician, businessman and composer. 

Reflecting the Character of the Text Musically

"Let us with a gladsome mind, praise the Lord for He is kind"

In the past I have most often sung this hymn in a slow four, with the emphasis on each beat. I'm not sure this was particularly successful in promoting a gladsome mind, as the result was more grandiose and even pompous in manner. Remember that in the late 1700's it is likely this hymn was sung a cappella, and that John Antes's four parts were intended for vocalists, not instrumental accompaniment.

You may notice several things if you wander around the house singing the melody alone:

• The melody is more likely 2 minim beats in a bar, not 4. 
• It has a lovely lilting melody. Lets face it, there are way too many mono-rhythmic hymns but this one has quavers! (cheer loudly and with enthusiasm)
• The vocal range is quite broad, with a range over an octave.
• It has a light, dance-like quality which is in danger of being weighed down by hyper-harmonisation.

Instrumentation

This hymn is one of those which is more decisive when sung in unison and acappella (unaccompanied) than accompanied with an instrument. Consider that it's composer was a violin maker and utilise a violist in your midst if you have one, to play a counter melody. Ditching the vocal harmonies and accompanying with a single drum playing a simple rhythm works a treat.

Metronome Markings

As I have suggested previously, tempo should be governed by the intrinsic nature of a song, and not the capacity of the resident accompanist. Harmonisation, such as is prescribed in many hymnbooks, invariably slows the pace, and impedes the joy and lilting quality of this song.

In the Uniting Church's hymnal, Together in Song, the suggested speed is MM116-132. Quite a broad spectrum! You will adopt your own pace. Remember those in smaller gathering will find it easier to adopt a more sprightly pace. Having said that, a large gathering, when well led by a songleader, should have no trouble singing at MM 132 (crotcher) or MM 66 (minim).

What is a Metronome?

Don't Have a Metronome?

A metronome is an essential tool for musicians. They are available for purchase at music stores, but you would do just as well to download one onto whatever media tool you use. If you're buying a metronome, make sure it has a sound-free option. This means you can check the speed via a flashing light - very important in the midst of worship, or during a perfromance.  A free metronome app is available for iphones, ipads, ipods, for PC users, blackberries etc.

Poll: How does the Church Accompany Song in 2011?

For more ideas about accompanying hymns creatively visit Revisiting Old Treasures.

For tips about using drums in church Percussion Perspective.

Soundscape: The Israelites Cross the Red Sea

On Sunday 11th September (2011) the account of the parting of the Red Sea is included in the lectionary readings. To this end I offer the Soundscape: The Israelites Cross the Red Sea to accompany Exodus 14: 19-31.

This soundscape requires 7 players, a few everyday items and, depending on your preference, may involve the participation of the gathered people. You may choose to reduce the number of players should you so wish (eg: have a chorus of 3 voices instead of 4, and use the chorus members to manipulate other sounds).

Please remember soundscapes are aural, not visual, presentations and balanced amplification of each sound and speaker is crucial to success. I cannot stress the importance of rehearsal strongly enough.

The soundscape is freely available for use in worship with due acknowledgement. If you do make use of this soundscape, I'd be interested to hear about your experience.

 

More about soundscapes

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People 'Like' Those Who Like the Same Music

Ever wondered why music can be an enormous battlefield in churches? After all there are few altercations surrounding the flower arrangement, or the strength of the tea. When it comes to tea, I tend to hover until the colour deepens to my taste. Why is it so many church folk drink it weak-black? Someone should do a study on THAT!

But I digress....

Specific and even intense musical taste is not confined to the church. A new psychological study explores why we connect more closely with those who share similar music tastes. I hope you find it illuminating.

Sounds Outside the Square

Hands up those who've ever switched off during a bible reading? Perhaps it has something to do with delivery. This coming month the Revised Common Lectionary includes numerous opportunities to think outside the square with sound, and reviving effective story-telling in your faith community.

Over the forthcoming July - August period alone, sounds that are suggested or stated include birds singing, wind blowing, thunder storm, crowds talking, individuals and crowds walking on dry earth, water by the lake, water lapping against a boat, birds, people, water dripping, fishing, a donkey, a marketplace, murmured conversation and drinking water. I'm certain there are many more. Some, such as the kingdom of heaven is like series, may allow for a single sound to be played in a loop as a background to the reading. Sounds such as crowds, or water lapping on the shore would work well here.

Thanks to the age of computers, faith communities have access to all the wonderous resources available online. You can accompany readings with wind sounds by using applications on your computers, such as  windmachine. Alternatively visit one of the sound effect libraries.stores such as Soundeffect which has literally thousands of sounds to purchase for between $2 - $5. Given so many of these sounds reappear in our stories, this may prove a worthwhile investment: animals, crowd, beach, footsteps, birds, weather, eating, wind in the grass, chimes, rooster crowing, carpentry.

Thinking literally goes without saying, but imagining what is implied by the story you are reading is quite liberating. In an upcoming 1 Kings reading, Elijah shelters in a cave. I imagine there may have been dripping water in that cave, or perhaps birds nesting inside.

If you prefer a more hands-on approach, consider enlisting your gathering to make sound effects in your faith community. You can simulate your own rain shower or thunder storm in a fun participatory way..

Your imagination is a gift, as are our stories - don't hide either under a bushel!
And please, share your ideas with others here on this blog.

You may also be interested in Soundscapes and Sounds Like Pentecost

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Songmakers: short course for songleaders

Songmakers is a four week course for beginner and experienced songleaders. It's a practical and interactive course I ran many years back when I was employed by the Uniting Church, and I reckon its time to offer it again.

If you think there's interest in such a thing in your area, have a look-see at the details and then get the ball rolling by making contact.

The Bright Wind is Blowing

Ah Pentecost - the time of year when the imagined suddenly seems possible. Althought not strictly an "old treasure", The Bright Wind is Blowing suggests creative accompaniment. It is something of a puzzle to me why this song, so rich in pentecostal imagery, is included in the section Jesus Christ: Lord and Redeemer rather than Holy Spirit. But I digress... This song was written by John Maynard (1925-85) to the words of Cecily Taylor (1930-  ). It is number 263 in TIS (Together in Song), the most recently sanctioned hymnal of the Uniting Church in Australia.

'The Bright Wind' sung in Victoria (Aust) recently was
accompanied with flute, recorder and bodhran.

Sadly it is broadly assumed to be an "organ hymn" by virtue of inclusion in TIS. By assuming all songs contained in hymnals stem from the same era and continent, we inhibit and belittle what is a richly diverse collection of world music across many times, peoples and cultures.

Why choose this one?
This song is in a minor key. So what, you say. This may sound trivial, but the reality is most music is written in major keys. This means alternative tonalities may have greater impact than we realise. Another less common feature about this song is that it is in triple time enabling it with a freedom and dance quality others songs may lack. Furthermore, "hymns" often have melodies that move predominently by step (one note to the very next) but here we welcome a more expansive quality which is refreshing and entirely singable.

Imagining Creative Accompaniment
The most productive way I find to settle on song accompaniment is simply to sing it around for awhile, without subscribing to the prescribed accompaniment. Pick the melody out on your instruments initially, but then move away: sing it in the shower, hum it over the ironing, and whistle it while cycling. In an hour or so, you'll have begun to adopt a flavour - one that comes naturally to you. This process will undoubtedly suggest a tempo and instrumentation.

Full-On-Flavour
You will come up with your own ideas. Here's mine. I was drawn into the triple time feel, and found myself imagining a gentle dance, slightly emphasising the first beat of each bar, with the first beat of the second bar still being strong but with less emphasis than the first. So we would sing: The bright wind is blowing the bright wind of heaven, and where it is going to no one can say. This shouldn't be deliberate and laboured (and certainly NOT announced), its just a feeling.The metronome speed given in TIS is cathedral pace, and way too slow for my taste. Try singing it unaccompanied and you will find you settle on a comfortable singing speed. This should dictate the pace the instruments play - not the other way around! I like singing this song at about ♩ = 132.

Informed by Imagery
In the intial stages the text can sometimes call instrumentation to mind. This song text makes many wind references, so wind instruments have a certain relevance. It is also the "bright wind" not the "stodgy old wind" , or "stormy", or "gruff", "cold" or "mellow wind".The text includes the unexpected nature of the wind, so an instrumental surprise here and there may be justified.

Instrumentation
Gladly this somg has a counter melody included in TIS (Together in Song), alongside the suggestion it can be played on a woodwind instruments. or even sung. Your faith community may be limited as to the instruments available, so consider your choice carefully. A flute, recorder, tin whistle or trumpet will provide the "bright" timbre required. Harmonica, electric guitar, or glockenspeil will render quite a different effect. Clarinet, oboe or saxophone will produce a mellow quality. Children's voices will lighten, whereas trained adult singers may weigh it down and inhibit the tempo. Only you know the resources contained wthin your community, or just beyond it. There is no need to cling to this counter melody. Feel free to improvise or invent your own, or improvise on the notes given.

Simple percussion contributes to the dance - my preference in fact, is to do away with all instruments except for a drum (either bongos, toms, bodhran or tambour) and a tin whistle. No piano, no guitars and definately give the organ a rest for this one. Even the simplest drumming pattern will lift the singing.

If you do choose to use piano, consider abandoning the given accompaniment and play the guitar chords in a simple pattern alongside the drumming.

Breathing Space
An introduction and space in betweeen verses is important. The simplest way of doing this is to have the drumming begin and your melody instrument of choice play through the song once as an intro. In between verses, just have the drummer play four bars of drumming, and your wind player reprise the last 4 bars of the sung melody, and there you have it.

Teaching it.
If this is new to your community, try this. Don't give them a hymn number, or show them the words. If they have a book or words to look at they'll be reading the words, not learning the song. Trust me. Check out How to teach a Song in 4 Steps.

You may also be interested in
Sounds Like Pentecost
Virtual Music Barriers
Percussion Perspective
Psalm 107 with Drum 
Revisiting Old Treasures.