Please turn your hymnals to number 21 and join with the clarinets in “All Praise to Thee” aka “Tallis’ Canon”.
Name: TALLIS’ CANON.
Tempo: With dignity
Music: Thomas Tallis, cir 1505-85
Text: Latin Hymns of XI cent.
German Hymn of XIV Cent.
Martin Luther, 1483-1546
Tr. Anonymous, 1858
I got a little obsessed with the arrangement of Tallis’ Canon and ended up with a fairly complex thing. Basically, the Canon is running against itself at two speeds. (I was really tempted to run another melody at 2x the faster speed, but that would be bebop.)
First I did the round with 4 beats per half note in two parts at a very slow tempo, basically half note equals 40 bpm, and recorded all the parts on bass clarinet.
Please turn your hymnals to number 20 (Second Tune) and join with the clarinets in “From East to West”.
Name: CHRISTUM WIR SOLLEN LOBEN SCHON
Tempo: With dignity
Music: Geistliche Lieder, Wittenberg, 1525
Words: Coelius Sedulius, cir. 450
Tr. John Ellerton, 1826-93
A second, slightly more sensible, and modern, setting for the words of “Coelius Sedulis” is a bit easier to interpret. Ahem, if modern equals the mid-1500s. Interestingly, it does remind me of the incidental music from a Shakespeare play at the American Players Theater in Spring Green. Apropos.
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.