Anyway, I worked on this last night for several hours and I’m still not entirely happy with my performance of the melody. I think I failed to get myself into the proper headspace for the performance of “Plainsong, Mode III”.
I tracked the melody five times and placed it across the stereo landscape. Then I played all three accompaniment parts on Soprano Clarinet. Finally doubled the Tenor and Bass parts on Bass Clarinet. Added the Audacity “Large Room” Reverb Effect.
I went with the usual method, first recording all 4 parts with Soprano Clarinet, then doubling the bass and tenor parts on Bass Clarinet. For the record, this hymn marks the debut of a much nicer microphone for my home recording efforts. (Thanks to my lovely wife!). I think it sounds much, much better!
After leaving the bass clarinet out for the last couple hymns, it is back with this one. I still did all the parts with Soprano Clarinet, but then doubled the Tenor and Bass parts with Bass Clarinet. I used the “Small Room” Audacity Reverb preset effect to give it a little presence, without losing too much volume.
Please open your hymnals to number 17 (First Tune) and join with the clarinets in singing “Of the Father’s Love Begotten”.
Name: DIVINUM MYSTERIUM. (Corde Natus Ex Parentis)
Meter: 8 7, 8 7, 8 7 7.
Unison, in moderate time
Music: XIII cent. Plainsong, Mode V,
Arranged by Winfred Douglas, 1867-1944
Text: Aurelius Prudentius, 348-413
Tr. St. 1-4, John Mason Neale, 1818-66
Tr. St. 5, Henry Williams Baker, 1821-77
Oof, the oldest ones are always the biggest pains to arrange, but they are often my favorites.
The band I’m in practices in the East Bay. After a couple horrible driving experiences, I’ve decided to take BART. One of my East Bay living fellow band mates usually picks me up at Ashby BART station on their way to practice.
Sometimes I get there early, or my bandmate is late, leaving me with some time to kill.
Exploring the station, I’ve discovered that there is a spiffy reverb filled underpass on the East side of the station.
Working up my courage, I’ve started playing my clarinet in the underpass.
I had a pleasant interaction with a blind woman towards the end of this video.
Next I need to figure out some way to record my hymns in the underpass. The natural reverb of the underpass is far superior to the electronic processing.
Lutheran Service Book and Hymnal Hymn number 8, Second Version, aka “Lift Up Your Heads, Ye Mighty Gates!” arranged for Soprano and Bass Clarinets.
MACHT HOCH DIE TUR
8 8, 8 8, 8 8, 6 6.
Freylinghausen’s Gesangbuch, 1704
Georg Weissel, 1590-1635
Tr. Catherine Winkworth, 1829-78 a.
This is kind of a more interesting arrangement, more 4ths used as intervals. Very fragile harmonies. I really tried to play delicately, yet concentratedly as I could, and be as close in intonation as possible. Tricky on the bass clarinet while playing so quietly! I recorded the Soprano vocal part twice on soprano clarinet, and the rest of the parts once. As usual processed it with the “Large Room” Reverb effect in Audacity.
So, this is the first arrangement I wrote fully on my own.
I transcribed Jean ‘Toots’ Theileman’s Bluesette and wrote the Bass Clarinet and Second Soprano Clarinet part based on the key changes.
I think it is kind of fun, it has a propulsive, merry-go-round feel that works with the melody. I only wish I knew how to play accordion better, so I could play the bass part on accordion. That would make it really cool.
Tho, playing the bass clarinet part through as many times as it took for me to get it mostly down, gave me a new respect for tuba players. I shall never make fun of the tuba!