Yesterday I had my 3rd harmony class for church organists where I taught people how to add a middle voice to the hymn tune. Previously the homework for them was to supply only the bass line but now the texture sounds much fuller.
Three-part harmonization is very useful when you have church choir without tenors. This is very often the case in a lot of church choirs in Lithuania. Men voices in general are more rare than women's voices but tenors are twice as rare. So the way the two-part harmonization works is only to employ intervals which sound sweet or pure - major or minor 3rds, major or minor 6ths and perfect 8ves and perfect 5ths. However, people had to avoid parallel 5ths and 8ves by writing as much contrary motion as possible - if the melody goes up - the bass goes down and vice versa. Two classes in a row we worked on this arrangements of voices and actually it already sounds nice, if played with a full Principal chorus with mixtures. For some students this is easier than for others, of course. It depends on their talent, skill level and experience. While adding a middle part, people were free to imagine it as an alto or as a tenor or a combination of both - writing it either in the upper or the lower stave. The rules are basically the same as before - no parallel 5ths and 8ves and no hidden 5ths and 8ths either - when jumping into a 5th or an 8ve from the same direction. Only opposite motion here is OK. No dissonances (2nds and 7ths). Most importantly, in every chord use either all 3 chordal notes (like C-E-G), or if you must skip something, skip a 5th (G in C-E-G chord), but leave a 3rd of the chord (E in this case). I plan to have one more class with three-part harmonization before moving into a full SATB texture. Try it out if you're curious how it works on any melody you like. SOPP407: I'm taking two lines from a hymn every day and taking it through the circle of fifths3/2/2019
Ausra: Hello, guys, this is Ausra.
Vidas: And Vidas. A: Let’s start question number 407, sent by Jeremy. And he asks about transposing: I'm taking two lines from a hymn every day and taking it through the circle of fifths. A: So, what do you think, Vidas? Is this a good way to transpose? V: This is actually a very clever way. Maybe for some people, two lines, maybe it’s too short, for some people it’s too long, or for some people it’s just right. What would you do? A: Well, if I would be transposing using the circle of fifths, I probably would choose the shortest segment, because it sounds like a sequence from a piece if it’s made in the circle of fifths. Probably I would in such a case, would pick up only two measures. V: I would sometimes transpose the entire hymn, but that’s advanced knowledge I think. For people who are just starting, one line is plenty, and one line is maybe four measure long. A: Well, and I know that you are an expert of transposition. How many ways do you know how to transpose things? V: Maybe, three, right? A: Well, yes. I’m a superior teacher of those three ways. V: You’re an expert too. A: Well, yes, such is a life. V: So, what are these ways? The first way of course is just to transpose by a given interval, right? A: Yes, that’s probably most common way. But not necessarily easiest the one. V: Mmm-hmm. The second is transposing by changing the clef. A: True. But... V: Which means that on the same line, has to be a different note, in a different clef. You have to figure out the key and which kind of clef you will need. For example; in treble clef, on the first line, is the note E, and if the hymn is in, on the first note is… A: C. V: C, in treble. A: Yes, on the bottom line is the note C. Because all the clefs, all the C clefs… V: Oh. I’m not talking about C clef—about treble clef—G clef. A: Oh. Okay. V: So, on the bottom… A: Does anybody still uses it? Because that’s one of the oldest keys. V: I think we are talking about… A: It’s old French key, yes? It’s old French key. V: We are talking about different terms. How would you call G clef which you use every day, in English? A: Treble clef. V: Treble clef! And that’s what I’m talking about now. So, on the bottom line is the note E. And if you need, for example, E Major, then the first scale degree is on the lowest note. So in a different key, then you would also need to have the first scale degree on the lowest line. A: Well, that’s what I meant. Why would use the soprano clef? V: Depending on the key… A: Because the C would be on the bottom line. V: But what kind of key then you would need? C Major, right? A: Yes. V: So, transposing from E Major to C Major, or major or minor third downward, you will need a, to change the clef into the soprano clef. A: But is it always possible to change the clefs? V: It is, because there are ten clefs altogether. A: But don’t you think it’s very hard for like non-advanced musician to know all of them and to manipulate them so easily? V: It is hard. So then the first method is easier. A: Because in reality nowadays, there are only four clefs that are in actual use—daily use. And also not for all musicians because we use treble clef, we use bass clef and we use two of the C clefs—alto and tenor. V: But you know, what is good about clefs? That you can take it few steps further, once you get comfortable with them. And if you like to improvise a fugue for example, you could just transpose your subject this way by changing the clef. Not only fugue but any type of composition or improvisation which is based on a subject which needs to be transposed throughout. A: True, but it’s quite an advanced technique. V: It is. It is. A: I think that probably the easiest way to transpose, is to change accidentals in the same clef. Of course in that way you can only transpose by half-step, but it’s very easy. V: That’s number three. A: Yes, that’s number three. For example, you have piece written in F Major, then you just imagine that it’s written in F# Major, so you sort of change the accidentals, next to the… V: Mmm-hmm. A: Clefs, and that’s it. V: But if you need to transpose into G Major, then you have to use another method. A: Well, yes and no. You could imagine G# Major key. It will have six… V: G flat you mean? A: No. Not G flat, but G sharp. V: What is that? A: (Laughs). G# Major key—you don’t know it? It has six sharps and one double-sharp. V: Oh. (Laughs). A: If you don’t use the circle of fifths, then you’re making it. You would go after C# Major key, you would have G# Major key. V: Uh-huh. A: And if you would play some compositions by Chopin, you would find keys like this. They’re not used in the real life but they are still exist. V: What about A Major then? How many double sharps would you have. A: Well you would have just to transpose it half-step down—into A flat major. V: Which method would that be? A: Changing accidentals. From A Major to A flat Major. V: No. From F Major to A Major, or A flat Major? A: Well then you will have to choose the given interval. V: The first method. A: Yes. V: Mmm-hmm. A: Because the first method works all the time—all the time. V: Mmm-hmm. You just transpose by intervals, or you transpose by changing the clefs, which is harder. Or you change the accidentals, which is the third method, but only it’s by half-step up or half-step down. A: Yes, and then you want to actually transpose by a third… V: Mmm-hmm. A: It’s easy to switch a key from the bass to the treble or otherwise. V: Mmm-hmm. A: That’s how my students at school cheats on me. V: Oh. A: Because I’m asking them to transpose by a second, and they asking, ‘Oh, could we transpose by a third?’ And then we just change these two keys. V: Nice. A: So guys, I hope this discussion was useful for you. In anyway, transposition is a very useful thing for musician, and very useful thing for your brain. And this was Ausra. V: And Vidas. A: And remember; when you practice... V: Miracles happen! What do we do when we play hymns on the organ? Do we perform or create?
Hymn playing is performance when we play SATB hymns as written in the hymnal, just like any other written down organ composition. But it's creating when we: 1. Play the hymn tune from the hymnal and supply our own harmonization. 2. Use different registration for every stanza, paying attention to the text. 3. Put the hymn tune in any other voice besides the soprano. 4. Place the tune with the feet, playing any part in the pedals. 5. Add non chordal notes, such as passing notes, neighbor tones, and suspensions. 6. Play the hymn in 2, 3, 5, or 6 parts. 7. Supply our own descant. 8. Create an introduction, interludes, and a coda between the hymn phrases (Ritornello technique). 9. Create a set of variations on the hymn tune. 10. Play a fantasia by choosing each phrase of the hymn tune and treating it in imitative counterpoint in various voices. Performance is sure to work, safe, and risk-free. Creating might not work, is risky, and requires a leap from the perspective of both the creator and the receiver. In a world of unlimited possibilities, which one would you choose to play? Which one would you choose to listen to or sing with? In response to my recent organ hymn playing exercise, Sylvia Wall asked me to comment on reading the words and punctuation, as well as knowing which verse you are playing.
I know it can be frustrating for organists to play the hymns and at the same time to read the words. While doing this, sometimes your tempo might become unstable and sometimes you can forget which verse the congregation is singing. However, when you play hymns, I don't recommend reading the words too much because you have to focus on music (studying the text beforehand is a must, though). One way to know which verse you are playing is to prepare the different registration in advance for each verse. If you remember the order of stop combinations for different verses, you will know which verse you are on. Here's a video I made with demonstration of how not to get lost between the hymn verses. Practice the above hymn setting of "God, Whose Almighty Word" this way:
1. Soprano alone with the right hand 2. Alto alone with the right hand 3. Tenor alone with the left hand 4. Bass alone with the pedals 5. Soprano and alto with the right hand 6. Soprano and tenor with both hands 7. Soprano and bass with the right hand and pedals 8. Alto and tenor with both hands 9. Alto and bass with the right hand and pedals 10. Tenor and bass with the left hand and pedals 11. Soprano, alto, and tenor with both hands 12. Soprano, alto, and bass with the right hand and pedals 13. Soprano, tenor, and bass with both hands and pedals 14. Alto, tenor, and bass with both hands and pedals 15. All 4 parts together with both hands and pedals Take a slow tempo, aim for detached articulate legato touch and 3 correct repetitions in a row in each step. Practice the above hymn setting of "God Will Take Care of You" this way:
1. Soprano alone with the right hand 2. Alto alone with the right hand 3. Tenor alone with the left hand 4. Bass alone with the pedals 5. Soprano and alto with the right hand 6. Soprano and tenor with both hands 7. Soprano and bass with the right hand and pedals 8. Alto and tenor with both hands 9. Alto and bass with the right hand and pedals 10. Tenor and bass with the left hand and pedals 11. Soprano, alto, and tenor with both hands 12. Soprano, alto, and bass with the right hand and pedals 13. Soprano, tenor, and bass with both hands and pedals 14. Alto, tenor, and bass with both hands and pedals 15. All 4 parts together with both hands and pedals Take a slow tempo, aim for detached articulate legato touch and 3 correct repetitions in a row in each step. Practice the above hymn setting of "You Parents Hear What Jesus Taught" this way:
1. Soprano alone with the right hand 2. Alto alone with the right hand 3. Tenor alone with the left hand 4. Bass alone with the pedals 5. Soprano and alto with the right hand 6. Soprano and tenor with both hands 7. Soprano and bass with the right hand and pedals 8. Alto and tenor with both hands 9. Alto and bass with the right hand and pedals 10. Tenor and bass with the left hand and pedals 11. Soprano, alto, and tenor with both hands 12. Soprano, alto, and bass with the right hand and pedals 13. Soprano, tenor, and bass with both hands and pedals 14. Alto, tenor, and bass with both hands and pedals 15. All 4 parts together with both hands and pedals Take a slow tempo, aim for detached articulate legato touch and 3 correct repetitions in a row in each step. Post time and the number of repetitions to comments. Practice the above hymn setting of "The Law Of God Is Good And Wise" this way:
1. Soprano alone with the right hand 2. Alto alone with the right hand 3. Tenor alone with the left hand 4. Bass alone with the pedals 5. Soprano and alto with the right hand 6. Soprano and tenor with both hands 7. Soprano and bass with the right hand and pedals 8. Alto and tenor with both hands 9. Alto and bass with the right hand and pedals 10. Tenor and bass with the left hand and pedals 11. Soprano, alto, and tenor with both hands 12. Soprano, alto, and bass with the right hand and pedals 13. Soprano, tenor, and bass with both hands and pedals 14. Alto, tenor, and bass with both hands and pedals 15. All 4 parts together with both hands and pedals Take a slow tempo, aim for detached articulate legato touch and 3 correct repetitions in a row in each step. Post time and the number of repetitions to comments. Practice the above hymn setting of "I Place My Trust In God" this way:
1. Soprano alone with the right hand 2. Alto alone with the right hand 3. Tenor alone with the left hand 4. Bass alone with the pedals 5. Soprano and alto with the right hand 6. Soprano and tenor with both hands 7. Soprano and bass with the right hand and pedals 8. Alto and tenor with both hands 9. Alto and bass with the right hand and pedals 10. Tenor and bass with the left hand and pedals 11. Soprano, alto, and tenor with both hands 12. Soprano, alto, and bass with the right hand and pedals 13. Soprano, tenor, and bass with both hands and pedals 14. Alto, tenor, and bass with both hands and pedals 15. All 4 parts together with both hands and pedals Take a slow tempo, aim for detached articulate legato touch and 3 correct repetitions in a row in each step. Post time and the number of repetitions to comments. Are you struggling with playing different melodies in different hands and feet? Do you know what is the exercise which will boost your musical thinking and hand and feet coordination? I'm talking about playing a hymn from the hymnal in the following 8 ways:
1. The melody is in the soprano played by the right hand. This is a usual four-part arrangement. The alto is in the right hand, the tenor - in the left hand and the bass - in the pedals. 2. The melody is in the soprano played by the right hand. The alto is in the right hand, the tenor is in the pedals, the bass - in the left hand. 3. The melody is in the soprano played by the right hand. The alto is in the pedals (with the 4' registration), the tenor and the bass - in the left hand. 4. The melody is in the soprano played by the pedals with a 4' registration or a 2' stop one octave lower. The alto is played in the right hand, the tenor and the bass - with the left hand. 5. The melody is in the tenor played by the left hand, the right hand takes the alto and the soprano and the feet play the bass. 6. The melody is in the tenor played by the pedals, the soprano and the alto - by the right hand, the bass - by the left hand. 7. The melody is in the bass played by the pedals, the soprano and the alto - by the right hand, the tenor - by the left hand. 8. The melody is in the bass played by the pedals, the soprano - by the right hand, the alto and the tenor - by the left hand. Try these exercises with your favorite hymn today. You'll be surprised at how difficult that is. This is also an exercise for your brain - for an organists it's even better than a sudoku puzzle. |
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Drs. Vidas Pinkevicius and Ausra Motuzaite-Pinkeviciene Organists of Vilnius University , creators of Secrets of Organ Playing. Our Hauptwerk Setup:
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