The Wayfaring Stranger

Poor Wayfaring Stranger

Whew.

As I mentioned, my plan for the next phase is to do more arranging.

For “The Wayfaring Stranger”, I challenged myself to write a piano part along with the 4 clarinet parts.

Clarinet/Piano Arrangement:Poor_Wayfaring_Stranger

Which wouldn’t have been so bad, except I ran into a weird problem with Apple’s GarageBand about half way through.

I’d written a part for the piano, exported it to a midi file. And whenever I imported it into GarageBand, it started doing some sort of weird auto-transposing of all the other parts. It took me about a week, but I finally figured out what was going on.

If you choose the option to “Import Tempo Information” from your midi track, GarageBand does this. I have no idea why, but the easy solution is to choose not to import Tempo Information from your midi track.

The Wayfaring Stranger” is thought to be a traditional American song, but no one knows for sure where it comes from.

Some historians have traced its genesis to the 1780s, others, the early 1800s. Depending on who you’re talking to the song may be a reworked black spiritual, a lifted native hymn, or even a creation of nomadic Portuguese settlers from the southern Appalachian region.

It has been covered, as far as I can tell, by just about everyone in the universe.

Harmonically, the melody is quite similar, being Pentatonic, to the Irish song, “Keg of Brandy,” and the Who’s, “Behind Blue Eyes,” among many other songs.

One of my favorite songs.

1 I’m just a poor wayfaring stranger,
I’m trav’ling through this world below;
There is no sickness, toil, nor danger,
In that bright world to which I go.
I’m going there to see my father,
I’m going there no more to roam;
I’m just a going over Jordan,
I’m just a going over home.

2 I know dark clouds will gather o’er me,
I know my pathway’s rough and steep;
But golden fields lie out before me,
Where weary eyes no more shall weep.
I’m going there to see my mother,
She said she’d meet me when I come;
I’m just a going over Jordan,
I’m just a going over home.

3 I want to sing salvations story,
In concert with the blood-washed band;
I want to wear a crown of glory,
When I get home to that good land.
I’m going there to see my brothers,
They passed before me one by one;
I’m just a going over Jordan,
I’m just a going over home.

4 I’ll soon be free from every trial,
This form will rest beneath the sod;
I’ll drop the cross of self-denial,
And enter in my home with God.
I’m going there to see my Saviour,
Who shed for me His precious blood;
I’m just a going over Jordan,
I’m just a going over home.

136 – Come Thou Almighty King

Please turn your hymnals to number 136 and join the clarinets in, “Come Thou Almighty King”.

Number: 136
First Line: Come Thou Almighty King
Name: MOSCOW.
Meter: 6 6 4, 6 6 6 4.
Tempo: Joyfully
Music: Felice de Giardini, 1716-96
Text: Authorship Uncertain
Whitefield’s Collection, 1757 a.

This is an interesting hymn. A tad more musically interesting than most. It moves from contrasting harmony parts, to a unison refrain, and back to harmony.

Quite pleasant!

Felice Giardini (April 12, 1716 – June 8, 1796) was an Italiancomposer and violinist.

Felice Giardini was born in Turin.[1] When it became clear that he was a child prodigy, his father sent him to Milan. There he studied singing, harpsichord and violin but it was on the latter that he became a famous virtuoso. By the age of 12, he was already playing in theater orchestras. In a famous incident about this time, Giardini, who was serving as assistant concertmaster (i.e. leader of the orchestra) during an opera, played a solo passage for violin which the composer Niccolò Jommelli had written. He decided to show off his skills and improvised several bravura variations which Jommelli had not written. Although the audience applauded loudly, Jommelli, who happened to be there, was not pleased and suddenly stood up and slapped the young man in the face. Giardini, years later, remarked, “it was the most instructive lesson I ever received from a great artist.”

Clarinet Arrangement: 136-ComeThouAlmightKing

Red Service Book and Hymnal
Red Service Book and Hymnal

135 – Holy, Holy, Holy, Lord God of Hosts

Please turn your hymnals to number 135 and join with the clarinets in, “Holy, Holy, Holy, Lord God of Hosts”.

Number: 135
First Line: Holy, Holy, Holy, Lord God of Hosts
Name: ST. ATHANASIUS.
Meter: 7 7, 7 7, 7 7.
Tempo: With dignity, in moderate time
Music: Edward John Hopkins, 1818-1901
Text: Christopher Wordsworth, 1807–1885

Clarinet Arrangement: 135-HolyHolyHolyLordGodOfHosts

Pretty generic hymn stuff here from Dr Hopkins, even with some unusually close harmonies at points. Apparently, he was something of a prodigy on the Church Organ, getting his first appointment at only 16.

Dr. Edward John Hopkins FRCO (30 June 1818 – 4 February 1901) was an English organist and composer.[1] He was born on 30 June 1818 in Westminster.[2] He was the eldest son of George Hopkins, a clarinet player who played with the orchestra of the Royal Opera House. Two of his brothers, John and Thomas Hopkins, also became organists – John at Rochester Cathedral and Thomas at St Saviour’s Church, York. His uncle Edward Hopkins was also an outstanding clarinettist and bandmaster of the Scots Guards in 1815.[3]

In 1826 he became a chorister of the Chapel Royal under William Hawes and sang at the coronation of King William IV in Westminster Abbey in 1830. At the same time, he sang in the choir of St Paul’s Cathedral, having to manage his double schedule with great dexterity. On Sunday evenings, he would play the outgoing voluntary for his organ teacher Thomas Forbes Walmisley, the father of Thomas Attwood Walmisley, at St. Martin’s-in-the-Fields.[3] He left the Chapel Royal in 1834 and started studying organ construction at two organ factories.[3]

His first organist appointment was at Mitcham Church. He played in a blind audition against several other organists and won first place in the auditions. The committee, on seeing that he was only sixteen, were reluctant to appoint him but his friend James Turle, the organist at Westminster Abbey, where Hopkins had played as a stand-in for Turle, informed them of the fact and he was appointed.[3]

Red Service Book and Hymnal
Red Service Book and Hymnal

134 – Father Most Holy

Please turn your hymnals to number 134 and join with the clarinets in, “Father Most Holy”.

Number: 134
First Line: Father Most Holy
Name: CHRISTE SANCTORUM.
Meter: 11 11, 11 5.
Tempo: Unison, in moderate time
Music: XVIII cent. French Church Melody
Harm. by R. Vaughn Williams, 1872-1958
Text: Latin Hymn, cir. X cent.
Tr. Percy Dearmer, 1867-1936
Text and harmony from THE ENGLISH HYMNAL, Oxford University Press

Clarinet Arrangement: 134-FatherMostHoly

Fortunately, the Bass Clarinet is back at home, as this would have been a tough one to tackle on the Sax. Far too many notes below Bb. In addition, it’s a complex organ arrangement meant to accompany a unison choir or congregation, so in many places there are 6 notes sounding at once. A six part sax choir might sound good in theory, but in practice, it’s tough.

Anyway, this is a lovely arrangement by the famous English composer, R. Vaughn Williams.

Ralph Vaughan Williams OM (Listeni/ˈreɪf ˌvɔːn ˈwɪljəmz/[n 1] 12 October 1872 – 26 August 1958) was an English composer and folk song collector. His works include operas, ballets, chamber music, secular and religious vocal pieces and orchestral compositions including nine symphonies, written over nearly fifty years. Strongly influenced by Tudor music and English folk-song, his output marked a decisive break in British music from its German-dominated style of the 19th century.

Vaughan Williams was born to a well-to-do family with strong moral views and a progressive social outlook. Throughout his life he sought to be of service to his fellow citizens, and believed in making music as available as possible to everybody. He wrote many works for amateur and student performance. He was musically a late developer, not finding his true voice until his late thirties; his studies in 1907–08 with the French composer Maurice Ravel helped him clarify the textures of his music.

Vaughan Williams is among the best-known British symphonists, noted for his very wide range of moods, from stormy and impassioned to tranquil, from mysterious to exuberant. Among the most familiar of his other concert works are Fantasia on a Theme by Thomas Tallis (1910) and The Lark Ascending (1914). His vocal works include hymns, folk-song arrangements and large-scale choral pieces. He wrote eight works for stage performance between 1919 and 1951. Although none of his operas became popular repertoire pieces, his ballet Job: A Masque for Dancing (1930) was successful and has been frequently staged.

Two episodes made notably deep impressions in Vaughan Williams’s personal life. The First World War, in which he served in the army, had a lasting emotional effect. Twenty years later, though in his sixties and devotedly married, he was reinvigorated by a love affair with a much younger woman, who later became his second wife. He went on composing through his seventies and eighties, producing his last symphony months before his death at the age of eighty-five. His works have continued to be a staple of the British concert repertoire, and all his major compositions and many of the minor ones have been recorded.

Red Service Book and Hymnal
Red Service Book and Hymnal

133c – O Trinity of Blessed Light

Please turn your hymnals to number 133 (Third Tune) and join with the Saxophones in, “O Trinity of Blessed Light”.

Number: 133 (Third Tune)
First Line: O Trinity of Blessed Light
Name: ILLSLEY.
Meter: L.M.
Tempo: Slowly
Music: John Bishop, 1665-1737
Text: Ascribed to St. Ambrose, 340-397
Tr. John Mason Neale, 1816-66

Saxophone Arrangement: 133c-OTrinityOfBlessedLight

Final setting of St. Ambrose’s Poem, “O Trinity of Blessed Light”.

I mean, when else do you get to use “Paraclete” in a poem, other than on Trinity Sunday?

Paraclete (Gr. παράκλητος, Lat. paracletus) means advocate or helper. In Christianity, the term “paraclete” most commonly refers to the Holy Spirit.

O Trinity of Blessed Light,
O Unity of princely might,
The fiery sun now goes his way;
Shed thou within our hearts thy ray.

To thee our morning song of praise,
To thee our evening prayer we raise;
Thy glory suppliant we adore
For ever and forever more.

All laud to God the Father be,
All praise, eternal Son, to thee,
lAll glory, as is ever meet,
To God the holy Paraclete. Amen.

Red Service Book and Hymnal
Red Service Book and Hymnal

133b – O Trinity of Blessed Light

Please turn your hymnals to number 133 (Second Tune) and join with the Saxophones in, “O Trinity Of Blessed Light”.

Number: 133 (Second Tune)
First Line: O Trinity of Blessed Light
Name: AETERNA CHRISTI MUNERA.
Meter: L.M.
Tempo: With movement
Music: Rouen Church Melody
Text: Ascribed to St. Ambrose, 340-97
Tr. John Mason Neale, 1818-66

Saxophone Arrangement: 133b-OTrinityBlessedLight

Rouen, apparently, is an city in France, and the capital of Normandy.

Rouen (French pronunciation: ​[ʁwɑ̃]; Frankish: Rodomo; Latin: Rotomagus) is a city on the River Seine in the north of France. It is the capital of the region of Normandy. Formerly one of the largest and most prosperous cities of medieval Europe, Rouen was the seat of the Exchequer of Normandy during the Middle Ages. It was one of the capitals of the Anglo-Norman dynasties, which ruled both England and large parts of modern France from the 11th to the 15th centuries.

The population of the metropolitan area (in French: agglomération) at the 2007 census was 532,559, with the city proper having an estimated population of 110,276. People from Rouen are known as Rouennais.

Red Service Book and Hymnal
Red Service Book and Hymnal

133a – O Trinity Of Blessed Light

Please turn your hymnals to number 133 (First Tune) and join with the clarinets in, “O Trinity of Blessed Light”.

Number: 133 (First Tune)
First Line: O Trinity, O Blessed Light
Name: O LUX BEATA TRINITAS.
Meter: Irregular
Tempo: With movement
Music: Plainsong Melody, Mode VIII
Arr. by Ernest White, 1899-
Text: Ascribed to St. Ambrose, 340-97
Tr. John Mason Neale, 1818-66

Saxophone Arrangement: 133-OTrinityOfBlessedLight

There were a lot of challenging thing with this hymn. In the Tenor Sax parts, the lower of the two spends pretty much the whole song on the lowest few notes of the saxophone. It is very difficult to play those quietly and accurately. And when it isn’t on the bottom few notes, it inexplicably jumps up to G sharp from those notes. The whole thing was basically a pinky nightmare. The lower Soprano Sax part is challenging, well, because all you are doing is basically holding one note for l0-12 beats, over the whole of the phrase. The melody part isn’t bad, it proceeds mostly stepwise up and down, but it is in 4 sharps.

Aurelius Ambrosius (ItalianSant’Ambrogio [ˌsantamˈbrɔːdʒo]), better known in English as Saint Ambrose (/ˈæmbrz/c. 340 – 4 April 397), was a bishop of Milan who became one of the most influential ecclesiastical figures of the 4th century. He was the Roman governor of Liguria and Emilia, headquartered in Milan, before being made bishop of Milan by popular acclamation in 374. Ambrose was a staunch opponent of Arianism, and has been accused of fostering persecutions of Arians, Jews, and pagans.

Traditionally, Ambrose is credited with promoting “antiphonal chant”, a style of chanting in which one side of the choir responds alternately to the other, as well as with composing Veni redemptor gentium, an Advent hymn.

Ambrose was one of the four original Doctors of the Church, and is the patron saint of Milan. He is notable for his influence on Augustine of Hippo.

Under Ambrose’s major influence, emperors GratianValentinian II and Theodosius I carried on a persecution of Paganism.[23][24][25][26] Under Ambrose’s influence, Theodosius issued the 391 “Theodosian decrees,” which with increasing intensity outlawed Pagan practises,[24][27] and the Altar of Victory was removed by Gratian. Ambrose prevailed upon Gratian, Valentinian and Theodosius to reject requests to restore the Altar.

Red Service Book and Hymnal
Red Service Book and Hymnal

132 – All Glory be to God on High

Please turn your hymnals to number 132 and join with the Saxophones in, “All Glory be to God on High”.

Number: 132
First Line: All Glory be to God on High
Name: ALLEIN GOTT IN DER HÖH.
Meter: 8 7, 8 7, 8 8 7.
Tempo: Joyfully, with breadth
Music: Nikolaus Decius, 1541
Text: Ascribed to Nikolaus Decius, 1541
Tr. Catherine Winkworth, 1829-78 a.

Saxophone Arrangement: 132-AllGloryBeToGodOnHigh

For being such an old hymn, circa 1541, this is pretty cool.

I like the harmonies and chords!

And, even with 3 sharps, applied some hymprovisation to the second time through.

Nikolaus Decius (also DegiusDeegTech a Curia, and Nickel von Hof;[1] c. 1485 – 21 March 1541[2] (others say 1546[3]) was a German monk, hymn-writer and composer.

He was probably born in Hof in Upper FranconiaBavaria, around 1485. He studied at the University of Leipzig and obtained a master’s degree at Wittenburg Universityin 1523 and became a monk.[4] Although a monk, he was an advocate of the Protestant Reformation and a disciple of Martin Luther.[4] He was Probst of the cloister at Steterburg from 1519 until July 1522 when he was appointed a master in the St. Katherine and Egidien School in Braunschweig.[2][5] He wrote in 1523 “Allein Gott in der Höh sei Ehr“, a German paraphrase of the Latin Gloria, adapted by Luther in 1525.[6] Decius’s version was first sung on Easter Day at Braunschweig on 5 April 1523.[7]Decius’s Low German version first appeared in print in Gesang Buch by Joachim Sluter, printed in 1525.[7]

In 1526, Decius became preacher at the Church of St. Nicholas in Stettin at the same time as Paulus von Rhode was appointed preacher at St. James’s in Stettin.[2] In 1535 he became pastor of St. Nicholas and died there in March 1541 after a suspected poisoning.[2] Shortly before his death he wrote the hymn “O Lamm Gottes, unschuldig” (O Lamb of God, innocent) sung on a tune from the 13th century. Decius’s version was first published in Anton Cornivus‘s Christliche Kirchen-Ordnung in 1542.[4]Johann Sebastian Bach used it as a cantus firmus in the opening chorus of his St Matthew Passion. It was translated into English by Arthur Tozer Russell in the 19th century.[4]

Red Service Book and Hymnal
Red Service Book and Hymnal

131 – Holy, Holy, Holy, Lord God Almighty

Please turn your hymnals to number 131 and join with the saxophones in, “Holy, Holy, Holy, Lord God Almighty”.

Number: 131
First Line: Holy, Holy, Holy, Lord God Almighty
Name: NICAEA.
Meter: Irregular.
Tempo: Joyfully, with dignity
Music: John Bacchus Dykes, 1823-76
Text: Reginald Heber, 1783-1826

Clarinet Arrangement: 131-HolyHolyHolyLordGodAlmighty

This is another VERY well known and familiar hymn and I quite enjoyed playing it. However, it is slightly annoying that it has 4 sharps for concert, which means it has 6 sharps when transposed for bflat instruments, which is A LOT of sharps. As I’ve mentioned before, it messes b sharp and e sharp sort of mess with my head, since they are C and F, respectively.

This is the first of the hymns in celebration of “Trinity Sunday”.

Holy, Holy, Holy!” is a Christianhymn written by Reginald Heber (1783–1826).[1][2][3] Its lyrics speak specifically of the Holy Trinity,[2][3] having been written for use on Trinity Sunday.[3] It quotes the Sanctus of the Latin Mass, which translated into English begins “Holy, Holy, Holy! Lord God of Hosts”. The text also paraphrases Revelation 4:1–11John Bacchus Dykes composed the tune Nicaea for this hymn in 1861.[1][2][3] The tune name is a tribute to the First Council of Nicaeawhich formalized the doctrine of the Trinity in 325.[2][3]

This sort of thing:

Holy, holy, holy, Lord God Almighty!
Early in the morning our song shall rise to thee;
Holy, holy, holy, merciful and mighty,
God in three persons, blessed Trinity

Holy, holy, holy! all the saints adore thee,
Casting down their golden crowns around the glassy sea,
Cherubin and seraphim falling down before thee,
Which wert, and art, and evermore shalt be.

Red Service Book and Hymnal
Red Service Book and Hymnal

130 – Holy Spirit, Truth Divine

Please turn your hymnals to number 130 and join with the saxophones in, “Holy Spirit, Truth Divine”.

Number: 130
First Line: Holy Spirit, Truth Divine
Name: SONG 13.
Meter: 7 7, 7 7.
Tempo: Quietly
Music: Orlando Gibbons, 1583-1625
Text: Samuel Longfellow, 1819-92

Clarinet Arrangement: 130b-HolySpiritTruthDivine

Since this is the last hymn for Pentecost, I thought it might be a good idea to explain it a bit.

Pentecost Sunday (June 4) marks the day most Christians believe the Holy Spirit descended on the followers of Jesus after his death, resurrection and ascension. The story comes from the New Testament Book of Acts: “Suddenly a sound like the blowing of a violent wind came from heaven and filled the whole house where they were sitting. They saw what seemed to be tongues of fire that separated and came to rest on each of them.  All of them were filled with the Holy Spirit and began to speak in other tongues as the Spirit enabled them.” Jesus’ followers were amazed — they could speak languages they never knew before and they could understand others they had never heard. The Apostle Peter stood up and preached his first sermon — so many Christians think of this holiday as the “birthday” of the church.

I’ve always thought Pentecost was a little “psychedelic”, what with the speaking in tongues and flames over people’s heads.

So, I had an idea to try to make this arrangement a little psychedelic. I don’t think I quite got to psychedelic, it’s a bit more ritualistic or new wave-ish. Sort of a more relaxed version of something Killing Joke would do. Anyway.

I wrote a drum part in the arranging program I use, MuseScore, exported it to a midi file, then imported the midi track into Garageband. Then I did the same with an electric bass part. The nifty thing about midi instruments is a) you don’t have to buy them b) you don’t have to play them c) you don’t have to respect the physical limitations of the instrument or the player. So, yeah, that bass guitar part is about an octave below what a “normal” electric bass guitar can play.

The text for this hymn was written by Samuel Longfellow, who was a Unitarian pastor and hymn writer, and they are quite nice and not particularly specifically religious.

Holy Spirit, truth divine,
Dawn upon this soul of mine;
Word of God, and inward light,
Wake my spirit, clear my sight.

Holy Spirit, love divine,
Glow within this heart of mine;
Kindle every high desire,
Perish self in thy pure fire.

Holy Spirit, power divine,
Fill and nerve this will of mine;
By thee may I strongly live,
Bravely bear, and nobly strive.

Holy Spirit, peace divine,
Still this restless heart of mine;
Speak to calm this tossing sea,
Stayed in thy tranquility.

Holy Spirit, right divine,
King within my conscious reign;
Be my law, and I shall be,
Firmly bound, for ever free. Amen.

A bit more about Samuel Longfellow:

Samuel Longfellow was born June 18, 1819, in Portland, Maine, the last of eight children of Stephen and Zilpah (Wadsworth) Longfellow.[1] His older brother was the poet Henry Wadsworth Longfellow. He attended Harvard Collegeand graduated in 1839 ranked eighth in a class of 61.[2] He went on to study at Harvard Divinity School, where his classmates included Thomas Wentworth Higginson and Samuel Johnson, with whom he would later collaborate in his hymn writing.

He is considered part of the second-generation of transcendentalists;[3] after becoming a Unitarian pastor, he adapted the transcendental philosophy he had encountered in divinity school into his hymns and sermons.

Red Service Book and Hymnal
Red Service Book and Hymnal