This is an AABA form, with the exact same notes in 3 of the 4 lines.
The Alto, Tenor, and Bass parts were not very exciting, so I thought I would either play it really slow or really fast.
I took the Hymn at 120, which is quite a bit faster than the usual 80 or 90, I use for hymns. Definitely has a bit of a folk music feel.
After playing through the melody a couple times, I played it even faster and some rhythmic improvisation on the bass line let me to an upbeat Sonny Rollins kind of and some rhythms that are a little beyond my ability to write out exactly. And maybe accurately execute accurately. Still kind of fun to take some liberties with the hymns.
Lutheran Service Book and Hymnal Hymn number 10, aka “The King Shall Come” arranged for Soprano and Bass Clarinets.
In moderate time
Richard Farrant, cir. 1530-80
John Brownlie, 1859-1925
Based on the Greek
From Hymns of the Russian Church by permission of the Oxford University Press
Regarding the information above, I believe the first line is the identifier of the hymn. The second line indicates the meter of the text, in the case CM or Common Meter. The third line is the tempo and feeling. The fourth line is the composer of the music. The fifth line is the author of the text.
This is certainly another stately hymn and based on the lifetime of the composer, 1530-80, probably the oldest tune to date.
Since it is such an old tune, I figured a few more voices would be appropriate, so I recorded each part 3 times. After recording, I panned the voices to sequential areas in the stereo mix and applied the Reverb Effect with the “Church Hall” settings.
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.