MUSICAL FORM IN HYMNS OF THE CHURCH OF JESUS …

MUSICALFORMINHYMNS

OFTHECHURCHOFJESUSCHRIST

OFLATTER-DAYSAINTS

ByNathanRobertBigler

AThesis

SubmittedinPartialFulfillment

oftheRequirementsfortheDegreeof

MasterofMusic

NorthernArizonaUniversity

May2018

Approved:

StephenC.Brown,Ph.D.,Chair

TimothyAlanSmith,Ph.D.

JenniferJ.Russell,Ph.D.

ii

ABSTRACT

MUSICALFORMINHYMNSOFTHECHURCH

OFJESUSCHRISTOFLATTER-DAYSAINTS

NATHANROBERTBIGLER

Hymnsingingisanintegralpartofbothcongregationalandprivateworshipformillionsacrosstheglobe.Whilehymnshavebeenthesubjectofresearchregardinghistory,origins,andculturalinfluence,therehasbeenverylittleresearchregardingmusicalformsandharmonicstructuresfoundinnineteenth-andtwentieth-centuryProtestanthymns.Indiscussingform,manytheorytextsdescribethebulkofmodernhymnmusicas“strophic.”

UsingWilliamCaplin’stextClassicalForm(1998)asamodelofanalyticaltechniquesandprinciples,thisthesisexaminestheMormoncollectionHymnsoftheChurchofJesusChristofLatter-daySaints(1985)andrevealsthat“strophic”istoonarrowalabelforanentirehymnal.Fourformalmodelsandoneharmonicstructureemerge.Eachisidentifiedbyspecificmusicalcharacteristics(illustratedusinghymnexamples),andtogetherthesefivestructuresencompassamajorityofthe341hymnsinthehymnal.Chapter1givesabriefhistoricalreviewofProtestanthymndevelopmentandoftheLDShymnal.Chapter2discussestheanalyticalmethodsusedinthisstudy.Chapter3introducesthetwosmallermulti-phrasemodels:the“small-scalemodel”thatmanifestsasanyofseveralvariationsofanaabaphrasestructure;andthe“two-phrasemodel”thatmanifestsasanextremelycompactbinarystructure.Chapter3alsointroducesthe“standardharmonicstructure”thatcircumscribesexpository,transitional,developmental,andclosing/cadentialharmonicfunctionsacrossasinglehymn.Chapter4introducesthetwolargersectionalmodels(madeupofphrasegroups):the“verse-chorusmodel”thatmanifestsasasectionalbinaryformwithdistinctivemusicalcharacteristicsineachhalf;andthe“large-scalemodel”thatencompassesallothersectionalhymns.Therearedozensofwaysindividualhymnscanmanifestthecharacteristicsofonemodeloranother,andmuchoftheinterestofstudyinghymnsisfoundindiscoveringthatwithinthesefivestructuresthehymnsexhibitanabundanceofstructuralvariety,creativity,andinterest.Chapter5examineswaysthatmanyhymnsstretchthemodelboundaries,exhibitformaltrendsoutsidethemodelboundaries,orlargelydefyformalcategorizationbasedonthefourmodelsandthestandardharmonicstructureoutlinedinthisstudy.

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ACKNOWLEDGEMENTS

Thereareseveralpeoplewithoutwhomthisprojectwouldneverhave

reachedcompletion;forwhosetime,energy,encouragement,andinvestmentI

amdeeplyindebted.Indeed,manyshouldmeritaplaceonthislistfortheir

generosityandinfluenceovertheyears,andIwishIcouldincludethemall.

Thanksgofirstandforemosttomyadvisorandcommitteechair,Dr.

StephenBrown,whohaswalkedwithmeapathmuchlongerthaneitherofus

anticipated.Hehasworkedwithpersistenceandwithoutjudgmentinspiteof

aninterminabletimetable.

ThanksgoalsotoDr.TimothySmithandDr.JenniferRussellasmembers

ofthecommittee,andtoDr.ToddSullivanforworkingwithmethroughthe

bureaucracyyetonemoretime.

IamgratefultomymotherClaudiaBigler,myproofreaderandsounding

boardforallthingsmusical,agenerousbenefactor,andasupportandasender

ofinvaluablegoodvibes.ThanksMom.

Aspecialkindofthank-yougoestomywifeHeatherwhohasbornewith

metheendlessburdensofgraduateschool.Theincalculableexpensesoftime

andstress(nottomentionfinances)haverestedonhershouldersaswellas

mine,andshehasupheldthemwithgrace,enthusiasm,andfaith.

Finally,IowethebulkofthisworktoTerriFausett,whoseemsnotto

begrudgethehundredsofhourssitting,gentlyandpatientlystirringideas,

encouragingexploration,andbolsteringhopeandforwardmomentumthrough

totheveryend.Herexhaustiveparticipationhasbeennothingshortofangelic.

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TABLEOFCONTENTS

Chapter1:Introduction...............................................................................................1

IntroductiontoHymnody.............................................................................1

FocusandJustification...................................................................................9

LiteratureReview.............................................................................................15

Chapter2:Methodology,Approach,andTerminology..................................21

Chapter3:Multi-PhraseHymnModels................................................................32

Small-ScaleModel............................................................................................32

StandardHarmonicStructure.....................................................................55

Two-PhraseModel...........................................................................................69

Chapter4:SectionalModels......................................................................................80

Verse-ChorusModel........................................................................................81

Large-ScaleModel............................................................................................90

Chapter5:ExceptionalCases....................................................................................99

Almost-ModelHymns.....................................................................................100

Cross-ModelHymns........................................................................................104

LesserTrends.....................................................................................................110

Suigeneris...........................................................................................................117

Chapter6:Conclusion..................................................................................................127

Bibliography......................................................................................................................132

AppendixA.........................................................................................................................139

AppendixB.........................................................................................................................148

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LISTOFFIGURES

1.1,HymnPage.................................................................................................................8

2.1,Hymn268...................................................................................................................27

2.2,Hymn101...................................................................................................................29

2.3,Hymn203...................................................................................................................30

3.1,Hymn7,ExpositoryPeriod(non-modulating)..........................................35

3.2,Hymn156,ExpositoryPeriod(modulating)..............................................36

3.3,Hymn58,PeriodicInitialStatement..............................................................37

3.4,Hymn163...................................................................................................................41

3.5,Hymn311...................................................................................................................42

3.6,Hymn59.....................................................................................................................44

3.7,Hymn283...................................................................................................................45

3.8,Hymn296...................................................................................................................48

3.9,Hymn163...................................................................................................................49

3.10,Hymn41...................................................................................................................51

3.11,Hymn172................................................................................................................54

3.12,Hymn216,Phrase1............................................................................................58

3.13,Hymn216,Phrase2............................................................................................59

3.14,Hymn216,Phrase3............................................................................................62

3.15,Hymn216,Phrase4............................................................................................64

3.16,Hymn113................................................................................................................66

3.17,Hymn277................................................................................................................70

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3.18,Hymn184................................................................................................................73

3.19,Hymn57...................................................................................................................76

3.20,Hymn222................................................................................................................79

4.1,Hymn89.....................................................................................................................83–84

4.2,Hymn251...................................................................................................................85–86

4.3,Hymn273...................................................................................................................88–89

4.4,Hymn280...................................................................................................................91–92

4.5,Hymn305...................................................................................................................94–95

4.6,Hymn223...................................................................................................................96–97

5.1,Hymn51.....................................................................................................................101

5.2,Hymn191...................................................................................................................103

5.3,Hymn255...................................................................................................................106–107

5.4,Hymn28.....................................................................................................................109

5.5,Hymn188...................................................................................................................112

5.6,Hymn70.....................................................................................................................114–115

5.7,Hymn37.....................................................................................................................119–121

5.8,Hymn217...................................................................................................................125–126

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CHAPTER1:INTRODUCTION

IntroductiontoHymnody

ModernChristiancongregationalworshipisoftencharacterizedby

preachingandprayer,ritesandrecitation,studyandservice.Itisalsoalmost

universallyassociatedwithsinging.Formanyofthe2.2billionChristiansspread

throughouttheglobe,1thesingingofhymnsandotherworshipsongsisaregular

andimportantpartoflife.Worshipmusiccanteach,inspire,comfort,console,

remind,strengthen,andstirindividuals,families,andcongregationstospiritual

passionorpeace.TheFirstPresidencyPrefacetoHymnsoftheChurchofJesus

ChristofLatter-daySaints(oftenabbreviatedastheLDShymnal)listsanumber

ofpurposesthathymnscanserveforcongregations,families,andindividuals:

“ThehymnsinvitetheSpiritoftheLord,createafeelingofreverence,unifyusasmembers,andprovideawayforustoofferpraisestotheLord.Someofthegreatestsermonsarepreachedbythesingingofhymns.Hymnsmoveustorepentanceandgoodworks,buildtestimonyandfaith,comforttheweary,consolethemourning,andinspireustoenduretotheend.…Thehymnscanbringfamiliesaspiritofbeautyandpeaceandcaninspireloveandunityamongfamilymembers.…Hymnscanliftourspirits,giveuscourage,andmoveustorighteousaction.Theycanfilloursoulswithheavenlythoughtsandbringusaspiritofpeace.Hymnscanalsohelpuswithstandthetemptationsoftheadversary.”2

1TheGlobalReligiousLandscape,2012.21985,emphasisadded.

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Ina1936GeneralConferenceaddresstothechurch,PresidentJ.Reuben

Clarksaid,“WegetnearertotheLordthroughmusicthanperhapsthroughany

otherthingexceptprayer.”

‘Hymn’isatermwithalonghistory.TheancientGreekhymnoswasone

ofseveraltypesofsungpoetrypraisingorhonoringadeity.EarlyChristians

adoptedtheLatinhymnforsungpoetrypraisingorsupplicatingGod.Overthe

centuriesChristianhymnscouldrefertoseveraltypesofmusic,buttheir

fundamentalpurposeofreligiousworshipsurvived.3

ThemusicinthecurrentLDShymnal(1985)mighttraceitsrootsbackto

theNewEnglandSingingSchoolMovementoftheearlyeighteenthcentury.4

CongregationalworshipmusicinearlycolonialAmericaconsistedprimarilyof

psalmtunes.Hymnalsatthetimecontainedhymntextswithoutnotatedmusic,

andweresungtotuneseitherknowngenerallytoacongregationortaughtby

rote,oftenusingatypeofcallandresponsesingingknownas“lining

out.”Withoutwrittenmusicmanytuneswereforgotten,andotherswere

changedbyoraltransmission.Additionally,thecongregationalsingingpractice

tendedtowardadisunitythatministersofthetimefoundunfavorable(ayoung

3Stapert2007,Faulkner1996,Andersonetal.2013.4SouthernfolkhymnsareapartofthemusicallineageofmodernProtestanthymnody,thoughDorothyHorn’scomparativeanalysisofharmoniccharacteristicsinEarlyAmericanhymnswiththoseinfolkhymns(1970,180)suggeststhattheLDShymnallikelyhasdeeperrootsinEarlyAmericanhymnsthaninfolkhymnody.Inaddition,Henderson(2011)suggeststhatthehistoryofLDSchurchmusichasstrongtiestoLowellMasonandtheNewEnglandschoolsofmusic:severalprominentmusicalfiguresinthechurchduringthenineteenthandtwentiethcenturiesstudiedmusicattheLowellConservatoryinBoston.

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ministernamedThomasWaltercalledit“anhorridMedlyofconfusedand

disorderlynoises”5).

Theresponsetothisneedforwrittenmusicandmusicallyliterate

churchgoerscameintheformof“singingschools”wheremembersofa

communityorcongregationwouldgatherunderthetutelageofaneducated

musiciantolearntoreadandsingmusicnotation.Oneoftheearliest

contributionstothesingingschoolmovementwasthepublicationof

theIntroductiontotheSingingofPsalmTunes,byReverendJohnTufts.This

1721publicationwasafirstofitskindinearlyAmerica:acompilationoftunes

thatincludedinstructionintherudimentsofmusic.6Innovationsofthe

southernsingingschoolmovementencouragedthecreationofthree-andfour-

voicehymntunesandpopulartunes.Theincreasedpopularityofthissinging

practicefosteredthecreation,publication,anddisseminationoftunebooksfor

teachersandsingerstouse.Thesetunebookstypicallyincludedamixofhymns,

folkhymns,fugingtunes,psalmtunes,andotherpopulartunes.Theneedsand

preferencesofsingers,publishers,andchurchleadersledtoagradual

homogenizationofmusicalstyleamongthismusic,andbythemid-

twentiethcenturymanyProtestant-traditioncommunitieshadadoptedthisstyle

fortheirhymnals.

This‘hymn’musicstyleentailedfour-voicecongregationalmusicthat

tendedtobeshort,melodicallyandharmonicallycondensed,largely

homophonic,andstrophic.Thesopranolineusuallycarriedthemelody,5Lowens1964,281.6MarroccoandGleason1964,43–5.

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althoughitwassometimesinthetenor.Themusicusedthecommon-practice

tonalharmonizationandpart-writingconventionsofWesternclassicalmusic.

Each‘hymn’wasthemusicalcomplementofreligioustextssuchashymns,

psalms,andotherdevotionalpoetrywrittenforpurposesofpraiseandworship,

inspirationandadoration,supplicationandgratitude,instructionandspiritual

expression.Thetwo-staff,four-voicetypesettingallowedforunisonorfour-part

singingwithoptionalaccompanimentinasimplifiedformat.Thisformatmade

efficientuseofprintingspace,allowingforalargenumberofsongstobe

collected,bound,anddistributedeconomically.Thiswasanidealsetupfora

religiouscongregation.

Followingthesetrends,atypicalmodernProtestanthymnalisnowa

collectionofawidevarietyofmusicaltypes(includingtheaforementioned

psalmtunesandfolkhymns)thathaveallbeentreatedinasomewhat

modernizingfashionwiththeimpositionofthe‘hymnstyle’described

above.7Outofsimplicityandconveniencethistypicalhymnalwillrefertoits

entirecontentsas‘hymns,’anditmaybearguedthattheimpositionofa‘hymn

style’andnamehashomogenizedthemintoanewgenreofmusicthathas

appropriatedtheappellation‘hymn’fromitshistoricroots.

Someadditionalclarificationmaybeusefulatthispointregardingthe

termhymn.Intheeighteenthandnineteenthcenturies,worshipservicesmade

useofhymnsandhymntunes.Thetermhymnreferredtothetextthatwouldbe

7Mosttwenty-first-centurychurchgoerswillnotconsiderthishymnstyletobemodern,butitneverthelessrepresentstheimpositionoffour-partvoicing,homophonicstyle,oraparticularharmonicidiomthatwouldhavebeenforeigntothepeopleandtimesthatactuallycomposedmanyofthesehymntunes.

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sungtoaparticularhymntune.8Thehymnsandhymntuneswereoften

interchangeable,meaningthatagivenhymncouldbesungtooneofseveral

hymntunes,andanygivenhymntunecouldaccommodateseveralhymns.For

example,thesongleaderforameetingmightdirectthecongregationtosingthe

hymn“WhataFriendWeHaveinJesus”tothetune“ERIE.”Whilehymnscholars

andenthusiastsstillmakeapointoflearningtunenames,thisdistinction

betweenhymnandhymntunehasbeenlosttomuchofthelaityofthetwenty-

firstcentury.Incommonusage,theterm‘hymn’nowtypicallyreferstothe

combinationoftextandtuneasasinglesongprintedinahymnal.Withafew

notedexceptions,thepresentstudywillalsouse‘hymn’inthismanner.

TheChurchofJesusChristofLatter-daySaints(commonlycalledthe

MormonChurchortheLDSChurch)haditsbeginningsintheearlynineteenth

centurywithayoungJosephSmith,whoclaimedtohaveseenavisioninwhich

GodtheFatherandJesusChristvisitedhiminruralNewYorkanddirectedhim

ultimatelytoformachurchpatternedaftertheNewTestamentchurch

organizedbyChristhimself.Overthenextseveralyearsthechurchgrewby

thousands,mostofwhomconvertedfromProtestanttraditions(largely

Methodist,Baptist,andPresbyterian).9Earlychurchleadersstruggledtoinstill

innewmembersvariousdoctrinesandprinciplesthatweresomewhatdistinct

8Hicks1989.9Cross(1950,3–13)describesthepredominantreligioustraditionsactiveduringtheGreatRevivalintheNewEnglandareaaround1800,andRust(2004,18)showsthatover70%ofearlychurchconvertswereborninNewYorkorNewEngland.WhileRust(2004,1–19)alsoarguesthatearlyconvertsoftenfoundthemselvesonthefringesofthemainstreamreligionsofthetime,theylivedandworshippedinanareaandculturewhosemusicaltraditionswerethoseofthepredominantreligions,mostlyProtestant.Wilkes(1957,80–1)specifiesthatthebulkofborrowedhymntunescomefromNorthAmericanandBritishorigins.

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frommanycontemporarydenominations,butthepeoplecametothisnew

churchbringingwiththemtheculturaltraditionsandpracticescommonto

manyProtestantgroups,includingtheirmusic.

Earlychurchhistoryrecordsthatin1830JosephwasdirectedbyGod

thathiswifeEmmashould“…makeaselectionofsacredhymns,asitshallbe

giventhee,whichispleasinguntome,tobehadinmychurch.”10This

declarationestablishedforJosephandthechurchtheimportanceofhymnsin

thepracticeofMormonworship.

Thenextfewyearssawthecompilationandprintingofanumberof

hymnalsforuseinMormoncongregations,andnotasmallmeasureof

disagreementoverwhichwerepropertouseinMormonservices.11

Mostcontemporaryhymnalsoftheearlynineteenthcenturywereprinted

compilationsofhymntexts(seeFigure1.1),whichwouldhavebeensungto

sometunethatwasfamiliartomanyinthecongregation–themelodieswerenot

printedinthehymnal,butwereusuallyfamiliartothecongregation,orwere

taughtbyroteasneeded.12Wilkes13describesitsuccinctly:

Butconcernforhymnsintheearlychurchreferredonlytohymnwords.Thematterofhymnmelodiesseemstohavebeenleftlargelytochanceandconventionalusage.Allpublications,withtheexceptionofoneinsignificanthymnal,hadonlyhymntexts.Therewasnomusicgiven,notunebookknowntohavebeenadopted,andonlyafewreferencesgiventospecifictunesused.Apparently,mostofthehymntunescirculatedorally.

10DoctrineandCovenants25:11;Roberts1978,2:273.11Hicks1989,18–34.12Hicksibid.,22.131957,21.

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Thehistoryofthehymnalsusedinthechurchseemstobeoneofgradual

standardizationandeventualnear-universaladoptionofasinglehymnalbythe

churchasawhole.Bytheearlytwentiethcenturytherewerestillmultiple

musicbooksusedwidelyinthechurch,includingthewords-onlySacredHymns

andSpiritualSongs,andacompanionvolumetitledPsalmodythatcontained

printedmusicforusewiththehymns(texts)inSacredHymns.In1927the

churchprintedLatter-daySaintHymns,asinglevolumeofhymnsincludingboth

thetextandthemusic,markingtheendofwide-spreaduseoftext-onlyhymnals

inthechurch.Changingmusicalvaluesandtastesinfluencedthepublicationof

newhymnalsin1948and1951,addingbothnewhymnsandhymnsborrowed

fromotherhymnals,whileremovinghymnsthatweregenerallydisusedorno

longerinagreementwiththevaluesofthechurchanditspeople.

Eventuallyin1985thechurchintroducedHymnsoftheChurchofJesus

ChristofLatter-daySaints,acollectionof341hymnsforuseinanyandallchurch

activitiesaswellasinthehomeofitsmembers,withanexpressendorsementby

theFirstPresidencyofthechurch.14

14Moody,1989(128–145).

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Figure1.1:Untiltheturnofthetwentiethcenturymosthymnalswerecollectionsofhymntexts(eachcalledahymn).Thefigureshowsapagefromthe1841hymnalpublishedinNauvoo,titledACollectionofSacredHymns,fortheChurchofJesusChristofLatterDaySaints,showingthetextofhymns95and96.L.M.standsforLongMeter(fourlines,eachwitheightsyllables),andPMstandsforPeculiarMeter(uncommonorirregularpoeticmeter).

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FocusandJustificationforThisStudy

The341hymnsinHymnsoftheChurchofJesusChristofLatter-daySaints

(1985,oftenabbreviatedastheLDShymnal)formabodyofmusicthatwillbe

thefocusofthisstudy.

IgrewupintheChurchofJesusChristofLatter-daySaints,singingfrom

theLDShymnal.Thechurchfosteredaloveandappreciationforhymnsinging,

andasatheoryenthusiastIdevelopedalifelonghabitofdoingharmonic

analysesofthehymns.

GraduateschoolintroducedmetotheworkofWilliamCaplin.Hisbook

ClassicalForm(1998)presentsadetaileddescriptionofformsandharmonic

structuresintheworksofMozart,Haydn,andBeethoven.Hisdetailed

classificationsacrossanextensivebutlimitedbodyofmusicwerecompelling.

Studyinghisworksuggestedthatitwouldbeinterestingtoattemptasimilar

approachwithahymnal.

Inchoosingabodyofmusictostudytherewereendlessoptionsavailable

amongEnglishProtestant-traditionhymnals.ThechoiceoftheLDShymnalwas

anobviousone,ifnotveryscientific.Ialreadyknewandlovedthemusic,and

myfamiliaritywithitwouldexpediteanearnestanalyticalprocessthatbuilton

thecasualanalysisIhadbeendoingforyears.Preliminaryresearchuncovered

noscholarlymusicalanalysisofcontemporaryhymnmusic,andtomythinking

thehymnalIknewwasasgoodaplacetostartasanyother.

Theworkthatproceededwasaprocessofanalysis,research,and

discovery.Itwasclearthatthehymnswouldexhibitcommonmusical

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structures,butitwasnotclearwhichwouldbemostcommonormeaningful.

Analysisconfirmedthattherewerecommonstructures,andCaplin’s

terminologyandmethodologyprovedusefulinidentifyinganddescribingtheir

distinctivecharacteristicsandthewaystheyinteractedwiththecontentsofthe

LDShymnal.

Researchintothehistoryofhymnodyrevealedthehistoricalandmusical

differencesbetweenthevarioustypesofmusicthatcontributedtotheLDS

hymnal.Thisstudyneededtoacknowledgethecenturiesofevolutionof

hymnody,frombiblicalandancientGreekhymnstoearlyChristianAmbrosian

hymns,tohymnsoftheProtestantReformation.Italsohadtoacknowledgethe

differencesbetweenthepsalmtunes,odes,anthems,fugingtunes,folkhymns,

chorales,andpopulartunesthatallcontributedtothemusiclayProtestants

(andLatter-daySaints)recognizetodayashymns.

Thisresearchunderscoredtheimpracticalityofmakinggeneralizations

basedonsuchadiversebodyofmusic.However,whilethemusicinthehymnal

comesfromawidemixofsources,italsohasbeendeliberatelyarrangedto

conformtothespecific‘modern’hymnstyledescribedpreviously(seep.3–4).

Consequently,astudyoftheLDShymnalisastudyofharmonizedhymn

tunesarrangedinthismodernhymnstyle.Thisstudyisanattempttoclassify

andcataloguethemostcommonmusicalstructuresfoundinthemodernLDS

hymnal,andtoestablishthattheseclassificationsencompassamajorityofthe

hymnsinthehymnal.Aswithanybodyofmusicthereareoutliersand

exceptions,andexaminingtheseoffersinsightintothebodyexaminedandinto

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theanalyticalprocess.Itisexcitingtoexplorethemanywaysindividualhymns

interactwiththemusicalstructuresfoundinthehymnal,andtheoutliersand

exceptionsreaffirmthisexcitementaboutthepossibilities.

AtleastfourformalmodelsemergefromastudyoftheLDShymnal.I

havelabeledthesethesmall-scalemodel,thetwo-phrasemodel,theverse-

chorusmodel,andthelarge-scalemodel.Chapter3willintroduceanddiscuss

thesmall-scaleandtwo-phrasemodels,andchapter4willintroduceanddiscuss

theverse-chorusandlarge-scalemodels.Inaddition,manyhymnsalsofeaturea

standardharmonicstructurethatoccursindependentlyinsomehymns,while

appearinginconjunctionwithoneormoreofthefourformalmodelsinothers.

Chapter3willdiscussthestandardharmonicstructureinconjunctionwiththe

small-scaleandtwo-phrasemodels.

Asstatedabove,exceptionsaretobeexpected.Somehymnsexhibit

manytraitsofamodel,butnotalltraits.Otherhymnsexhibittraitsofmorethan

onemodel,andothersdefycategorizationusingthesestructuralguidelines.

Chapters3and4willaddressafewoftheseoutlyingpossibilities,andchapter5

willdissectothersusinghymnexamplesthatdemonstratesomeofthemore

interestingharmonicandstructuralcharacteristicsfoundinthehymnal.

Therearegoodreasonstostudymusicalstructuresinmodernhymns.

First,anunderstandingoftheformsandstructuresinthehymnalisvaluableto

thosewhocreateworshipmusicfortheircommunitiesandcongregations.This

understandingmayservetoincreasethequalityofthemusiccreated,andwould

thereforeincreaseitseffectivenessforworship.Asapossibleconsequence,this

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hasthepotentialforreducingtheneedforandcirculationofthosehymnsthat

arelesseffectiveinmoderncongregations.15

Thisisespeciallyappealinggiventhebroadscopeofhymnmusicinuse.

Hymnodyformsabodyofmusicthatispervasiveandpersonaltothevastworld

ofChristianity.Hymnsbothshapeandreflectthevaluesofamultitudeof

worshippersthroughouttheworld.Bystudyingtheformandstructureofthe

hymns,scholars,students,andSundaysingersalikecanbetterappreciatehymns

asworksofmusicalart.

Thereislittlescholarshipaboutformintwentieth-centuryProtestant

hymns,andinanalyzinghymnforms,fewlookbeyondidentifyinghymnsas

strophic.16Whilestrophicisanaccuratelabel,itdoesnotaccountfortheformal

potentialthatisfoundinhymns.Acareful,in-depthformal/structuralstudyof

theLDShymnalrevealsavarietyofformalstructuresandawealthofmusical

interestallfoundwithinthisbodyofmusic.

Finally,andperhapsmostimportantly,eachhymnisacompletemusical

workinanextremelycompactform.Manyhymnsofferanopportunitytomake

adetailed,insightfulexplorationofmusicalconceptsonacomparativelytiny

scale.Thiscompactanalysisoftenprovidesperspectiveandinsightintomusical

15Somescholarsmightarguethatreligiousinstitutionsdoadisserviceinweedingouthymnsthathavebecomedatedorarelessinharmonywithchangingmusicaltastes,thattocullthesehymnsforbeingsomehowinferiorcutsawaypiecesofthehistoryandculturalheritagethathavecontributedtotheheartoftheinstitution.Ontheotherhandmanyreligiousleadersmightarguethattheyneedhymnsthatservetheneedsoftheirpresentflock,thatculturesevolveforsurvivalandsuccess,andthatperhapsculturalpreservationisoflessimportancethantheologicalconcernssuchassalvation.Addressingtheseperspectivesisoutsidethepurposesofthisstudy,thoughIfindbothargumentscompelling.16‘Strophic’isnotaform,thoughthisdistinctionisincreasinglylostorignored.ManylaymusicianslabeltheformofastrophicpieceasAAA,andsimplycallthisform‘strophic’.

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conceptsthatmaybemoredifficulttounderstandonalargerscale,especially

forthosewithlimitedinstructionorexperiencewithmusicalanalysis.

Examiningstructuralconceptsonsuchasmallscaleallowsforagreater

appreciationofuniquehymnstructuresandunusualcases.

IhaveattemptedtomodelthisworkonWilliamCaplin’sseminaltexton

ClassicalForm(1998).Ihaveimitatedhisapproachtoclassifyingformsand

structureswithinalimitedbodyofmusic.Ifoundthathistermsandtechniques

addedclarityandspecificitytomyattemptstoclassifywhatIfoundinthe

hymnal,thoughIhavealsomodifiedmanyofhistermsanddevicesto

accommodatethedistinctidiosyncrasiesofmusicinthemodernhymnstyle.I

wantedtocreateaworksimilartohis,butwiththeLDShymnalinsteadofthe

worksoftheclassicalmasters.Hiswritingbothbroadenedandgavecrisp

definitiontomyperspectiveonform.Ihopetodothesameforreadersofthis

studyofthehymns,oratleastgivereadersfoodforthoughtandfodderfor

analyticalcontradictionandcounter-argument.

Aprojectofthisscopewillhaveinherentchallenges.WhereCaplinwas

studyingtheworkofthreecomposersspanningsome50years,thisstudywill

attempttoaccountforhymnsbyroughly200composersandarrangers,

arguablyspanningthreeorfourcenturies.Thenatureofhymnodyinvolvesa

greatdealofborrowingacrossreligiousboundaries17thatresultsinsome

17Inasurveyof40widely-usedhymnalsfromavarietyofreligioustraditions,Hawn(1997,30–34)listsover300hymntunesthatarecommontoatleast10hymnals,andover50tunesthatwerefoundinatleast30ofthosehymnals.JustunderathirdofthehymntunesintheLDShymnalarecreditedtomembersoftheLDSChurch,indicatingthattherestofthetunesareborrowedfromothersources.

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stylistichomogeneitythroughouttheworldofChristianhymnody,buthasalso

resultedinagreatdealofmusicalvarietywithintheLDShymnal.

Further,modernWesternProtestanthymnodydrawsmusicalmaterial

fromawidevarietyofsources,fromclassicalandbaroquetopopulartunesand

folkmelodiesinadditiontooriginal,proprietarytunes.Whilethemusicinthe

hymnalhasdeliberatelybeenmadestylisticallysimilar,thebroadpoolofsource

musicwilllikelyresultinsomehymnsthatdonotfitanycurrentmodelor

convention.

Meetingthesechallenges—definingalexiconofformalandstructural

hymnclassifications—hasrequiredthatthisstudybeinclusiveanddescriptive,

ratherthanexclusiveandproscriptive.Ihavelookedforcommontrendsand

traits,knowingthatthemodelswillnotbeaperfectfitformosthymns,butthat

describinghowandtowhatextentahymninteractswithaparticularmodelor

thestandardharmonicstructurewillbevaluableandinstructive.

LITERATUREREVIEW

Asurveyoftheliteraturepertinenttothisstudyrevealsafewcommon

trends.Mostofthescholarlysourcesrelatedtotwentieth-centuryProtestant

hymnmusicanalysisfallintooneofthreecategories:1.commentaryonhymns

andhymntunes;2.writingsaboutmusictheoryandharmonicanalysis,which

includeundergraduate-leveltheoryandharmonytextbooks;and3.writings

aboutanalysisofmusicalform.

15

Inaddition,thereisconsiderablehistoricalresearchintotheorigins,

evolution,andtransmissionofhymnsandhymnstunes,18andthisincludessome

significantmusicalanalysisoftunes.19However,thereexistsverylittlescholarly

analysisoftwentieth-centuryProtestanthymnstylemusic.

CommentaryonHymnsandHymnTunes

Mostworksdiscussingnineteenth-andtwentieth-centuryhymnsconfine

theircommentaryalmostexclusivelytothetreatment,history,stories,and

meaningofthetext.Thisisjustifiedconsideringthatthepoetryiscentraltoany

hymn,andthathistoricallyhymnshavebeendefinedbythetext.Some

commentariesalsoofferbackgroundinformation,historicalcontext,andorigins

ofhymntunesaswell,thoughtheyofferverylittlecommentaryontheactual

musicalstructureofthehymns.Leaver(1990)givesadetailedbibliographyof

hymnalsandhymncommentarybooks.

NotableamongthesehymncommentarybooksareStudiesofFamiliar

HymnsbyLouisF.Benson(1926),OurHymnal:AManualoftheMethodist

HymnalbyRobertGuyMcCutchan(1937),StoriesofLatter-daySaintHymnsby

GeorgeD.Pyper(1939),andOurLatter-dayHymns:theStoriesandtheMessages

byKarenLynnDavidson(2009).Eachofthesegiveshistoricalandbackground

informationaboutthetextofhymns,andoccasionallyhistoricalinformation

aboutahymntune,butnonegivesanymusicalorstructuralanalysisofthe

18ThisincludesresearchintothevarioustypesofsongthathavecontributedtothecollectionofmusicintheLDSandmanyothercurrentProtestanthymnals,e.g.,psalmtune,ode,anthem,folkhymn,chorale,etc.UsefulsourcesincludeFaulkner1996,Lowens1964,andMarroccoandGleason1964.19Horn1970isoneexceptionalexample.

16

hymnstheydiscuss.Bach’sChoralesbyCharlesSanfordTerry(1915–1921)

takesthissameapproach,givingbackgroundinformation,sources,history,and

usesofthechoralesinBach’swork.Occasionallyaworkwillgivesomebasic

commentaryonthemeterofthetuneortext(ASurveyofChristianHymnodyby

WilliamJensenReynolds,1963),orbasicinstructionontheuseofhymnsin

worshipservices(SingingWithUnderstanding:Including101FavoriteHymn

BackgroundsbyKennethW.Osbeck,1979),butbyandlargethesearealltexts

designedtobringmeaningtotheexperienceofthesinger,listener,orleaderina

religiouscontext.Anythingbeyondarudimentaryanalysisofthemusicwould

beoutsidethepurposesoftheworkandlikelybeyondtheunderstandingof

mostofthoseforwhomtheworkisintended.

TheoryTextbooksandCommentary

Therearecountlessmusictheorytextbooksmostoftenusedwith

undergraduatecollegemusicprograms.20Thesearebooksthatspecializeinthe

pedagogyandpracticeofbasicandintermediatemusictheoryprinciples,with

minimalcoverageofotherconcepts.Theyseldomuseharmonizedhymntunes,

andwhiletheyoftendiscussBachchorales,theytypicallyconsideronlyisolated

phrasesfromaharmonicstandpoint.Theyrarelyconsiderentirechorales,and

ofthosebooksreviewedforthisstudy,nonelookedatchoralesfromaformal

standpoint.Evenincaseswherethesebookscontainatreatmentofsmallforms

20SomeofthemorecommontextbooksincludeHarmonyandVoiceLeadingbyEdwardAldwellandCarlSchachter(1989),HarmonicPracticeinTonalMusicbyRobertGauldin(1997),TonalHarmonybyStefanM.KostkaandDorothyPayne(2004),TheCompleteMusicianbyStevenG.Laitz(2004),TheMusician’sGuidetoTheoryandAnalysisbyJanePiperClendinningandElizabethWestMarvin(2005),andMusicTheorythroughLiteraturebyJohnBaur(1985).

17

(briefatbest),theyrarelyexaminehymnsforsmall-formstructures,andnone

addresssmall-formsinthedepthandwiththedetailemployedinthisstudyof

thehymns.

FormTexts

Traditional texts about musical form discuss small forms in terms of phrases

and cadences, phrase groupings and periodic structures, song forms, binary and

ternary, and a few miscellaneous small forms such as bar form (AAB).21 They tend

to overlook harmonized hymn tunes except for an occasional cursory comment. The

closest hymn analog from baroque and classical literature is the collection of Bach

chorales, but these are also poorly represented.

In recent years there has been a resurgence of scholarship dealing with

musical form, particularly classical form. While these works retain much of the

traditional terminology, they often redefine terms such as ‘phrase’ and ‘cadence’ with

more specific, restrictive definitions, as well as adding an increased focus on the

function of formal components as opposed to simply dividing a work into phrases and

sections. For example, A Practical Approach to the Study of Form in Music by Peter

Spencer and Peter M. Temko (1988) describes expository, transitional,

developmental, and terminative functions, and applies these functions more

universally across the scope of formal analysis: from formal elements as small as the

cadence and phrase to larger elements found, for example, in sonata Form. Classical

Form by William E. Caplin (1998) and Elements of Sonata Theory by James A.

21TheseincludeMusical Form by Hugo Leichtentritt (1951), Form in Music by Wallace Berry (1986), and the seminal and forward-thinking Form in Tonal Music; an Introduction to Analysis by Douglass Green (1965).

18

Hepokoski and Warren Darcy (2006) exemplify this recent approach. It should be

recognized, however, that Caplin restricts himself exclusively to the works of Haydn,

Mozart, and Beethoven; and while the Hepokoski/Darcy includes many works from

pre- and post-classical composers, about 70% of the examples come from the same

three high classical composers as in the Caplin text. While neither text addresses

small structures in harmonized hymn tunes or similar works, their approach sets a

modern precedent for identifying formal models in musical works, and for

recognizing that composers work with and react to those models.

These more recent approaches show the increasing influence of the work of

Heinrich Schenker on scholarship of musical form. The present study will also utilize

some fundamental Schenkerian concepts. In Free Composition (Der Freie Satz)

(1979), Schenker includes analysis excerpts of several Bach chorales, though most of

the excerpts are short examples of no more than a small handful of measures, and

most are used each to illustrate a single concept, often having to do with melodic or

harmonic relationships in a small portion of the foreground. Analysis of Tonal Music:

A Schenkerian Approach (1998) by Allen Cadwallader and David Gagné is a widely-

used and more accessible treatment of Schenker’s ideas. Their work does not analyze

any contemporary hymns, though it does include one analysis of the fundamental

structure (bass – Ursatz) and fundamental line (melody – Urlinie) of a single Bach

chorale that makes for useful comparison with the work in the present study.

Ihaveattemptedtoincludesufficientgraphicalexamplessothatthis

studywillbeunderstandableonitsown,butitisrecommendedthatthereader

haveacopyoftheLDShymnalonhandwhilereadingthiswork.Manyofthe

19

conceptswillbeeasiertofollow,andthereaderwillhaveaccesstothemany

otherexamplesmentionedinthehymnal.

LimitationsRegardingTextualAnalysis

Thisstudyaddressesverylittleregardingthetextofhymns,disregarding

adefininghymncomponent.Historically,hymnshavebeendefinedasatext

intendedtobesungtoahymntune.Theterm‘hymn’referredtothetext,not

thetune.Themusicalformofacontemporaryhymnistieddirectlytotheform

andpoeticmeterofthetext.Thenumber,length,andmeterofmusicallines

necessarilyaccountforthenumber,length,andrhymeschemeofthetext.22In

addition,themoodandmusicalstyleofthemusicisintendedtomatchthe

meaningandtoneofthepoetry.2324Insum,athoroughstudyofhymnsis

incompletewithoutaddressingtherelationshipbetweenthewordsandthe

music.

Yetthebroadscopeofthetopicrequiredsomedelimitation.My

experienceandinterestsalignedwithafocusonmusicalformasaplacetobegin.

22Amonghymns,mostpoeticmetersarefairlycommon,meaningthatthetextsofmosthymnsareinterchangeablewiththoseofotherhymntunesbothintheLDShymnalandothers.Indeed,throughthelatenineteenthcenturythetraditionamongProtestanthymnodywasthatmosttextswerenotnecessarilyattachedtoasinglemelody,butweresungtoanyofavarietyoftunesdependingontheexperienceandpreferencesofthesongleaderandthecongregation(Wilkes1957,21).ThoughWilkes(21–22)alsopointsoutthatmanyoriginaltuneswerealsocomposedforhymnsinthechurch,andahandfularethesametunesassociatedwithfavoritehymnsstillinusetoday.23Forexample,asacramentalhymntext(seefootnote26)willbesettoatunethattendstobereverent,contemplative,orperhapssomber;itwouldneverbesungtoamartialtuneevenifthemusicofthatmartialtunefitthepoeticmeter.24InthesacramentportionofanLDSworshipservicethebodyandbloodofChristaresymbolicallyblessed(asbreadandwater)andgiventothecongregation.ItisatimetoponderthesacrificeofChristanditsinfluenceoneachpersonindividually.Forthisreasonitistreatedwithgreatreverencebythosewhoadministerandpartakeofthesacrament.Thehymnschosenforthisportionoftheservicewillhavethatsamereverence;theywillneverhavethelivelyorenergeticcharacterappropriatetootherpraiseandworshiphymns.

20

Thisleavesopportunitiesforfurtherresearchintothepoetry/musicrelationship

intheLDShymnalandotherhymnmusic.

21

CHAPTER2:METHODOLOGY,APPROACH,ANDTERMINOLOGY

Astructuralanalysisofallhymnsinahymnalrequiresanunderstanding

ofseveralconcepts.Firstandmostbasicistraditionalharmonicanalysisusing

romannumeralsandidentifyingnon-chordtones.Nextisarecognitionofbasic

musicalcharacteristicssuchasmelody,contour,tessitura,texture,andrhythm.

Inaddition,structuralmodelsofthehymnswillmakeuseofcommonlyused

formalbuildingblockssuchasphrases,25cadences,periods,andsentences.For

thisstudythefollowingadditionalorexpandeddefinitionsandtermsareuseful.

Thefundamentalharmonicstructureofvirtuallyeveryhymnwillhave

initialtonic,andclosewithpre-dominant,dominant,andfinaltonic

harmonies,abbreviatedT,P,D,andTinthefiguresthroughoutthisstudy.

Dominantharmonyprecedesthefinaltonic,ismostcommonlyaroot-positionV

orV7chord,andisoftenprecededbyacadential6/4.2627Pre-dominant

harmonyprecedesandpreparesthefinaldominant,andmostcommonly

consistsofaii6orIVchord.Severalotherchordsarealsopossible,includingN6

andaugmentedsixthchords,andmultiplechordstogethercanfillthepre-

dominantrole.

25Thereisnodefinitivelengthforaphrase,butCaplin’sstudy(1998)suggeststhatafour-measurephraseisthenormforclassicalcomposers.Hymnsaredifferentstructuresfrommostclassicalworks,andyetinhymnodythefour-measurephraseisthewell-establishedruletowhichthereareoccasionalexceptions.26Ibid.,23–24;Laitz2004.27Thecadential 6rhastraditionallybeenanalyzedasatonicchord,andtechnicallyitisspelledasatonicchord,butitfunctionsaspartofthedominantharmony(Caplinibid.).

22

Inthehymnsacadencewilltypicallybecharacterizedbyamomentof

rhythmicrestandalongernotevalue,indicatingtheendofthephrase.28

Additionallythehymnsoccasionallyhavemomentsofrestthatdonotconfirm

thetonic,butthatstillfunctionasphraseendings.Inthisstudywewillcallthese

momentsnon-cadentialphraseendings(abbreviatedNC)thatindicatetheend

ofaphrasebutlacktheharmonicarrivaldefiningacadence.29Othercadence

abbreviationsincludePACforperfectauthenticcadence,HCforhalfcadence,PC

forplagalcadence,andDCfordeceptivecadence.Someanalyseswillalso

identifyatonicizedhalfcadence(abbreviatedHCt)whereahalfcadence

precededbyasecondarydominant(V/V).Itcanoftenbeeasilyidentifiedbya

raised4inthepreviouschord.

Somecadencestakeplaceinanalternatelocalharmony.APACinthe

dominantkeymightbedepictedV:PAC,withthecolonindicatingthatthePAC

hasoccurredinthedominantlocalharmony.Avi:HCwouldindicateabrief

motiontothesubmediantharmony(vi)endingwithahalfcadence(HC).

Theperiod(alsocalledaparallelperiod)consistsoftwophrases:an

antecedentphrase(ant)andaconsequentphrase(cons).Eachofthesetwo

phrasesstartswiththesametwo-measurebasicidea(bi),followswithatwo-

measurecontrastingidea(ci;usuallyadifferentcontrastingideaforeach

28Caplin(ibid.)giveshisdefinitionofthevariouscadencesonpages42-45.29Therearetheoristswhoinsistthataphraseisdefinedbythefactthatitendswithastructuralcadence.Caplin’s(1998)definitionofthetermphraseismoreflexible,allowing,forexample,thepresentationalphraseofasentencethatdoesnotendwithacadence.Hymnanalysisalsoseemstobeservedbestbyallowingaphrasetoendwithoutacadence,andIhavesuggestedthetermnon-cadentialphraseendingasausefullabel.

23

phrase)andcloseswithacadence.30Thefollowingexampleshowsone

possibility,withthenumbersinparenthesisindicatingthenumberofmeasures

ofeachcomponent:

ant(4measures)=bi(2),ci(2),IACcons(4measures)=bi(2),ci’(2),V:PACInhymnanalysisitisoccasionallyusefultoidentifyacontrastingperiod

wherethetwophrasesdonotshareanymelodiccontentbutstillhavethe

hierarchyofcadences.31Inthisstudycontrastingperiodswillalwaysbelabeled

ascontrasting;theterm‘period’alonereferstoaparallelperiod.

Forthisstudythebasicconceptofasentenceisborrowedlargelyfrom

Caplin’swork,andthefollowingterminologyanddefinitionsarehis.His

classicalsentenceconsistsofatwo-measuremusicalbasicidea(bi),followedby

arepeatofthatbasicideaeitherstatedthesameorvaried(bi’),thattogether

formapresentationalphrase(pres.)thatprolongstonic.Thisisfollowedbya

four-measurecontinuationalphrase(cont.)thatdrivestoafinalcadenceand

maycontainharmonicacceleration(“anincreaseintherateofharmonic

change”)andfragmentation(“areductioninthesizeoftheunits”).32Thereisno

cadencesattheendofthepresentationalphrase,meaningthattheonlycadence

30ForthisstudythedefiningcharacteristicsofaperiodaretakenalmostentirelyfromCaplin(ibid.,50–58),thoughhegivesevenmorespecificparametersforthevariouscomponentsthanareusedinthehymns.Theoristscommonlyrefertoantecedentandconsequentphrases,butthebasicideaandcontrastingideaareCaplinianconcepts.31Caplin’sdefinitionofaperiod(1998,12)ismorespecificandmorerestrictive.ACaplinianperiodisalwaysaparallelperiod,andforhimacontrastingperiodwouldbeatypeofhybridtheme.Whilemuchofhisdefinitionisusefulandapplicable,hymnodyarguablycomesfromabroaderscopeofmusicalstylesandsourcesthanCaplin’sclassicalwork,andrequiresperhapsmoreanalyticalflexibility.32Ibid.,10.

24

istheonethatendsthesentence.33WhileCaplin’sdefinition(9–12)iseven

morespecific,thehymnswillgenerallymakeuseofthepatternabove.

Binaryreferstoaformofhymnconsistingoftwopartsorsections,each

usuallyconsistingofmorethanonephrase,wherethefirstsectionmovestoand

closesinthedominantandthesecondresolvesfromthedominantbacktoafinal

tonic.ItcanberepresentedI–V,V–I,referringtothetwosectionsofthe

hymn.34

Aternaryhymnwillhavethreesections(eachsectionconsistingofone

ormorephrases,wherethesectionsareusuallybalanced),inanABAformat,

wheretheAsectionisinthetonickeyandtheBsectionistypicallyinthe

dominantkey,givingthehymnaharmonicstructureofI–V–I.35

Somehymnswillbereferredtobyapproximatelengthaseithershort,

typical,orlong:ashorthymnalmostalwayshaseightmeasures,atypicalhymn

hasroughly16measures,andalonghymngenerallyhas24to32measures.

Harmonicextensionandexpansionaremeansoflengtheningand

embellishingmusic,andasymmetricphraselengthsandhymnlengthsare

usuallyattributedtooneofthesetwotechniques.Extensionaddsmusical

materialtoextendaharmonypastitsarrival,suchaswhenapassagearriveson

ahalfcadencethatisfollowedbyameasureofadditionalreiterationofthe33Examplesofsentencesinhymnsincludehymn252,mm.9–16(thelasthalf),andhymn254,mm.9–16(again,thelasthalf).34Baroqueandclassicalbinaryformsgenerallyhavewrittenrepeatsaroundbothsections.Theshortlengthandstrophicnatureofhymnsmakerepeatsextremelyuncommon.Caplin’sdefinitionsofbinary(andternary)givespecificparametersandfunctionsforeachofthephrases.Thedefinitionsusedinthisstudywillbemuchmoregeneral,thoughIhaveborrowedtheterm‘contrastingmiddle’thatheusesinbothhisternaryandbinarydiscussions.35TheABAvariantofi–III–icommonlyfoundinaminorkeyisnotreallyapplicablehereconsideringthatonlysixhymnsinthehymnalareinmodalorminorkeys.

25

dominantharmony.36Expansionisinternal,pre-cadentiallengtheningofa

harmony,suchaswhenthefinalcadenceslowsdownthedominantchordsto

lengthentheresolutiontothefinaltonic.37

AusefultoolforformalanalysisisCaplin’sdistinctionbetweenrealand

notatedmeasures(35).Arealmeasureistheunitexperiencedbythelistener,

whichmaynotcorresponddirectlywithnotatedmeasures.Somehymnsthat

arewrittenin4/4singmorecomfortablyin2/4.Thistypeofhymnwouldbe

markedR=½N,meaningtherealmeasuresasobservedbythelistenerarehalf

thelengthofnotatedmeasuresonthepage.

ProlongationandMultipleStructuralLevels

Thehymnmodelslistedinthefollowingchaptersarecharacterized

primarilybyformalandstructuralelements.Theformsandstructuresarebuilt

usingphraselengthsandcharacteristics,repetitionandcontrastbetween

passagesandphrases,andharmonicdevicesandtrends.Inmostcasesa

harmonictrendconsistsofaharmonicprolongation.Prolongation,then,isan

essentialdefiningcharacteristicinidentifyinganddescribingthemodelsfound

throughoutthehymnal.

Afewmethodsofprolongationfunctionsimilartonon-chordtones.Two

chordsofthesameharmonycanbeseparatedbyacontrastingchordthatcomes

36Examplesofharmonicextensioninthehymnstendtobebriefanduncommon.Amongthemarethelasttwomeasuresofhymn251,wherethestructuralcadenceoccursonthedownbeatofthepenultimatemeasureandisfollowedbyatonicextensionusingaIV–Iprogression.37Foranexampleofharmonicexpansion,thelastthreemeasuresofhymn109expandthedominantharmony,lengtheningthefinalcadence.

26

betweenthemandconnectstheminawaythatcansustainasingleharmony

overmultiplechords.38

Caplindescribesitthisway:

Aharmonicprolongationiscreatedwhenasingleharmonicentityisperceivedinthelistener’simaginationtobesustainedthroughtime,despitethepresenceofaninterveningchord(orchords)ofdifferentharmonicmeaning.Theprolongedharmonythus“remainsineffectwithoutbeingliterallyrepresentedateverymoment”throughouttheprogression.(Caplin,24,quotingAllenForteandStevenGilbert,AnIntroductiontoSchenkerianAnalysis[NewYork:Norton,1982],142.)

Identifyingaprolongationinamusicalphrasealsoinherentlyinvolves

analyzingthemusiconmultiplestructurallevels:39

• Onthesurfacelevel(describedbySchenkerastheforeground)eachnoteandeachchordareidentifiedandlabeled,includingnon-chordtonesandinversions.

• Onanintermediatelevel(ormiddleground)onemightomitorignoreallnon-chordtones,leavingjusttheharmonicmotion.

• Onanevendeeperlevel(orbackground)onemightomitallprolongationalharmonies,leavingonlythefundamentalharmonyprolongedthroughaphraseorpassageofmusic.

Figure2.1showsthesethreelevelsofharmonicanalysis:asurfacelevel

(Sf),anintermediatelevel(Int),andadeeplevel(Dp).

38Laitz(2008)givesanextensivediscussionoftheconceptsofelaborationandreductionthatgiverisetomultiplestructurallevels.Thesetechniquesareusedinnearlyeveryaspectofthispresentwork.Chapters8-17discussatlengththeconceptsofexpandingaharmonyandreducingamusicalpassagetoitsfundamentalmelodic/harmonicmaterial.Chapter13specificallyaddressestheuseofnon-chordtonesasfundamentalconceptsofelaborationandreduction.39WhileSchenkerdescribesthreeharmoniclevels,notethatCaplin(25)statesthat“prolongationthusentailstwolevelsofharmonicactivity:alocallevelthatcontainsthesuccessionofprolongedandsubordinateharmoniesandadeeperlevelthatcontainstheprolongedharmonyalone.”CaplinislikelyomittingSchenker’sforeground,ignoringanynon-chordalornamentationtofocussolelyonharmonyandharmonicmotion.NotealsothatSchenker’smiddlegroundcanpotentiallyhaveamultiplesub-layersdependingonthelengthofthepiecebeinganalyzed,whichmeansthereispotentialformanylevelsbetweentheforegroundandthedeepestbackground.

27

Threemethodsofprolongationareanalogoustonon-chordtones:pedal

prolongation,passingprolongation,andneighborprolongation.Apedalchord

occurswhentheharmonyofapassagemovesawayandback,butthebassnote

remainsstatic.Apassingchordconnectstwochordsofdifferentinversionsof

thesameharmony,usuallybystepwisemotioninoneormorevoices.A

neighborchordconnectstwoidenticalchords,prolongingtheirharmony

throughneighbormotion.

Figure2.1belowcontainsexamplesofthesethreetypesofprolongation.

TheIV6/4isapedalchord(Ped)thatchangesharmonywhilekeepingthetonic

bassnote;theV2isaneighborchord(N)embellishingtwoidenticaltonicchords

andprolongingtonicharmonybetweenthem,andtheV43isapassingchord

(Pass),connectingtwotonicchordsofdifferentinversions.Usingthreedifferent

typesofprolongationaltechniquesthisentirephraseprolongstonicharmony.

Figure2.1,Hymn268

28

Cadentialconfirmationalsoservesaprolongationalfunction.According

toCaplin,itisthefunctionofthecadencetoconfirm“thatanimpliedtonalityis

indeedtheactualtonalityofthemusicalpassageinquestion…”(1998,27).A

cadentialprogression(acadencethatmanifeststheP,D,andTattheendofa

phrase)confirmsthetonickeyandcanbepartofatonicprolongation.Ahalf

cadencesoundslikeanauthenticcadenceleftincomplete.Becauseitleavesthe

listenerexpectingtheresolutiontotonic,itconfirmsthetonickeythrough

expectationandanticipationratherthanbydirectresolution.

AnadditionalprolongationaldevicedescribedbyCaplinistheconceptof

substitutechordsthatcanservethesamefunctionastheoriginal(prolonged)

harmony.“Insuchcases,theoriginalandsubstituteharmonieshavetwochord-

tonesincommon,whichlargelyaccountsfortheirfunctionalsimilarity”(1998,

25).CommonexamplesincludetheIandiiichords,andtheIVandii(6)chords.

Substitutionallowsformoreharmonicinterestandvariationwhilemaintaining

theprolongationofaparticularharmony.

Inhymn101(Figure2.2)thefirsttwomeasuresofphrasesoneandtwo

areidenticalexceptforasinglenote:thethirdnoteinthebassline.The

neighborchord(N)inthefirstmeasureprolongsthetonicharmonyasitis

sandwichedbetweentwoidenticaltonicchords.Inthesecondphrasethevi

chordfunctionsthesameasthetonicchorditreplacesinthefirstphrase.Itisa

substitutechord(sub)that,likeitscounterpartinphrase1,servestoprolong

tonicharmony.

29

Figure2.2,Hymn101

Bookending

Bookendingoccurswhenthefirstandlaststructuralchordsofaphrase

areidentical:thesameharmonyisheardinthesamevoicingandinthesame

register.40Thebassmaybedisplacedanoctaveupordown,butisalmost

alwaysinrootposition;innervoicesmaytradenotes,butthesopranomustbe

onthesamepitchinthesameregisterinbothchords.Thistechniquesupports

40IhavecoinedtheusageofbookendingtorefertoaspecificmusicaldevicefoundfrequentlyintheLDShymnal,buttheconceptofestablishingaunitbyplacingapoeticormusicalmarkerateitherendisancient.Therhetoricaldeviceofchiasmusisasoldasliteratureitself.

30

prolongationofaphraseoraharmonicprogressionbydrawingtheearatthe

endoftheprogressionbacktothebeginning.Itoccursmostoftenatthe

beginningofahymn,inthefirstfewchordsorthefirstphrase.Figure2.3

illustratesthisconcept,thoughtherearealsoexamplesinseveralotherfigures

throughoutthisstudy.41SeeFigures3.12,3.16,4.6,and5.2forusefulexamples.

Figure2.3,Hymn203

Summary

Mostofthehymnmodelsdescribedinthefollowingchaptersbeginwith

anopeningphrasethatprolongstonicharmony,andmanymakeuseofa

contrastingprolongation(usuallydominant)somewhereinthemiddle.Indeed,

asurveyofanynumberofhymnsinthehymnalwillshowthatmostofthem

beginbyprolongingtonicharmonyforsomelength,fromafewnotestoseveral

measures.Inmanyoftheseprolongedpassageseverychordcanbeaccounted

41Noticethesubstituteprolongationaswell.

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31

foramongthedeviceslistedabove:pedal,passing,andneighborprolongations,

substitutechords,andcadentialconfirmationoftonic(eitherhalfcadenceor

authenticcadence).

Prolongationisessentialintheestablishmentofthehymnmodelsthat

follow.Inadditionthehymnswillusetheformalandharmonicdevicescommon

tomoststudentsofform.

Hymnexamplesinchapters3and4areintendedtoillustratethe

analyticalconceptsunambiguously.Furtherexamplesofanalyticalconceptsare

listedinfootnotes.

32

CHAPTER3:MULTI-PHRASEHYMNMODELS

Hymnclassificationswillbegroupedintotwocategories.Firstarethose

thataremadeupofmultiplephrases.Theseincludethesmall-scalemodeland

thetwo-phrasemodel.Inaddition,thiscategorytypicallyincludesthestandard

harmonicstructure.Chapter3willdiscussthestandardharmonicstructurein

conjunctionwithbothmulti-phrasemodels.

Thesecondcategoryisthatofsectionalhymns.Sectionalhymnsare

madeupofmultiplesections,whereeachsectionconsistsofatleasttwo

phrases.Theseincludeverse-chorushymnsandotherlarge-scalehymns,and

chapter4willaddresstheseforms.

SMALL-SCALEMODEL(aaba)

Itiscommontodescribemusicusingtermscomparingittoajourney.A

musicianmaysaythathewastransportedbyapassageofmusic,thatithas

takenhimsomewhere.Oftenthisjourneytakesafamiliarroute:establisha

homeorbeginning,traveltosomewherenewandinterestingandperhaps

exotic,thentoreturnhomeafterwards,gratefulforthejourney,butalsorelieved

andhappytobehome.

Anumberofformsandmusicalstructuresreflectthisjourney,from

roundedbinary(whichCaplinequateswithsmallternary1);totheABAdacapo

ariaform;tothepathofexposition,development,andrecapitulationinasonata

formmovement,totheorderofkeysortonalareasinaconcertoorsymphony,

11998,71–73.

33

tocontemporarysongform.Hymnodyisatraditionalgenreofmusic,anditisno

surprisethenthatamonghymnswefrequentlyfindmanifestationsofthis

journey,mostsimplydescribedasABA,ternary,oraabaphrasestructure.

Thebasicsmall-scalemodelmakesuseofthisconceptbypresentinga

musicalstatement,restatingittoestablishitascentralandimportant,then

givingacontrastingmusicalidea,andfinallyreturningtotheoriginaltogivea

senseofcatharsisandclosure.Eachelementplaysanessentialroleinthe

conceptofthismusicaljourney.Theinitialastatementintroducesthekeyand

thebasicmusicalidea,givingthelistenerapointofreferenceordeparture.The

repeat(sometimesvaried)oftheastatementreaffirmsthekeyandreference

point,andestablishesitascentraltotheimmediatemusicalexperience.The

departureofthedevelopmentalbsectioniscrucialtothesenseofajourney,for

ifatravelerhasn’ttraveledanywherethenthereisnothingsignificantabout

cominghomeagain.Indeedthereisno‘cominghome,’butonlythestasisof

existenceinanunchangedmusicalspace.Thefinalareturnrepresentsa

transformationoftheoriginalmusicalidea.Liketheprodigalsonreturning

home,amusicalideathatstillsoundsthesameastheoriginalisnonetheless

transformedbythejourneyintosomethingmorethanitwasinthebeginning.

Small-ScaleBasicStructure

Thesmall-scalemodelisthemoststraightforwardofthehymnmodels.

Itsmostbasicformisaaba,whichcomprisesastatement,arepeat,adeparture,

andareturn.Itmaybeconsideredbasicinpartbecauseitisaclear,often

obviousmanifestationofthejourneydescribedabove,butalsobecauseit

34

involvesanalmostexcessiveamountofstructuralrepetition.Withthreeofthe

fourphrasesconsistingofthesamemusic,therepetitioncouldbecomeboring

andmeaninglessunlessthereweremeansofaddingvarietyandinterest.This

necessaryvarietyoftencomesthroughchangestothephrasestructureandto

thehierarchyofcadences.Thesmall-scalemodelincludesseveralphrase

structures:aaba,aa’ba,aaba’,aa’ba”,aabc,aa’bc.Thedifferencesbetweenthese

structuresmayappeartrivialorsuperficial,butthesedifferencesbecome

significantforthewaystheybringinterestandvarietytothehymns.Examples

willbeexaminedinmoredetailbelow.

Thetypicalsmall-scalehymnconsistsoffourphrases.Thefirsttwo

phraseswillcompriseeitheranexpositoryperiodoraperiodicinitial

statement.Thethirdphrasewillbeacontrastingmiddlephrase2,whose

functionisamusicaldeparturefromthetwoinitialphrases.Thefourthphrase

willhavethefinalcadentialclosureofthehymn,bringingthehymntoits

conclusion.

FirstTwoPhrases:Expositoryperiod

Mostsmall-scalehymnsintheLDShymnalopenwithatwo-phrase

expositoryperiodthatservesthefunctionsofintroducingthekeyandthe

openingmelodicmaterial,andofreaffirmingthembyrepetition.Thisperiodis

calledexpositoryonlybecauseitservestheexpositionalfunctionatthe

beginningofasmall-scalehymn.Itsinternalstructureissimplythatofaperiod.

2Theterm‘contrastingmiddle’isborrowedfromCaplin,71.

35

Thisexpositoryperiodwillhavethetypicalhierarchyofcadences,though

inmanycasestheconswillmodulatetothedominantandclosewithaPACinthe

dominantkey.Evenwiththemodulation,thisV:PACqualifiesasastronger

cadencethananIACorHCintonicandmaintainstheperiodichierarchywhere

theconscomestoastrongerclosethantheant.34SeeFigures3.1and3.2for

examplesofnon-modulatingandmodulatingexpositoryperiods.

Figure3.1:Hymn7,ExpositoryPeriod(non-modulating)

3SeeCaplin,53–55foradiscussionofamodulatingperiodandthejustificationofdeclaringaV:PACashavingstrongerclosurethanaI:IAC.4Examplesofhymnsfeaturingnon-modulatingexpositoryperiodsinclude7,34,41,91,100,235,264,and307.Examplesfeaturingmodulatingexpositoryperiodsincludehymns39,103,131,156,216,225,257,263,268,and289.

&

?

b

b

44

44

..œœ jœœ œœ œœ œœ œœ2. Is3. Is4. Is

1. Is rael,rael,rael,rael!

IsIsanIs

rael,rael,gelsrael!

GodGodare

Canst

isisdethou..œœ Jœœ œœ œœ œœ œœ

With spirit q = 72–84

�� call

speakscend

lin

ing,ing.ingger��

.œ jœœ œœ œœ œœ œœCallHearFromStill

ingyour

cein

theegreat

leser

fromDe

tialror’s

landsliv

worldsgloom

of’rer’s

ony

.œ

..œœ Jœœ œœ œœ œœ œœ

..�� Œwoe.voice!high,ways?..�� Œ

----

----

-

---

-

-

- --

- -

-

&

?

b

b

..œœ jœœ œœ œœ œœ œœBabNowAndMark

yato

how

longlo

manjudg

therioustheir

ment’s

greatmornpow’rpoint

isisexing..œœ Jœœ œœ œœ œœ œœ

�� fall

breaktend

fin

ing;inging,ger��

..œœjœœ œœ œœ œœ œœ

GodForThatJus

shallthe

theti

allpeo

Saintsfies

herple

mayno

tow’rsof

homevain

o’erhiswardde..œœ J

œœ œœ œœ œœ œœ

..�� Œthrow.

choice.fly.

lays...�� Œ

- --

- --

---- - -

--

-

-

&

?

b

b

..œœ jœœ## œœ œœn œœ œœComeComeComeCome

totototo

ZiZiZiZi

on,on,on,on,

comecomecomecome

totototo..œœ J


�� ZiZiZiZi

onon,on,on!��


EreAndForZi

hiswithyouron’s

floodsin

comwalls

ofhering

shall

anwallsLordring

gerreis

with.œ jœ œœ œœ œœ œœ.œ Jœ

..�� Œflow.joice.nigh.praise..� Œ.�

----

---- -

--

--

&

?

b

b

..œœ jœœ œœ œœ œœ œœComeComeComeCome

totototo

ZiZiZiZi

on,on,on,on,

comecomecomecome

totototo..œœ Jœœ œœ œœ œœ œœ

⌜ �� ZiZiZiZi

onon,on,on!��


ZiForAndEre

yourwithhis

on’s wallscom

infloods

shallingherof

ringLordwalls

an

withisre

ger


..�� Œ

praise.nigh.joice.flow.

..�� Œ

⌝

----

---- -

--

--

Israel, Israel, God Is Calling

Text: Richard Smyth, 1838–1914Music: Charles C. Converse, 1832–1918

Doctrine and Covenants 133:7–16

7

&

?

b

b

44

44

..œœ jœœ œœ œœ œœ œœ2. Is3. Is4. Is

1. Is rael,rael,rael,rael!

IsIsanIs

rael,rael,gelsrael!

GodGodare

Canst

isisdethou..œœ Jœœ œœ œœ œœ œœ

With spirit q = 72–84

�� call

speakscend

lin

ing,ing.ingger��

.œ jœœ œœ œœ œœ œœCallHearFromStill

ingyour

cein

theegreat

leser

fromDe

tialror’s

landsliv

worldsgloom

of’rer’s

ony

.œ


..�� Œwoe.voice!high,ways?..�� Œ

----

----

-

---

-

-

- --

- -

-

&

?

b

b

..œœ jœœ œœ œœ œœ œœBabNowAndMark

yato

how

longlo

manjudg

therioustheir

ment’s

greatmornpow’rpoint

isisexing..œœ Jœœ œœ œœ œœ œœ

�� fall

breaktend

fin

ing;inging,ger��


GodForThatJus

shallthe

theti

allpeo

Saintsfies

herple

mayno

tow’rsof

homevain

o’erhiswardde..œœ J


..�� Œthrow.

choice.fly.

lays...�� Œ

- --

- --

---- - -

--

-

-

&

?

b

b

..œœ jœœ## œœ œœn œœ œœComeComeComeCome

totototo

ZiZiZiZi

on,on,on,on,

comecomecomecome

totototo..œœ J


�� ZiZiZiZi

onon,on,on!��


EreAndForZi

hiswithyouron’s

floodsin

comwalls

ofhering

shall

anwallsLordring

gerreis

with.œ jœ œœ œœ œœ œœ.œ Jœ

..�� Œflow.joice.nigh.praise..� Œ.�

----

---- -

--

--

&

?

b

b

..œœ jœœ œœ œœ œœ œœComeComeComeCome

totototo

ZiZiZiZi

on,on,on,on,

comecomecomecome

totototo..œœ Jœœ œœ œœ œœ œœ

⌜ �� ZiZiZiZi

onon,on,on!��


ZiForAndEre

yourwithhis

on’s wallscom

infloods

shallingherof

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withisre

ger


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----

---- -

--

--

Israel, Israel, God Is Calling

Text: Richard Smyth, 1838–1914Music: Charles C. Converse, 1832–1918

Doctrine and Covenants 133:7–16

7

Period (8)ant. (4)bi (2) ci (2)

cons. (4)bi (2) ci’ (2) PAC

HC

T P D T

F: I IV I V

I IV V I

Non

-mod

ulat

ory

expo

sito

ry p

erio

d

36

Figure3.2:Hymn156,ExpositoryPeriod(Modulating)

Someofthesimplerhymnswillopenwithaperiodicinitialstatement

consistingessentiallyofarepeatedphrase.Thetwophraseslackthehierarchy

ofcadencesneededtoqualifyasaperiod,buttheystillhavethesameparallel

characteristicsasthoseofaperiod,andtheywillservethesamefunctionsof

introducingthekeyandmoodofthehymnandreaffirmingitbyrepetitionofthe

basicideaineachphrase.5

5Examplesincludehymnsthatbeginwitharepeatedphrase–twophrasesthatcontainidenticalharmonic/melodiccontent:48,58,101,236,237,296,322.

&

?

44

44

..œœ jœ œ œœ1. Sing2. Praise3. Je

wehimsus,

nowforour

athisRe

Jœ œ

..œœ Jœœ œœ œœ

Reverently q = 84–100⌜

partmer

deem

ingcy;er,

œœ œœ œœ œ œOnePraiseNow

morehimour

strainfor

prais

ofhises

œ

œœ œœ œœ œœ œ

.. Œpraise.love.hear.

.. Œ

⌝

--

- - - -

&

?

..œœ jœ œ œœToForWhile

ourunwe

Heav’nnumbow

lybered

be

Jœ œ


Fa

blessfore

theringsthee,

œœ œœ ..œœ jœœSweetPraiseLend

estthea

songsLord

lis

we’lla

t’ning

œœ œœ ..œœ# jœœ

.. Œraise.bove.ear.

.. Œ- - -

- - - -- -

&

?

..œœ jœœ œœ œœForLetSave

hisourus,

lovhap

Lord,

ingpy

from

.œ jœ œ œ.œ Jœ œ œ

..œœ jœœ kindvoic

er

ness,es

ror.

..œœ jœœ œœ œœForStillWatch

histheus

tennotesday

derproby


.. Œcare,long.day.

.. Œ- - -- - -

-

&

?

..œœ jœœ œœ œœLetOneHelp

oura

us

songslonenow

ofisto


⌜ œ œ œ œgladwor

serve

nessthythee

..œœ jœ œœ œœFillOfIn

thisour

a

Sabsweetpleas

bathesting

Jœ

..œœ jœ œ œœJœ œ

. Œair.

song.way.

.

.. Œ

⌝

- -- - -

-

Sing We Now at Parting

Text: George Manwaring, 1854–1889Music: Ebenezer Beesley, 1840–1906

Psalm 147:1Alma 26:8

156

&

?

44

44

..œœ jœ œ œœ1. Sing2. Praise3. Je

wehimsus,

nowforour

athisRe

Jœ œ


Reverently q = 84–100⌜

partmer

deem

ingcy;er,

œœ œœ œœ œ œOnePraiseNow

morehimour

strainfor

prais

ofhises

œ

œœ œœ œœ œœ œ

.. Œpraise.love.hear.

.. Œ

⌝

--

- - - -

&

?

..œœ jœ œ œœToForWhile

ourunwe

Heav’nnumbow

lybered

be

Jœ œ


Fa

blessfore

theringsthee,

œœ œœ ..œœ jœœSweetPraiseLend

estthea

songsLord

lis

we’lla

t’ning

œœ œœ ..œœ# jœœ

.. Œraise.bove.ear.

.. Œ- - -

- - - -- -

&

?

..œœ jœœ œœ œœForLetSave

hisourus,

lovhap

Lord,

ingpy

from

.œ jœ œ œ.œ Jœ œ œ

..œœ jœœ kindvoic

er

ness,es

ror.

..œœ jœœ œœ œœForStillWatch

histheus

tennotesday

derproby


.. Œcare,long.day.

.. Œ- - -- - -

-

&

?

..œœ jœœ œœ œœLetOneHelp

oura

us

songslonenow

ofisto


⌜ œ œ œ œgladwor

serve

nessthythee

..œœ jœ œœ œœFillOfIn

thisour

a

Sabsweetpleas

bathesting

Jœ

..œœ jœ œ œœJœ œ

. Œair.

song.way.

.

.. Œ

⌝

- -- - -

-

Sing We Now at Parting

Text: George Manwaring, 1854–1889Music: Ebenezer Beesley, 1840–1906

Psalm 147:1Alma 26:8

156

Period (8)ant. (4)bi (2) ci (2)

cons. (4)bi (2) ci’ (2) V:PAC

HC

V: P D T

C: I IV I6 5e V

I V: (IV V 6r 7 I)

Mod

ulat

ory

expo

sito

ry p

erio

d

37

Figure3.3belowshowsaperiodicinitialstatement.Thehymnhastwo

initialphrasesthataremusicallyidentical;eachhasthesameopeningbasicidea

andthesamecontrastingidea,andbothofthemendwiththesamePAC.

Figure3.3:Hymn58,PeriodicInitialStatement

ThirdPhrase:ContrastingMiddle

Thethirdphraseservesacontrastingand/ordevelopmentalrole.Thatis,it

willevidenceadistinctmusicaldeparturefromtheinitialmaterial.Itisintended

togivecontrastandvarietytothepiece.Ihaveidentifiedsevendevicesby

whichthiscontrastisachieved.Theseare:

1. achangeinrhythmicmotives

&

?

bb

bb

44

44

..œœ jœœ œœ œœ1. Come,2. Oh,3. All

yehow

ar

chiljoy

rayed

drenfulin..œœ J

œœ œœ œœ

Exultantly q = 96–112

œœ œœ ofit

spot

thewillless

Lord,be

white,œœ œœ

œœ œœ œœ œœLetWhenWe

usourwill

singSav

dwell

withior

’midœœ œœ œœ œœ

œœ œœ onewe

truth

acshalland

cord.see!light.œœ œœ

- -- -

- -

&

?

bb

bb

..œœ jœœ œœ œœLetWhenWe

usin

will

raisesplensing

adorthe..œœ J

œœ œœ œœ

œœ œœ joy

he’llsongs

fuldeof

strainscend,praise;œœ œœ

œœ œœ œœ œœToThenWe

ourall

will

Lordwickshout

whoedinœœ œœ œœ œœ

œœ œœ soonnessjoy

willwillous

reignend.lays.œœ œœ

-- - - -

-

&

?

bb

bb

..œœjœœ œœ œœ

OnOh,Earth

thiswhatshall

earthsongsthen

whenwebe.œ jœ œœ œ.œ Jœ œ

⌜ œœ œœ it

thencleansed

shallwillfrom

besingsin.œœ œ œ


CleansedToEv

fromour’ry

allSavliv

inior,ing.œ jœ œœ œ.œ Jœ œ

œœ œœ iq

Lord,thing

uiand

there

ty,King!

inœœ œ œ- - -

-- - -

&

?

bb

bb

..œœ jœœ œœ œœWhenOh,Shall

allwhat

in

menlovelove

fromwilland..œœ J

œœ œœ œœ

œœ œœ sin

thenbeau

willbear

ty

cease,swaydwell;œœ œœ

œœ œœ œœ œœAndWhenThen

willour

with

livefearsjoy

inshalleachœœ œœ œœ œœ

œœ œœ loveflee

heart

anda

will

peace.way!swell.œœ œœ

⌝

--

Come, Ye Children of the Lord

Text: James H. Wallis, 1861–1940Music: Spanish melody; arr. by Benjamin Carr, 1768–1831

Doctrine and Covenants 133:25, 33, 56Revelation 7:9–17

58bi (2)

bi (2)

ci (2)

ci (2)

PAC

PAC

Perio

dic

initi

al st

atem

ent

38

Thecontrastingmiddlewillmakeuseofdifferentrhythmic

motivesfromthefirsttwophrases,i.e.,emphasizinglongeror

shorternotevalues,changingfromadotted-eighthfigure(r.g) to

straighteighths(ry),etc.6

2. achange,andoftenaninversionofmelodiccontour

Insimpleterms,themelodyinthethirdphrasewillbedifferent

fromthatofthefirsttwo.Stepwisemotionmightbechangedto

skips,ascendingmelodicmotionmightbechangedtodescending,

etc.Oftenthiswillmeanthatthegeneralcontourofthemelodic

noteswillchange(thebasicup-and-downpatternsofthemelody).

Further,whilethethirdphraseisseldomastrictinversionofthe

first,itisnotuncommonforthecontourofthethirdphrasetobea

looselyinvertedshapefromthefirstphrase.7

3. achangeinregisterortessitura,oftendisplacedattheoctave

Themelodyofthethirdphrasewillsitgenerallyhigherorlowerin

register,andthephrasemaydisplacetheopeningnoteanoctave

higher(or,rarely,lower)thanthebeginningoftheentirehymn.8

4. achangeintexture,oftenomittingoraddingvoices

6Examplesofrhythmicchangearefoundinhymns30,34,59,97,237,256,264,278,and307.7Mostsmall-scalehymnsexhibitachangeinmelodiccontour,butusefulexamplesincludehymns15,26,27,29,41,48,59,143,163,207,268,and283.8Achangeinregistercanbeseeninhymns27,29,41,64,100,101,139,140,163,237,256,264,307,and338.

39

Thethirdphrasemightomitthebassline,orboththebassand

tenor.Itmightchangefromhomophonictounisonorsomebasic

formofpolyphony,likeduettingbetweenmenandwomen.A

voiceotherthanthesopranomighttakeamoreprominent

melodicrole.9

5. sequenceorsequence-likepassages

Usuallythiswillconsistofatwo-measurestatementfollowedbya

singletwo-measuresequentialresponse(theshortcharacterof

thehymngenregenerallydoesn’tallowformultipleresponses).

Notallexampleswillbestrictsequences,butoftenthe

melodic/harmoniccharacteroftheresponseissimilarenoughto

thestatementthatitisstillrecognizableashavingasequential

character.10

6. harmonicwandering,harmonicinstability,and/orincreased

chromaticism

Thethirdphrasewilloftenmovetomoredistantharmoniesthan

anyotherphraseinthehymn.Itmayfeatureharmoniesand

chordalinversionsthatareconsideredlessstable,avoidingroot-

positionchords.Inlargelydiatonichymns,thethirdphrasemay

havetheonlychromaticnoteornotesinthehymn.1112

9Achangeintexturecanbeseeninhymns18,21,41,59,99,216,282,and311.10Sequentialcharacteristicscanbeseeninhymns207,297,and311.11Whenidentifyingchromaticnotes,Igenerallyignorearaised4whereittonicizesadominantharmonybecauseinthiscaseitservesthepre-dominantfunctionofestablishingoremphasizingthedominant.

40

7. non-tonicprolongation

Thethirdphraseoftenshowsharmoniccontrastwitha

prolongationofnon-tonicharmony,usuallydominant.Whilethe

harmonicprolongationinthethirdphraseisparticularly

characteristicofthestandardharmonicstructurediscussedlater,

itisneverthelessausefulandeffectivedeviceforachieving

contrastbetweenthefirst(andsecond)phrasesofasmall-scale

hymn.1314

Thefollowingfourexamplesillustratethecontrastingdeviceslisted

above.Eachexampledepictsonlythefirstandthirdphrases.Thesecondphrase

ofasmall-scalehymnwillalwaysbemusicallythesameasorsimilartothefirst

phrase,sotheexamplesbelowwillshowcontrastbetweenthefirstandthird

phrases.

Figure3.4belowillustratesthreedevelopmentaltechniquesthatareused

togivecontrasttothethirdphraseofthissimplehymn.First,invertedmelodic

contour:thearrowsindicatethechangefromthedownwardstepwisemotion

inthefirsttwophrasestotheupwardstepwisemotioninthethirdphrase.

12Examplesincludehymns3,9,18,39,48,103,163,207,267,283,311,321,325,and338.13Examplesofnon-tonicprolongationincludehymns7,18,21,39,91,97,99,156,216,263,267,278,283,and289.14ThecontrastingmiddledescribedhereissimilartothatdescribedbyCaplin(1998,75–81),butthetwohaveafewkeydifferences.Caplindescribescharacteristicssuchaslooseorganization,sequentialprogressions,harmonicinstability,focusondominantharmony,appearanceofnewmusicalmaterial,andchangesintexturethatareallsimilartothosefoundinthehymns.However,hisdiscussionofsententialthemesandstandingonthedominantsuggestapassageofmusicgenerallylongerthanthetypicalfour-measurephrasefoundinthehymns.Likewise,changesindynamics,articulation,andaccompanimentalfigurationgenerallydonotapplytohymns(whicharetypicallywrittenwithoutdynamics,articulations,oraccompaniment).Thedevelopmentaldevicesdescribedherealmostalwaysappearinformsthataremuchmorecompact,andthusbettersuitedtohymns,thanthosedescribedbyCaplin.

41

Second,harmoniccontrast:thethirdphrasecontainssubdominantharmonies,

whicharetheonlyharmoniesinthishymnthatarenoteithertonicordominant.

Third,highertessitura:mostofthemelodyinthefirsttwophrasesisconfined

tothreenotesandhighlightsthemelodytoneG,whilethethirdphrasemoves

thefocalpitchuptotheBb.

Figure3.4:Hymn163

Figure3.5belowillustratesfourdevelopmentaltechniquesinthethird

phrase.First,thereisachangeinmelodiccontour.Thecontourlines(above

thestaff,belowthebrackets)showalevelingoffofthemelodiccontourin

phrase3ascomparedtothearchedcontourofphrase1.Second,thereisa

changeintexture.Thealtolineofphrase3becomesthemoreprominent

42

melodicline.Thismightcountermandthechangeincontourlistedabove,except

thatthealtolineofphrasethreehasadownwardarchingcontourthatisstilla

contrasttotheupwardarchandleapsofthemelodyinphrase1.Third,thereis

harmoniccontrast.Phrase3movestoandtonicizesIVandii,bothrelatively

distantfromthetonicsanddominantsoftheotherphrases.Fourth,thereisa

sequence-likepassage.Thestraightbrackets(abovethecontourlines)

indicateatwo-measureharmonicsequence.Thehymnmusicaltersthemelody

andinnerparts,butretainsthesequence.

Figure3.5:Hymn311

43

Phrase3ofhymn59(Figure3.6)isausefuldemonstrationofthree

developmentaltechniques.First,thereisachangeinmelodiccontour.The

doublearchesshowninthefirstphrasearetradedinthethirdforalongsteady

ascendingline.Second,thereisachangeintexture.Thefirsttwophraseshave

astandardhomophonictexturewithallpartssingingallsyllablestogetherin

rhythm.Thethirdphrasevariesthiswithdiaphonicduettingbetweenthemen

andwomen,evidencedbythestaggeredentrancesofthetext.Andthird,thereis

achangeinrhythmicmotives.Therhythminthefirsttwophrasesconsists

largelyofrunningeighthnotes(q.errrq).Incontrast,thethirdphrase

lengthenstherhythmofthemelodicline(h.q) whileleavingthemenwithsteady,

straightquarters(qqqq).

44

Figure3.6:Hymn59

Phrasethreeofhymn283(Figure3.7)isausefulexampleoffour

developmentaltechniques.First,harmoniccontrast:thesecondmeasureof

phrasethreeisaV2/Iwhichistheonlycaseinthehymnofachordtonicizinga

harmonyotherthandominant.Second,harmonicinstability:thethirdphrase

hasonlythreeroot-positionchords,includingthedownbeatandthecadence.

Everythingelseisinverted.TheV2,V43,andIV6allondownbeatsevidence

particularinstability.Third,achangeinmelodiccontour:thelargelystepwise

descentoftheopeningbasicideacontrastswiththesharp,angularmelodicleaps

inthethirdphrase.Andfourth,dominantprolongation:thethirdphrase

& # 44 œœ œ ..œ œœj œœ œœ œœ œœ ˙ ..˙ œœ œ ..œ œœj œœ # œœ œœ œœ1. Come, O thou King of Kings! We’ve wait - ed long for2. Come, make an end to sin, And cleanse the earth by3. Ho - san - nas now shall sound From all the ran - somed4. Hail! Prince of life and peace! Thrice wel - come to thy

? # 44 œœ œ ..œ œœj œœ œœ œ ˙ ..˙ œœœ œ ..œ œœJ œœ œœ

Boldly q = 84-100[

& # ˙ ..˙ œœ œ ..œ œœj œœ œœ œœ œœ ˙ ..˙ œ œ œ ..œ œœj # œœ œœ# œthee, With heal - ing in thy wings, To set thy peo - plefire, And righ - teous-ness bring in, That Saints may tune thethrong, And glo - ry ech - o round A new tri - um - phalthrone! While all the cho - sen race Their Lord and Sav - ior

? # ˙ ..˙ œœ œ ..œ œœj œœ œœ ˙ ..˙ œœ œ ..œ œœJ œœ œœ

]

& # ˙ . œœ ˙ ..˙ œœ ˙ ..˙ œœ ˙ ..˙ # œœ˙ .free. Come, thou de - sire of na - tions,lyre With songs of joy, a hap - piersong; The wide ex - panse of heav - enown, The hea - then na - tions bow the

Come, thou de - sire, Come, thou de - sire of na - tions,

? # Œ œœ œœ œœ œœ œœ œ˙ ..˙ Œ œœ œœ œœ œœ œ œœ& # ˙ ..˙ œœ œœ œœ œœ œœ ˙̇ ˙̇ ˙ ..˙

come; Let Is - rael now be gath - ered home.strain, To wel - come in thy peace - ful reign.fill With an - thems sweet from Zi - on’s hill.knee, And ev - ’ry tongue sounds praise to thee.come;? # œ œ ˙ ..˙˙ ..˙ œ œœ œ œœ œœ ˙̇ ˙̇

[ ]

Come, O Thou King of Kings

Text: Parley P. Pratt, 1807–1857Music: Anon., ca. 1889

Doctrine and Covenants 45:39, 44Isaiah 35:10

59

& # 44 œœ œ ..œ œœj œœ œœ œœ œœ ˙ ..˙ œœ œ ..œ œœj œœ # œœ œœ œœ1. Come, O thou King of Kings! We’ve wait - ed long for2. Come, make an end to sin, And cleanse the earth by3. Ho - san - nas now shall sound From all the ran - somed4. Hail! Prince of life and peace! Thrice wel - come to thy

? # 44 œœ œ ..œ œœj œœ œœ œ ˙ ..˙ œœœ œ ..œ œœJ œœ œœ

Boldly q = 84-100[

& # ˙ ..˙ œœ œ ..œ œœj œœ œœ œœ œœ ˙ ..˙ œ œ œ ..œ œœj # œœ œœ# œthee, With heal - ing in thy wings, To set thy peo - plefire, And righ - teous-ness bring in, That Saints may tune thethrong, And glo - ry ech - o round A new tri - um - phalthrone! While all the cho - sen race Their Lord and Sav - ior

? # ˙ ..˙ œœ œ ..œ œœj œœ œœ ˙ ..˙ œœ œ ..œ œœJ œœ œœ

]

& # ˙ . œœ ˙ ..˙ œœ ˙ ..˙ œœ ˙ ..˙ # œœ˙ .free. Come, thou de - sire of na - tions,lyre With songs of joy, a hap - piersong; The wide ex - panse of heav - enown, The hea - then na - tions bow the

Come, thou de - sire, Come, thou de - sire of na - tions,

? # Œ œœ œœ œœ œœ œœ œ˙ ..˙ Œ œœ œœ œœ œœ œ œœ& # ˙ ..˙ œœ œœ œœ œœ œœ ˙̇ ˙̇ ˙ ..˙

come; Let Is - rael now be gath - ered home.strain, To wel - come in thy peace - ful reign.fill With an - thems sweet from Zi - on’s hill.knee, And ev - ’ry tongue sounds praise to thee.come;? # œ œ ˙ ..˙˙ ..˙ œ œœ œ œœ œœ ˙̇ ˙̇

[ ]




59

G: I ii6 V 6r 5e I IV I

I V I V 4e /V V

&

?

#

#

44

44

œœ1. Come,2. Come,3. Ho4. Hailœœ

Boldly q = 84–100⌜ ..œœ

jœœ œœ œœ œœ œœO

makesan

Prince

thouannasof

Kingendnowlife

ofto

shalland..œœ

jœœ œœ œœ œœ

.. œœKings!

sin,soundpeace!

We’veAndFromThrice

.. œœ

..œœ jœœ œœ œœ# œœ œœwait

cleanseall

wel

edthethe

come

longearthranto

forby

somedthy..œœ Jœœ œœ œœ

-

- - --

&

?

#

#

.. œœthee,fire,throng,throne!

WithAndAndWhile.. œœ

⌝ ..œœjœœ œœ œœ œœ œœ

healrighgloall

ingteous

rythe

innessechcho

thybring

osen..œœ

jœœ œœ œœ

.. œ œwings,

in,roundrace

ToThatATheir

œ#

.. œœ

..œœ jœœ œœ# œœset

SaintsnewLord

thymaytri

and

peotuneumSav

plethe

phalior..œœ Jœœ œœ œœ

- -- -- - - -

- -

&

?

#

#

. œœfree.lyresong;own,

Come,WithTheThe

.

.. Œ

.. œœthousongswidehea

deofex

then

Œ œœ œœ œœCome, thou de

.. œœsirejoy,

pansena

ofaof

tions

œœ œœ œœ œœsire, Come, thou de

.. œœ#na

hapheavbow

tions,pierenthe

œœ œœ œ œœsire of na tions,œ

- --

- -- -

- - -

&

?

#

#

.. œœcome;strain,fillknee,

LetToWithAnd

.. œcome; œ

⌜ œœ œœ œœ œœIs

welanev

raelcomethems

’ry

nowin

sweettongue

bethy

fromsounds

œœ œ œœ œœœ

gath

peaceZi

praise

eredful

on’sto

..home.reign.hill.thee.

..

⌝

- -- -- --




59

&

?

#

#

44

44


Boldly q = 84–100⌜ ..œœ


makesan

Prince

thouannasof

Kingendnowlife

ofto

shalland..œœ


.. œœKings!

sin,soundpeace!


.. œœ


cleanseall

wel

edthethe

come

longearthranto

forby


-

- - --

&

?

#

#




healrighgloall

ingteous

rythe

innessechcho

thybring

osen..œœ

jœœ œœ œœ

.. œ œwings,

in,roundrace

ToThatATheir

œ#

.. œœ


SaintsnewLord

thymaytri

and

peotuneumSav

plethe


- -- -- - - -

- -

&

?

#

#


Come,WithTheThe

.

.. Œ


deofex

then


.. œœsirejoy,

pansena

ofaof

tions


.. œœ#na

hapheavbow

tions,pierenthe


- --

- -- -

- - -

&

?

#

#


LetToWithAnd

.. œcome; œ


welanev

raelcomethems

’ry

nowin

sweettongue

bethy

fromsounds

œœ œ œœ œœœ

gath

peaceZi

praise

eredful

on’sto


..

⌝

- -- -- --




59

&

?

#

#

44

44


Boldly q = 84–100⌜ ..œœ


makesan

Prince

thouannasof

Kingendnowlife

ofto

shalland..œœ


.. œœKings!

sin,soundpeace!


.. œœ


cleanseall

wel

edthethe

come

longearthranto

forby


-

- - --

&

?

#

#




healrighgloall

ingteous

rythe

innessechcho

thybring

osen..œœ

jœœ œœ œœ

.. œ œwings,

in,roundrace

ToThatATheir

œ#

.. œœ


SaintsnewLord

thymaytri

and

peotuneumSav

plethe


- -- -- - - -

- -

&

?

#

#


Come,WithTheThe

.

.. Œ


deofex

then


.. œœsirejoy,

pansena

ofaof

tions


.. œœ#na

hapheavbow

tions,pierenthe


- --

- -- -

- - -

&

?

#

#


LetToWithAnd

.. œcome; œ


welanev

raelcomethems

’ry

nowin

sweettongue

bethy

fromsounds

œœ œ œœ œœœ

gath

peaceZi

praise

eredful

on’sto


..

⌝

- -- -- --




59

Phra

se 1

Phra

se 3

45

beginsandendsondominant,consistsprimarilyofdominantharmony,andends

withatonicizedhalfcadence(HCt)thatreinforcesthedominant.Inaddition,the

melodyoutlinesadominantchord:7 �1 2 3�4 �3�2 �1 7 ,allsetagainstand

alternatingwitharepeateddominantpedalinthealtoline.Notethateachchord

inparenthesesisasecondarydominanttonicizingthechordthatfollowsit.

Figure3.7:Hymn283

PAC

HCt

46

FourthPhrase:Cadential/Closing

Thefunctionofthefourthphraseistobringmusicalclosuretothehymn.

Whenthisisdonewell,thelistenerwillfeelasenseofresolutionorcatharsis

uponreachingthefinalcadence,becausethefourthphrasehasbroughttogether

anyideasthathavebeenleftunfinished.Thefirstthreephrases,inconjunction

orindividually,willhavecreatedasenseofincompletion,expectation,or

anticipation.Untilthisincompletion,expectation,oranticipationissatisfactorily

resolved,thelistenerwillbeleftwanting.Thisisthefunctionandpurposeofthe

finalphraseofasmall-scalehymn.

Inordertoeffectthisresolution,theclosingphrasemustclosewithaPAC

inthehomekey,whichwillcontainthefinalP,D,andT(predominant,dominant,

andtonic)ofthehymn.15Inadditiontothisrequirementthereareafewkey

devicesbywhichthesenseofcompletionorclosuremaybestrengthenedinthe

finalphrase.ThestrongestcadenceswillconsistnotonlyoftheP,D,andTofa

PAC,butthedominantwillbeintensifiedbyuseofacadential6/4resolvingto

theroot-positionV7.Inaddition,thePofthefinalcadencewilloftenbeprepared

15Theoristsdescribetrendsandpatterns,someofwhichareextremelystrong,butinthevastbodyofanygenrethereareexceptionstoeveryrule.IsaythefinalcadencemustendinaPACcontainingthefinalP,D,andTofthehymn,buttherearerarehymnsthatfortheirownjustifiablemusicalreasonsdon’tendwithaPAC.Examplesincludehymns23,105,106,213,279,284,and302.

47

witharisingtonic16,aI6chord,thatwillgivethecadenceafinalbasslineof3�4

5�1.17

ThesenseofclosuremayalsobestrengthenedbylengtheningthePandD

ofthefinalcadence.EarlyinthehymnaPorDmightconsistofasinglechordor

two,whereasinthefinalcadencethesecanfillanentiremeasure.Thisis

especiallytrueoftheD,whichisoccasionallyexpandedwithlongernotevalues

todrawoutandintensifythefinalclosure.18

InFigure3.8therisingtonic(enclosedinasquare)isfollowedbyVandI

chordsthatservetoprolongorextendtherisingtonicharmony.The3 4 5 1bass

lineissuperficiallyinterruptedbythesetwochords,buttheunderlyingrising

tonicfunctionstillcarriesthroughtothepredominant.Inaddition,thephrase

drawsoutthedominantusinglongernotevaluesaswellasthecadential6/4.

16Caplin(1998,27)callsthisaninitialtonicandstatesthatitusuallyoccursinfirstinversion.Thetermrisingtonicisusedheretorefertocasesthatalwaysoccurinfirstinversion,anditspecificallydescribesthebassmotionthatrisesstepwisetothedominantbeforeresolvingtotonic.17Notethatthepre-dominant4maybeimpliedratherthanliterallypresentinthebass,asisthecase,forexample,witharootpositioniichordinsteadofthemoretypicalii6(seehymns46,113).Notealsothatatanypointthe3 4 5 1basslinemaybedisplacedanoctaveupordownwithoutbreakingtheeffectivecontinuityoftheline.18See,forexample,hymns9,22,38,59,113,128,andlastly325,whichextendsthefinalversewithacodathatbynaturedrawsoutandintensifiesthefinalclosure,andthatalsohasexpandednotevaluesinthefinalcadence.

48

Figure3.8:Hymn296

TwoSmall-ScaleHymnExamples

Theaabaform(seeninFigure3.9)isthesimplestvarietyofthesmall-

scalehymns,involvingthreeoutoffouridenticalphrasesandconsiderable

repetition.Inspiteofitssimplicity,theexamplebelowdoescontainallthe

characteristicsofthesmall-scalemodel.Itopenswithaperiodicinitial

statementconsistingofthetwoidenticalphrases,eachclosingwithaperfect

authenticcadence(althoughthePACinbothcasesisrelativelyweakbecause

thereisn’taclearpredominantchord).Thethirdphrasehasacontrasting

middlethat,curiously,istonicprolongationalratherthandominant,19and

exhibitsatleastthreedevelopmentaldevices(seethissamehymninFigure3.4

abovefordetailsaboutthedevelopmentalcharacterofthethirdphrase).The19Thephraseendswithwhatsomemightcallaplagalcadence,thoughinthiscasethephrasehasnocadentialcharacter,andisbetterlabeledwithanon-cadentialphraseending.ThephraseinsteadconsistsoftwoI–IV–Ineighborfigures,makingitentirelytonicprolongational.

F: I6 (V I) IV V 6r 5e 7 IBass: 3 4 5 1

T P D TPAC

&

?

b

b

44

44

œ1. Our2. As3. May

œ

œœ

⌜Worshipfully q = 80–96

œœ œ œ œœFa

thouthy

ther,thy

strong

byChildSpir

whosedidst

it

œ œ

œœ œœ œœ œœ

..�� œname

fillbind

allwithour

œ

..�� œœ

œœ œœ œœ œœfa

wishearts

therdom,

in

hoodlove,

u

isandniœœ œœ œœ œœ

.�known,might,

ty,

.�

..��- - -

-- - -

&

?

b

b

œWhoToAnd

œ

œœ

œœ œ œ œœdost

knowhelp

inandus

lovedo

each

prothyto

œ œ

œœ œœ œœ œœ

..�� œclaimwillfind

eachandthe

œ

..�� œœ

⌝ œœ œœ œœ œœfam

teachlove

ithy

from

lywaysself

thinea

setœœ œœ œœ œœ

.�own,right,free.

.�

..��- - -

-

&

?

b

b

œœBlessOurInœœ

œœ œœ œœ œœthouchilall

alldrenour

parbless,

hearts

ents,in

such

œ œ œœ œœœ œ

�� guard

evlove

ing’ryin

��

..�� œœwell,place,crease,

WithThatThat

..�� œœ

œœ œœ œœ œœcontheyev

stantmay’ry

loveall

home,

asbeby

œœ œœ œœ œœ

- - -- - -

- -

&

?

b

b

œœ œœ œœ œœsenholdthis

tithyre

nel,face,lease,

TheAnd,Mayœœ œœ œœ œœ

œœ œœ œœ œœhomesknow

be

iningthe

whichthee,dwell

thymaying

œœ œœ œ œœœ

⌜ �� peo

growplace

pleinof

œ œ

��

..��dwell.grace.peace.

..��

⌝

- - --

- -

Our Father, by Whose Name

Text: F. Bland Tucker, 1895–1984, alt.Music: John David Edwards, 1806–1885From The Hymnal, 1982. Text © The Church Pension Fund. Used by permission. International copyright secured. Making copies without written permission of the copyright owner is prohibited.

3 Nephi 18:21Alma 7:27

296

&

?

b

b

44

44

œ1. Our2. As3. May

œ

œœ

⌜Worshipfully q = 80–96

œœ œ œ œœFa

thouthy

ther,thy

strong

byChildSpir

whosedidst

it

œ œ

œœ œœ œœ œœ

..�� œname

fillbind

allwithour

œ

..�� œœ

œœ œœ œœ œœfa

wishearts

therdom,

in

hoodlove,

u

isandniœœ œœ œœ œœ

.�known,might,

ty,

.�

..��- - -

-- - -

&

?

b

b

œWhoToAnd

œ

œœ

œœ œ œ œœdost

knowhelp

inandus

lovedo

each

prothyto

œ œ

œœ œœ œœ œœ

..�� œclaimwillfind

eachandthe

œ

..�� œœ

⌝ œœ œœ œœ œœfam

teachlove

ithy

from

lywaysself

thinea

setœœ œœ œœ œœ

.�own,right,free.

.�

..��- - -

-

&

?

b

b

œœBlessOurInœœ

œœ œœ œœ œœthouchilall

alldrenour

parbless,

hearts

ents,in

such

œ œ œœ œœœ œ

�� guard

evlove

ing’ryin

��

..�� œœwell,place,crease,

WithThatThat

..�� œœ

œœ œœ œœ œœcontheyev

stantmay’ry

loveall

home,

asbeby

œœ œœ œœ œœ

- - -- - -

- -

&

?

b

b

œœ œœ œœ œœsenholdthis

tithyre

nel,face,lease,

TheAnd,Mayœœ œœ œœ œœ

œœ œœ œœ œœhomesknow

be

iningthe

whichthee,dwell

thymaying

œœ œœ œ œœœ

⌜ �� peo

growplace

pleinof

œ œ

��

..��dwell.grace.peace.

..��

⌝

- - --

- -

Our Father, by Whose Name

Text: F. Bland Tucker, 1895–1984, alt.Music: John David Edwards, 1806–1885From The Hymnal, 1982. Text © The Church Pension Fund. Used by permission. International copyright secured. Making copies without written permission of the copyright owner is prohibited.


296

49

fourthphraseisthecadential/closingphrasecontainingthefinal(still

admittedlyweak)PAC.20

Figure3.9:Hymn163

20Giventhattherepetitivenatureofthisformmayleavealistenerhungeringforvariety,itisworthrecognizingthattherearehymnsusingthisformthat,withvaryingdegreesofsuccess,compensateforthephrasalrepetitionandcreatemusicalinterestwithharmonicmotionthatismoredenseorinvolved,orwithmelodicorrhythmicideasthatcangiveahymnsomeadditionaldynamiccharacter.Forexamples,seehymns15,48,58,and101.

N-C

50

Beginningasmall-scalehymnwithanexpositoryperiodimmediately

opensupoptionsforamorecompletemusicaljourneyoverthecourseofthe

hymn.Inastrictaabahymneachofthethreeaphrasesendswiththesame

cadence.Thisrepetitionlimitsahymn’scapacitytocreatetensionandthe

anticipationofareturn,andtograntthecorrespondingcatharsisofthatreturn.

Bycontrasttheexpositoryperiodofanaa’ba’hymnallowsforthehierarchyof

cadencesthatcangivethefinalphraseagreatersenseofcompletionorfinality.

Theexpositoryperiodinhymn41(Figure3.10)hasthatsenseofpresentingan

ideaandthencompletingit,andwhentheconsequentphraseoftheperiodis

thenrecapitulatedasthefinalphraseitgivestheentirehymnagreatersenseof

completionaswell.Thethirdphrasequalifiesasacontrastingmiddle,

containingatleastthreedevelopmentalcharacteristics:achangeintessitura

withthemelodysittingatahighergeneralpitchrange;achangeoftextureasthe

phraseforgoestheunisonbeginningoftheotherphrasesinfavorofathree-and

four-parttexture;andafocusonorprolongationofnon-tonicharmonywithtwo

shortmusicalideasbothmovingtoandclosingondominant.

51

Figure3.10:Hymn41

52

Small-ScaleSub-Type:aabc

Thereisasubtypeofthesmall-scalemodelthatpresentsalternate

perspectivesonthejourneyallegorypresentedatthebeginningofthechapter.

Theperspectiveaboveisthatthetravelerischangedbythejourneyevenwhen

hereturnshome–thatis,amelodymaybeidenticalattheendasitwasinthe

beginning,andyettheeffectthemelodyhasonthelistenerattheendisdifferent

thanitisatthebeginningbecauseofthejourney.Asecondperspectivesuggests

thatuponreturninghomethetravelerfindsthathomehaschanged,thatthe

experienceandsubstanceofhomeisnolongerthesameasitwasbeforethe

journey.Inmanycasesitwillstillbesomewhatmusicallyrecognizableashome,

asisthecasewhenmostofthefinalphraseisdifferentfromthebeginningofthe

hymn,butitstillcontainsoneormoreclearlyrecognizablemusicallandmarks

fromoneorbothoftheaphrases.Theselandmarksmaycomeinseveraltypes,

includingborrowedmelodicfragmentsandrhythmicmotives.Afinal

perspectiveonthemusicaljourneyisthatsomejourneysdonotreturnthe

travelerhome,buttoanentirelynewdestination.Insomehymnstheclosing

phrasebearsnosignificantresemblancetotheopeningphrases,butusesnew

melodic/harmonicmaterialtoreturnsthelistenerhometotheoriginalkeyand

bringthepiecetoasatisfyingclose.

Thesetwoadditionalperspectives,thehome-has-changedperspective

andthenewdestinationperspective,arefoundinthesmall-scalesub-typeaabc

(anditsvariantaa’bc).Evenincaseswherethefinalphraseisfundamentally

differentfromtheopeningphrases,mostaabcsmall-scalehymnswillrecallthe

53

openingphrasematerialinsomeway.Themoststraightforwardexampleswill

repriseameasureortwodirectlyfromoneofthefirsttwophrasesinthefinal

phrase.21Otherexampleswillborrowamelodic/harmonicfragmentfromthe

earlierphrases,i.e.,apassageofafewnotesorchordswherethemelodyand

harmonyaresimilarbutnotidenticaltothatoftheoriginalphrase.22Stillother

aabchymnsareunifiedstylisticallyacrossallfourphrases,butearlyphrasesdo

notnecessarilysharemelodic/harmoniccomponentswithlaterphrases.In

thesecasestheentirehymnwillbecharacterizedbycommonrhythmicmotives

orideasorbyotherstylisticelements(textural,metrical).23

Hymn172(Figure3.11)isanaabchymn.Thefirstphraseendswitha

cadencethatincludesamelodicdescentfrom5to1overaI–V–I–V–I

harmonythatcorrespondstoanexpandediterationofthatsame

melodic/harmonicpassageinthefinalphrase(markedwithbrackets).Thefinal

phraseismoreaccuratelylabeledcthana’,andyettheborrowed

melodic/harmonicfragmentclearlyharkensbacktomaterialfromthefirst

phraseenoughtosuggestareturnhome.

21Examplesincludehymns30,97,and99.22Examplesincludehymns26,38,147,172,211,296,and338.23Examplesincludehymns131,139,156,197,225,and257.

54

Figure3.11:Hymn172

Incontrast,thereareseveralhymnsthatseemtohavetheaabcphrase

structure(openingwithanexpositoryperiodorperiodicinitialstatement)that

aremorebipartiteincharacterthansmall-scale.24Thebipartitenatureofthese

hymnsbeginstoblurthelinesbetweenthesmall-scalemodelandtheverse-

chorusmodelthatwillbedescribedinthefollowingchapter.

24Examplesincludehymns11,25,40,55,and274.

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pres kenence;

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In Humility, Our Savior

Text: Mabel Jones Gabbott, 1910–2004. © 1948 IRIMusic: Rowland H. Prichard, 1811–1887

2 Nephi 2:7Doctrine and Covenants 59:9

172

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shine...

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In Humility, Our Savior

Text: Mabel Jones Gabbott, 1910–2004. © 1948 IRIMusic: Rowland H. Prichard, 1811–1887

2 Nephi 2:7Doctrine and Covenants 59:9

172

5 4 3 2 1

5 4 3 2 … … 2 1

F: I6 V 4e I V7 I

I6 V 4e I V … … V7 I

Phra

se 1

Phra

se 4

55

STANDARDHARMONICSTRUCTURE

Oneattributethatmakeshymnsaninterestingsubjectofanalysisisthe

capacitytocreate,inanextremelycompactspace,musicthatisstructurally

sound,complete,andharmonicallyandmelodicallysatisfying.Indeed,inthe

harmonicstructureofhymnsitispossibletofindharmonicconceptsand

elementsthatarespecificallycharacteristicofthegreatworksoftheClassical

era,suchassonataform.

Intheshortspanofsixteenmeasure,ahymncanestablishthetonic,

transitiontothedominant,introduceharmonicinstabilityanddominant

prolongation,andreturntocloseinthehomekey.Hymnsthatexhibitthesefour

functionscanbesaidtofollowthestandardharmonicstructure.

Thestandardharmonicstructureisnotahymnmodelcomparabletothe

small-scaleortheothermodels.Eachofthefourhymnmodelsischaracterized

inlargepartbythephrasestructureofthemusic.Incontrast,thestandard

harmonicstructureischaracterizedbytheunderlyingharmonicfunctionand

motionofthephrases.Consequently,thereisoftensomeoverlapamongthe

hymnsbetweenthestandardharmonicstructureandthehymnmodels.The

small-scalemodel,forexample,willfrequentlyexhibittheunderlyingharmonic

functionandmotionofthestandardharmonicstructure.

Thediscussionthatfollowswilluseterms,devices,andexamplesthatwill

besimilartothoseinthesmall-scalemodel.Itshouldbenotedthatwhilethe

small-scalemodelandthestandardharmonicstructureoftenoccurinthesame

hymnusingsimilarphrasestructuresandharmonicfunctionscorrespondingto

56

eachofthephrases,thesmall-scalemodelandthestandardharmonicstructure

aredistinctive.Thereareroughly30small-scalestandardharmonichymnsin

thehymnal,butthemodelandtheharmonicstructurearebothfoundmore

frequentlyindependentlyofeachotherthantheyarefoundtogether.1

Manystandardharmonichymnshavetheirfourphraseslaidoutinfour

musiclinesonapage.Thesefourphrasesoftencorrespondtothefourharmonic

functionsasfollows.

1. Tonicprolongational

2. Transitional:motiontothedominant,usuallyemphasizedwithV/V

cadencingonaV:PAC

3. Developmentaland/ordominantprolongational

4. Cadentialclosing,finalPDTandPAC

Hymn216illustratesthesefourfunctionsinitsfourcorresponding

phrases,whichwillbeexaminedonephraseatatimeinthediscussionsbelow.

Thishymnisalsoanexampleofthesmall-scalemodel,asitalsoillustratesthe

overlapthatispossiblebetweenthesmall-scalemodelandthestandard

harmonicstructure.

Phrase1,TonicProlongation(Expositional)

Muchliketheopeningportionofaclassicalsonataform,thefunctionof

thefirstphraseistoestablishandconfirmthekey.Inthehymnsthisusually

consistsofatonicprolongationusingtheprolongationalconceptslistedatthe

1Discussingthestandardharmonicstructureatthispointinthestudyinterruptsthepresentationofthefourhymnmodels,andyetitalsolaysessentialgroundworkforthediscussionofeachmodelthatfollows.

57

beginningofthischapter:pedal,passing,andneighborchords,substitute

chords,andacadentialconfirmationbyeitheranauthenticcadenceorahalf

cadence.2Additionally,thephrasemayarpeggiateatonicchordforameasure,3

simplyrepeatthetonicchord,4utilizeneighbortonesorpassingtonestoprolong

tonic,5orusethebookendingtechnique,inwhichthefinaltonicchordhasthe

samevoicingastheopeningchord,emphasizingtheprolongation.6Inessence,

theentirephrasewillservetoestablishthekeyofthepiecebyintroducing,

emphasizing,andconfirming–prolonging–tonic.

Thisfirstphrasecanbelooselydescribedasbeingexpositional,though

notquiteinthetraditionalsenseofclassicalforms.Rather,itestablishes(or

exposes)andconfirmsthekeyandthetonic,introducingthelistenertothe

harmonicpointoforiginfromwhichthehymnwilldepart,andtowhichitwill

return.

Thefirstphraseofhymn216(Figure3.12)consistsalmostentirelyof

tonic.Itprolongstonicacrossthepassingtonesinthepickupmeasure,thepedal

chordinthefirstmeasure,andthecadentialprogressioninthelasttwo

measures.Thepassagefeaturestwoexamplesofbookendingmarkedbythe

2Itisworthreiteratingherethatalthoughahalfcadenceendsonadominantchordratherthanthetonic,itisstillaneffectivemeansofconfirmingthetonic.Thehalfcadenceisgenerallyfeltasanauthenticcadenceleftincomplete.TheeffectivenessoftheHCrestsonthefactthatitleavesthelistenerexpectingthefinalresolutiontothetonic(ratherthantothedominantoranotheralternatekey),andthusitcanbesaidtoconfirmthetonickeythroughexpectationandanticipationratherthanbyresolution.Caplinagrees,statingthatahalfcadencecanpartiallyconfirmthehomekey(196).3Seehymns40,66,71,146,and186.4Seehymns133,141,153,and191.5Seehymns21,103,216,and225.6Seehymns4,54,59,61,and78.

58

bracketsabove,andcadenceswithanimperfectauthenticcadence.7Thestrong

tonicpresenceandcleartonicprolongationfirmlyestablishthekeyofthepiece

andlaythegroundworkfortherestofthehymn.

Figure3.12:Hymn216,Phrase1

Phrase2,MotiontotheDominant(Transitional)

Phrase2istypicallyatransitionalphrasethatservestomovetheoverall

harmonytothedominant.MostcommonlyitwillendinaV:PAC,butevenin

caseswherethecadencedoesn’tcontainthefullV:P,D,andTinrootposition,

theresultinghalfcadencewilltypicallybetonicized.Tonicizingthedominant

emphasizesandreinforcesthetransitionalfunctionofthephrase.(Atonicized

halfcadenceusestheabbreviationHCt.)89

7ThisIACattheendofthisphraseisdebatable.Thereisnopredominantchord,andwhatappearsasthecadentialprogressioncouldbeare-statementofaprolongedtonicmorethanacadentialconfirmation.8Whilethedominantharmonyisbyfarthemosttypicalcontrastingharmony,theharmonicjourneyofthestandardharmonicstructurecanbefulfilledaswellbyatransitiontoandprolongationofothernon-tonicharmonies.Forexample,thesecondphraseofhymn310

59

Phrase2inthiscase(Figure3.13)istheconsequentphraseofa

modulatingexpositoryperiod.Itbeginsinthetonic,thenmodulatestoand

cadencesfirmlyinthedominant.Thelastbeatofmeasure2canbeconsidered

thepivotchordinthemodulationtothedominant,indicatingthetransition.

Figure3.13representsthecadentialphraseinthedominantkey,andtheP,D,

andToftheparentheticalV:PACasasecondarykeyarea.10


cadencesiniiiwithafullPAC,andhymn190cadencesiniiiwithanIAC,thoughitdoesn’tstayiniiiforthethirdphrase.Seealsohymn151.9Onemightaskwhetherminorhymnsalsomovetothedominant.Forthisstudythequestionismoot,astheLDShymnalhasonlyfourhymnsinminorkeys(126,162,198,and215),andonemodalhymn(284).Noneofthefiveexhibitsignificantstandardharmoniccharacteristics.Hymn154beginsinminor,butimmediatelymodulatestotherelativemajor,whereitthentransitionstothedominantandeventuallycloses.Itexhibitsmoststandardharmoniccharacteristics,butoffersnoinsighttotheiruseinaminorkey.10AcadenceconsistingofaP,D,andTwithoutaninitialtonicisoftenreferredtoasanauxiliarycadence.Thisoccursfrequentlywhenapassagemodulatesandcadencesinanewkey(Burstein2005).

60

Phrase3,ContrastingProlongation(DevelopmentalPhrase)

Thethirdphraseofthestandardharmonicstructureiscomparablein

manywaystothethirdphraseofthesmall-scalemodel,andagainthereare

severalhymnsinwhichbothoverlap.11Inbothcasesthethirdphrasecanbe

describedascontrastinganddevelopmental,andbothwilloftenevidencemany

ofthesamedevelopmentaldevices.Thedifferencebetweenthetwoisdifficult

toquantify,andmanycharacteristicsofeithercouldbeusedtosupportboth.

Thestandardharmonicstructure,asthenamesuggests,isprimarilya

categorizationofharmonicmotionandharmonicdevices.Itisbuiltonthe

premiseofestablishingahomekey(exposition),movingawayfromhome

(transition),playingforawhileawayfromhome(developmental,harmonic

wandering),andfinallyreturninghome(recapitulation).Thissuggeststhatthe

thirdphrase,whileitwilllikelyevidenceotherdevelopmentaldevices,will

concernitselfmostimportantlywithexploring,establishing,orreinforcingnon-

tonicharmonies,orinsomecasesnon-conclusivetonicresolutions.Most

commonlythedominantharmonywillbethefocusandthefinalgoalofthis

phrase.Caplinwrites,inreferencetothecontrastingmiddleofasmallternary

form:

Whereastheexpositionemphasizestonicharmony(…),thecontrastingmiddleemphasizesdominantharmony.Theharmonicgoalofthesectionis,withrareexceptions,thedominantofthehomekey,andthisharmonyisfrequentlyfoundattheverybeginningofthesectionaswell.ThephrasestructureoftheBsection[thedevelopmentalpassage]islooserandusuallylessconventionalinitsthematicdesignthantheprecedingAsection[expositionalpassage]is.(71)

11Mysurveyfoundatleast20small-scalestandardharmonichymns.Usefulexamplesincludehymns11,21,55,283.

61

Likeaclassicaldevelopmentalpassage,thisthirdphrasewilltypically

moveto,closewith,andthusemphasizethedominant.12

Incaseswherethethirdphraseismoredevelopmentalandcontains

moreharmonicwanderingthandominantprolongation,suchdigressionsmaybe

foundinacircle-of-fifthsprogression,13inothersequences,14orinrelative

harmonicinstability.15Whereascontrastingmelodicorrhythmiccharacteristics

arecentraltothesmall-scalemodel,inthestandardharmonicstructuretheyare

secondarytotheharmoniccontrast.

Thedominant(contrasting)prolongationservestodelaytheresolutionto

thetonic.Thisintensifiestheneedforthatresolutionandmakestheresolution

muchmoresatisfyingwhenitfinallyarrivesattheend.Wherethetransitional

phraseoftenbrieflymodulatestothedominantkey(tonicizingthedominant),

thedevelopmentalphraseoftenemphasizesdominantharmonyinthetonickey

(withouttheraised4tonicizingthedominant).Thisfurtherdrivesthe

anticipationofultimateharmonicclosureinthetonic.16

Whilethethirdphraseoftheexamplehymn(Figure3.14)spendsmoreor

lessthesameamountoftimeindominantandtonicharmonies,itmanifeststhe

dominantprolongationanddevelopmentalharmoniccharacterinafewkey

ways.First,wherethealtoandbassfollowatonicpedalthroughmostofeachof

12Someexamplesofcleardominantprolongationacrossthethirdphraseincludehymns39,187,209,and216.13Seehymns54and183.14Seehymns66,94,178,and186.15Seehymns54,55,78,183,and187.16Thedevelopmentsectioninsonataformisalsocharacterizedbyadominantemphasisinthetonickey,asopposedtoamodulationtothedominant.Thisoftentakestheformofstandingonthedominant,inanticipationoftherecapitulationintonic.

62

theotherthreephrases,inthethirdphrasethesopranoandtenorholda

dominantpedalthroughout.Second,thisphraseconsistsalmostentirelyof

invertedchords,showingthedevelopmentalcharacterandharmonicinstability

ofadevelopmentalpassage.Third,thephrasebeginswith,movesto,and

cadencesondominantharmony,makingdominantthestructuralendpoint.


Onasidenote,thisphraseisalsothecontrastingmiddlephraseofa

small-scalehymn,anditcontainsahandfulofthedevelopmentaldeviceslisted

aboveinthesmall-scaledescription.Noticethechangeintextureevidentasthe

altoandbasstakethemelodyleavingthesopranoandtenortoapedaltone.

Herethesopranoshowsachangeofmelodiccontourandahighertessitura.

Noticealsotheharmonicinstabilityintroducedbythemelodicbass,andthe

dominantprolongation.

63

Phrase4,CadentialClosing

Thisisthecadentialphrasethatclosesthehymn,leavingthelistener

harmonicallysatisfied.Likethefinalphraseofthesmall-scalemodel(orof

almostanyhymn),itresolvesincompleteideasheardthroughoutthehymn.

Inthecaseofthestandardharmonicstructure,thefinalphraseresolves

anyunresolvedstructuralharmonybyconfirmingthetonicwiththestrongest

authenticcadenceofthehymn.Itclosesthecadentialpredominant,dominant,

andtonicwithaPAC.ThePACarrives,attendedbymorevariationthaninthe

otherthreephrases.CommonclosingdevicesincludeaV/IVtopreparethepre-

dominant,andtherisingtonicthatpreparestheearforthedrivetoP(IVorii6),

D,andTusingthe3 4 5 1bassline.

Thefourthphraseofhymn216(Figure3.15)containsthefinalT,P,D,

andTofthehymnaswellasitsstrongestauthenticcadence.Itbringstoaclose

theharmonicstructureofthehymnaswellasmusicalideasintroducedinthe

otherthreephrases.17

17Otherusefulexamplesofthesmall-scale,standardharmonichymnsinclude21,26,39,114,156,225,263,283,289,and311.Usefulexamplesofstandardharmonichymnsthatdonotfitthesmall-scalemodelinclude5,36,54,66,78,113,132,183,187,190,202,and288.

64


CaseStudy:astandardharmonicnon-small-scalehymn

Hymn113(Figure3.16)isaninterestingexampleofthestandard

harmonicstructure.Itfeaturesthefourharmonicfunctionsinahymnthatis

harmonicallyrichandlesstraditional.Italsofeaturesadevelopmentalphrase

characterizedbyharmonicwanderingratherthandominantprolongation.

Thefirstphraseprolongsthetonicharmonybytheuseofbookending

(thefirstandlasttonicchordsareidentical–seethebracketabovethefirst

phrase),andbytheauthenticcadentialprogression(ii–V–Iinmeasures3–4).18

TheIVM7inm.2mightlooselybeconsideredaneighborchordconnectingthe

tonicatthebeginningwiththetonicattheend,thoughthatargumentis

weakenedsomewhatbytheinterruptionofthecadentialprogression.Itmight

18Again,thisIACisrelativelyweakandarguablynon-cadential,thoughtheii–V6–Iprogressiondoesofferasenseofcadentialconfirmationoftonicevenwiththeinverteddominantandthemelodicpassingtonescloudingthetonicarrival(m.4).

65

alsobeconsideredasubstitutechordtotheiithatfollowsit.Ineithercase,it

givesvarietytoaphrasethatotherwiseservesasatonicprolongation.

Thesecondphrasecanbeanalyzedasacircle-of-fifthsauthenticcadential

progressioninthedominantkey.Itincludesapredominant,dominant,andtonic

chord;acadential6/4andadominant7th;andaperfectauthenticcadence.Itis

nearlyasstrongatransitionalphraseascanbefoundamongthehymns.

Whilethethirdphrasedoesnotprolongdominant,itisagoodexampleof

theharmonicwanderingthatisalsoassociatedwiththedevelopmentalphrase

ofthestandardharmonicstructure.TheV2inthefirstmeasureintroduces

harmonicinstability,butthelasthalfofthephrasecontainsthemorewandering

characterofthephrase:ii7–2–IV6–V6–vi–iii6.Itisperhapsasfarfroma

cadentialresolutiontothetonicascanbefoundinmusicastraditionaland

compactasthehymns.

Theharmonicwanderingofthethirdphraseleadstoanon-cadential

phraseending,closingoniii,thatisbothharmonicallyunstableandwantingof

resolution.Thefunctionofthefinalphraseistobringresolution.Itdoessoby

usingdeceptiveandplagalmotionandastepwisebasslinetoreturntoastill-

inconclusivetonicharmony(I6)beforeanextendedfinalcadentialphrasegives

theP,D,andToftheconclusivePAC.

66

Figure3.16:Hymn113

N-C

67

VariantsandExceptions

Whilethestandardharmonicstructureisausefulcategorization,the

hymnal’svarietywouldsuggestthatitalsomustbeflexible.Whilemanyhymns

exhibitmostfundamentaltraitsofthatform,manymorelackoneortwo,calling

intoquestiontheirbelongingtothestandardharmonicstructure.Perhapsthe

importantquestionisnotwhethertheyfollowthestructure,butthedegreeto

whichtheyfollowthestructure.Thehymnsthatdeviatefromthetemplateoften

yieldinsightintotheformaswellasintotheharmonicnatureofhymnsin

general.

Thepossibledeviationsaremanyandvaried.Inmanyhymnsthe

expositional,transitional,andclosing/cadentialfunctionsareeasilyidentified,

butambiguitiesariseinthedevelopmentalornon-tonicprolongational

passage.19Occasionallywehearthefourharmonicfunctions,lackingonlyclear

cadences.20Inotherhymnsthephrasesdonotlineupwiththefunctions,i.e.,the

firstphrasemaycontainboththetonicprolongationandthebeginningofthe

transitionalpassage,21orthedevelopmentalphrasemayelidewiththefinal

phrase,yieldingnocleardelineationbetweendevelopmentand

cadential/closing.22Sometransitionalordevelopmentalhymnphrases

emphasizemoredistantkeyareasratherthandominant.23Andsomehymns

featurethefourfunctionsofthestandardharmonicstructureinminiature—an

19Seehymns16,17,93,98,122,150,191,227,and301.20Seehymns53,63,and149.21Seehymn298.22Seehymns66and222.23Seehymns71,151,and190.

68

eight-measurehymn.Thefollowingsectionwilldiscussthesebrieflyin

connectionwiththetwo-phrasemodel,andchapter5willexamineother

deviationsfurther.

69

TWO-PHRASEMODEL

Atfirstglancethetwo-phrasemodelmayappeartobethesimplestand

leastinterestinghymnmodel.Butcarefulscrutinydemonstratesnoteworthy

patternsandoverlapwiththeothermodels.

Asthenamesuggests,thetwo-phrasemodelconsistsoftwophrases,

generallyoffourmeasureseach.Theseeightmeasuresofferbutlittletimeto

createacompletemusicalexperience.Someoftheinterestofthismodelisa

resultofthemeansbywhichacomposercreatesthatcompletemusical

experienceinsoshortaspace.

Theharmonicstructureofthemodeliscomparabletothebaroquebinary

form,consistingoftwohalves,wherethefirstcadencesonthedominant,andthe

secondresolvestotonic.Thefirstphraseofthetwo-phrasemodelwill

introducethetonic,andmovetoandcadenceonthedominant,oftenwitha

V:PAC(or,lessfrequently,anHCorHCt).24Thesecondphrasewillreturntoa

closingcadenceinthetonic(PAC).Hymn277(Figure3.17)demonstratesthis

binarystructure.25

24Itiscuriousthatinasurprisingnumberofbasictwo-phrasehymnsthemelodyofthefirstphraseendson2.ThismaysuggestaSchenkerianthree-linedescentwithinterruptionasacommonoccurrenceinthetwo-phrasemodel.Thenumberofhymnsclosingthefirstphaseon2dropsdrasticallyamongtwo-phrasesententialhymns(discussedlater)andamongtwo-phrasestandardharmonichymns.InthelattercasethisdropmaybebecausestandardharmonichymnsmuchmorefrequentlyclosethefirstphrasewithaV:PAC,puttingthesopranovoiceon5.25Itshouldberecognizedthatthesmall-scalemodelistypicallybuiltonacontrastingperiod.Mosttwo-phrasehymnsqualifyascontrastingperiods,butthemodeldescribesadditionalcharacteristicsthatarespecifictotwo-phrasehymns.

70

Figure3.17:Hymn277

Hereagainwealsoseetheechoesofthestandardharmonicstructure,but

onamicrocosmicscale.Becausetheshortspacelimitsextensiveprolongation,

tonicisestablishedandprolongedusuallyinthespaceofasinglemeasureor

handfulofchordsbeforebeginningthetransition,whichculminatesinanHC,

HCt,oraV:PAC.Thetonicprolongationinhymn277isobscuredsomewhatin

thefirstmeasurebythewalkingbasslineandinvertedchords,butitculminates

withtheroot-positiontoniconthedownbeatofmeasure3followingaii–V–I

progression.Indeed,thetransitionfollowsimmediatelyinmeasure3,tonicizing

& bb 44 œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ n œœ œœ ˙̇1. As I search the ho - ly scrip-tures, Lov - ing Fa - ther of man-kind,2. As I search the ho - ly scrip-tures, Touch my spir - it, Lord, I pray.3. As I search the ho - ly scrip-tures, May thy mer - cy be re-vealed.4. As I search the ho - ly scrip-tures, Help me pon-der and o - bey.

? bb 44 œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ n œœ ˙œ œ œ b œ

[Prayerfully q = 66-88

& bb œœ n œœ œœ œœ # œœ œœ n œœ œœ œ œœ œœ œœ œœ œœ ˙̇œMay my heart be blessed with wis-dom, And may knowl-edge fill my mind.May life’s mys-t’ries be un - fold - ed As I stud - y day by day.Soothe my trou- bled heart and spir - it; May my un - seen wounds be healed.In thy word is life e - ter - nal; May thy light show me the way.

?bb œœ b œœ œœ œœ n œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ˙̇

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As I Search the Holy Scriptures

Text and music: C. Marianne Johnson Fisher, b. 1932. © 1985 IRI

2 Timothy 3:14–17Romans 15:4

277

& bb 44 œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ n œœ œœ ˙̇1. As I search the ho - ly scrip-tures, Lov - ing Fa - ther of man-kind,2. As I search the ho - ly scrip-tures, Touch my spir - it, Lord, I pray.3. As I search the ho - ly scrip-tures, May thy mer - cy be re-vealed.4. As I search the ho - ly scrip-tures, Help me pon-der and o - bey.

? bb 44 œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ n œœ ˙œ œ œ b œ

[Prayerfully q = 66-88

& bb œœ n œœ œœ œœ # œœ œœ n œœ œœ œ œœ œœ œœ œœ œœ ˙̇œMay my heart be blessed with wis-dom, And may knowl-edge fill my mind.May life’s mys-t’ries be un - fold - ed As I stud - y day by day.Soothe my trou- bled heart and spir - it; May my un - seen wounds be healed.In thy word is life e - ter - nal; May thy light show me the way.

?bb œœ b œœ œœ œœ n œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ˙̇

]

As I Search the Holy Scriptures

Text and music: C. Marianne Johnson Fisher, b. 1932. © 1985 IRI

2 Timothy 3:14–17Romans 15:4

277

Bb: I IM2 vi IM 4e IV I6 ii7 V 6t I V6 V:(ii 6 V 6t I) Rt

Bb: I6 (viio6t ) ii6 – cto 6t 6 I 6r – vi I 6r IV I6 ii7 V7 I

HCt

PAC P D T

71

andcadencingonthedominant.Themodulation,however,isquicklycanceled

byaretransitioninthebassline.

Thesecondphraseisoftencharacterizedinitiallybytheinstabilityand

denseharmonicmotionthatindicatesdevelopmentalcharacter.Measures5and

6ofhymn277arehighlychromatic,consistentirelyofinvertedchords,anduse

dissonantunstableharmoniesthatarefurtherstretchedbyappoggiaturas.The

phrasecloseswithareturntothetonicpunctuatedbyaPAC.26

Thecompressednatureoftwo-phrasehymnsrequiressomecreativity

andinventivenesstomaintainmusicalinterest.Forthisreasontheytendtobe

characterizedbyharmonicmotionthatismoredensethaninotherhymns,often

withaconstantlymovingbasslineandchordchangesonnearlyeverybeat.27

Hymn277hasabasslinethatseldomrests,andnotwoadjacentchordsare

identical.

Theshorterhymnlengthalsomeansthatthetonicmustbeestablishedin

amuchsmallermusicalspace,ofteninonlytwoorthreechords,ratherthan

prolonginganentiretonicphrase.Thoughatwo-measurebasicideawilloften

prolongtonicinthesamewaythatthefirstfour-measurephrasemayprolongit

inthestandardharmonicstructure.Inadditionthecadencestendtobeshorter,

withtheP,D,andTcomingoneafteranother,withfewembellishmentsand

otherintermediarymaterial.Forthesamereasons,thecadential6/4alsooccurs

26Noticethestandardharmonicelements:atonicbeginning(withatonicreaffirmationonthedownbeatofm.3),atransitiontothedominant(ii,V,Iinthedominant,thoughit’snotaV:PAC),harmonicwandering(viio7tonicizingvi,andthecommon-tonediminished7resolvingtoaninvertedtonic),andamovetotheclosingcadencewiththefinalP,D,andTofthehymn.27Somelongerhymnsalsosharethesecharacteristics(constantlymovingbasslineandchordchangesoneverybeat),buttheyappearmoreconsistentlyamongtwo-phrasehymns.

72

lessfrequentlyinthismodel,withthecadenceinmanycasesmovingstraightto

theV(7).Inhymn277theP,D,andTfallonthelastthreechords,respectively.

Thecompressedhymndoesnotspendvaluabletimeonacadential6/4.

Theincreasedharmonicinterestintheshortspaceofatwo-phrasehymn

oftennecessitatessimplifyingtherhythmicstructure,whichallowsthechordsto

beheardclearlyanduncluttered.Two-phrasehymnsin4/4consist

predominantlyofquarternotesexceptforthelengthenednotevaluesat

cadences,asseeninhymn277above.Inthismodel,dottedquarternotesand

eighthnotesoccurlessfrequentlythaninothermodels.Two-phrasehymnsin

3/4tendtoconsistofquarternotes,orthemorecommontripleliltingrhythmof

ahalf-notefollowedbyaquarternoteinmostmeasures.28

Hymn184(Figure3.18)isanothertextbookexampleoftwo-phrase

characteristics.Ithasabinaryphrasestructure,simplerhythms,dense

harmonicmotion,aconstantlymovingbassline,chordchangesonalmostevery

beat,andacondensedfinalcadence(P,D,andTonthefinalthreechords).It

establishestonicintheneighborfigureinthefirstthreebeats,andfurther

prolongstonicacrossmostofthefirsttwomeasures.Italsoshowstheother

standardharmonicfunctions(intwo-measuresegments):themoveto

dominant,increasedchromaticismandharmonicwandering(tonicizingviand

thenV—thearrowsindicatesecondaryfunction),andthedrivetothefinal

cadence.

28Seehymns57,63,180.

73

Figure3.18:Hymn184

Itisnotuncommontofindtwo-phrasehymnsinwhicheachphrasehas

eightmeasuresratherthanfour.Thistypicallyoccurswhenthehymnmeteris

not4/4:usuallybeingeither3/429or2/2.30Thismaybebecauseameasurein

4/4hastwostrongbeats,thedownbeatandthethirdbeat(whichissubsidiary

butstillprominent),whereasameasureof3/4onlyhasonestrongbeat.This

means4/4hasmoreharmonic/melodicfocalpoints,andmusicin4/4can

29Seehymns63,88,178,and180.30Seehymns53and79.

HC

PAC P D T

74

comfortablycontainmoreharmonicmotionpermeasurethanmusicin3/4,

whichrequiresdoublethemeasurestopresentthesamenumberofstrong

beats.Puttingharmonicmotiononeverybeatinanentire3/4hymnwould

likelyresultinthemusicfeelingbulkyandoverburdened.31Whatresultsis

oftenahymnwhereonerealmeasureistheequivalentoftwonotatedmeasures:

R=2N.32

Hymn57(Figure3.19)illustrateshowthetwo-phrasemodelworkswith

thismetricvariation.Itstillhasthebinaryharmonicandphrasestructure,

thoughinthiscasethephrasesare7measureslong.Mostofthehymncanbe

readinpairedmeasures(R=2N),althoughtheasymmetricphraselengthsmean

thatbothcadencesaresomewhatabrupt.Thehalfcadenceattheendofthefirst

phrasedoesnotreallycometoastop,andthepresenceofacadenceisindicated

primarilybytheharmonicarrivalandbythepoeticmeterofthetext.

Thishymnexhibitsthefunctionsofthestandardharmonicstructure.The

formintroducesbutdoesnotprolongthetonic;instead,thephrasehasbeguna

transitionbymeasure3thatfollowsacircle-of-fifthsprogressionaroundtothe

31Bywayoffurtherillustration:asimplemeasurein4/4containsfourchordswithtwostrongbeats,1and3,andtwoweakbeats,2and4,i.e.STRONG,weak,Strong,weakcorrespondingtobeats1,2,3,and4,respectively.Thismeansthateachmeasurecanhaveaprimaryharmonyfollowedbyasubsidiaryharmony,andthenanotherprimaryharmonyfollowedbyasubsidiaryharmony.Ameasureof3/4containsonlyonestrongchordandtwoweakchords,i.e.STRONG,weak,weak,whichoftentakestheformofSTRONG,hold,weak,wherethefirstnoteisahalfnote.Thismeansthateachmeasuregenerallyhasonlyoneprimaryharmonyandonesubsidiaryharmony,comparedtotwoofeachinameasureof4/4.Forthisreasonhymnsin3/4usuallyrequiredouble-lengthphrasestocontainthesameamountofharmonicmotionasaphrasein4/4.32Danceslikethewaltzandminuetillustratethisprinciplewell.Themusictendstobegroupedintopairsofmeasuresbecauseasbipedswelikeourfootpatternstohaveanevennumberofsteps,andthisrequiresapairingoftwo3/4measures.Indeed,abrisk3/4likeawaltzconductsmorecomfortablyasaduplepattern(suchas6/8)thanthevigorousarmwavingrequiredtoconductthefasttriple.

75

halfcadence.Phrasetwobeginswithasequence-likepassage(mm.8–11,

indicatedbybrackets)indicatingharmonicwandering(V–I,V/ii–ii),andthe

finalcadencedrawsoutthedominantharmonyandendswithapeculiar

harmonicarrivalthatmightlooselybecalledanauthenticcadence.33

Themetricchangeoftencausesadjustmentsbothtothesurfaceand

harmonicrhythms.Insteadofunbrokenquarternotes,thedefaultrhythmina

measureoftriplemeter(seeninthehymnbelow)isahalf-note/quarter-note

combination.Thisliltingpatternslowstheharmonicrhythmandresultsina

basslinewithlesswalkingmotion.Thechords(alongwiththebass)tendto

changetwiceeachmeasureratherthaneverybeat.Butinthecontextofthis

slowertriplerhythmthebasslineisstillinrelativelyconstantmotionandthe

harmonyisstillrelativelydense.34

33Thefinalcadence(markedwithanasteriskinFigure3.19)isamusicalanomalyamongthehymns.IthasbeenmarkedtentativelywithanAC–anauthenticcadence–thoughitsclassificationissomewhatpeculiar.Itisnotquiteanauthenticcadenceandnotquiteaplagalcadence.ThepenultimatechordmightbeanalyzedeitherasaV9(sus4)whosesuspensionfigureneverresolves,orasaIVoveraCbassnote,whichwouldcreateaplagalcadencewherethebassnotegaveitanelementofanauthenticfeel–atouchofauthenticity.34Additionaltwo-phrasehymnsinclude14,31,45,123,137,155,168,194,214,234,238,245,253,261,279,287,and293,thoughthislistallowsforsomevariation.Notallhymnslistedherehaveallofthecharacteristicsofthetwo-phrasemodel,butasabodytheybecomeusefulinseeingthecommonpatternsandtraitsthatjustifyoutliningamodel.

76

Figure3.19:Hymn57

Two-PhraseSentential(Variant)

Thetwo-phrasesententialvariantofthemodeliscommonenoughto

merititsownclassification.Ratherthantwophraseseachwithitsowncadence,

77

thisvariantbearssomeresemblancetoasentence.Aclassicalsentenceconsists

ofatwo-measurebasicmusicalidea(bi)thatisthenrepeated.Thebi’typically

involvesanexchangeofIandVchordsfromthetypicalbi.Thisisfollowedbya

four-measurecontinuationthatterminatesinacadence.

Thenametwo-phrasesententialisslightlymisleading,butappropriate

nonetheless.Hymnsfollowingthisstructurewillbeginwithatwo-measure

basicideathatcomestoashortrest,followedbyatwo-measureresponsethat

repeatstherhythmofthefirstwhilethemelodic/harmonicstructuregenerally

bearslittleresemblance.Thisresponsewillthencometoanotherrestthatwill

oftenbeclassifiedasahalfcadence.Itissignificantthatthecompactnatureof

hymnsallowsforcadencesorcadence-likeendingsinasententialstructure,

wheretheclassicalsentencehasonlythecadenceattheend.Thetwobasic

ideasarefollowedbyacontinuationcharacterizedprimarilybyunbroken

rhythmandcontinuousharmonicandmelodicmovementdrivingtothefinal

cadence.

Thelackofmelodicandharmonicrepetitionbetweenthepresentation

andresponsewouldmakeaclassicallisteneraskwhythestructuremightbe

labeledasentenceatall.Yetlisteningtoseveralofthesehymnsinsuccession

leavesalistenerwithaclearsenseofapattern:shortidea,rest,shortideawith

enoughsimilarcharacteristicstofeelderivedfromthefirst,rest,longermusical

drivetowardacadence.Thesehymnsarenotstrictlysententialintheclassical

sense,butpossessedofenoughsententialcharacteristicstofeelsentential.

78

Ashymn222(Figure3.20)illustrates,itiscommonforthetwo-measure

basicideatoprolongthetonic,endingwithanIAC.Thetwo-measureresponse

ofthebasicideawillthentypicallytransitiontothedominant,endingwiththe

HC,HCt,orV:PACthatclosesthefirsthalfofthetwo-phrasemodel.Thefour-

measurecontinuationoftencontainsboththedevelopmentalandcadential

elementsthatarefoundinthestandardharmonicstructure,whichmeansthat

oftentheentireeight-measurehymncanbesaidtofitthestandardharmonic

structureinminiature.

Thishymnfeaturesmostofthestandardtwo-phrasecharacteristics:the

short,eight-measurestructure;thewalkingbasslineanddense,constantly

movingharmony;thesimplifiedrhythm;andtheshortcadenceconsistingof

onlyfourchordsonfoursuccessivebeats.

Italsofeaturesarhythmic/phrasestructurethatiscomparabletoa

sentence:shortbasicmusicalidea,stop,relatedbasicmusicalidea,stop,longer

musicaldrivetowardthefinalcadence(thetwobasicideasareindicatedby

bracketsabove).However,thetwo-phrasehymnissuchashortpieceofmusic

thatthereisverylittlespaceforrepetition.Ifevenanopeningtwo-measure

basicideawererepeated,itwouldbedifficulttofitenoughsatisfyingvariety

throughtherestofthehymntogiveitasenseofcompletion.Soratherthan

repeatthebasicidea,theresponseparallelsthepresentationbyusingthesame

(admittedlysimple)rhythmicstructureandcadencepoint,whileallowingfor

varietyandharmonicmotiontowardthenextstructuralgoal,thedominant.

79

Inthiscasethetwo-measurepresentationalbasicideaintroducesand

prolongsthetonic(noticethebookendingindicatedbyverticalbrackets).The

responseimmediatelytransitionstothedominant(theV6beginningthephrase

functionsasapivotchord).Thelastfourmeasurescomposethecontinuation,

withitsunbrokenharmonicmotion,somewhatdevelopmentalcharacter,and

drivetowardthefinalcadence.35

Figure3.20:Hymn222

35Additionaltwo-phrasesententialhymnsinclude119,125,135,218,306,and324.

80

CHAPTER4:SECTIONALMODELS

Theanalysisthusfarhasfocusedonmulti-phrasemodels.Two-phrase

hymnsconsist,asthenameobviouslysuggests,oftwophrases.Small-scale

hymnsandthosethatfollowthestandardharmonicstructuregenerallyhave

fourphrases.Yetwithmultiplephrasesthesehymnsarenearlyalwaysmono-

sectional,thatis,theentirehymnisoneunifiedwholedividedintophrases.

Theselasttwomodels,theverse-chorusmodelandthelarge-scale

model,wouldbetterbedescribedasmulti-sectional,whereasectionatitsmost

basicconsistsofmorethanonephrase.Incontrasttothemulti-phrase(or

mono-sectional)models,whicharedescribedentirelybythenumberand

relationshipofindividualphrases,multi-sectionalhymnsaredescribedbythe

numberandrelationshipofsections,whereeachsectionwillconsistofoneor

moreofthefollowing:

• phrasepairorphrasegroup• aperiod• asentence• thetwo-phrasemodel• thesmall-scalemode• thestandardharmonicstructure• acompoundperiodorsentence• aCaplinianhybridtheme1orcombinationofphrasetypes

Thelarge-scalemodelwillbediscussedlaterinthechapter,butabrief

definitionisusefulatthispoint.Large-scalesimplydenotesamulti-sectional

hymn,meaninganyhymnthatfitstheparametersabove.Theverse-chorus

1Caplin(59–63)describesafew‘hybrid’themes:eachisamusicalconstructthatcombinesdifferentcomponentsfromasentenceandaperiod.Forexample,aneight-measurethememighthavetheantecedentphraseofaperiodfollowednotbyaconsequentphrase,butbyacontinuationalphrasethatusuallyendsasentence.

81

modelisaspecificsubsetofalllarge-scalehymns,andaftertheverse-chorus

modelispresentedandexplored,otherpossiblelarge-scaleconfigurationswill

beexaminedinthefollowingsectionofthischapter.

VERSE-CHORUSMODEL

Thetwo-part(bi-sectional,orbipartite)verse-chorusmodelconsists,as

thenamesuggests,ofaverseandachorus.Itisastructurewithtwomusical

sectionsofcontrastingcharacters,almostliketwoindependentpiecesthatare

joinedtogether.

Theversewillconsistofasmallermusicalformorhymnmodel:aperiod,

adoubleorcompoundperiod,asentence,arepeatedphrase,oneofthe

Caplinianhybridthemes,thetwo-phrasemodel,orthesmall-scalemodel.The

standardharmonicstructuremayalsooccurinconjunctionwiththeseformsand

models.Thechoruswilloftenconsistofasmallerformortheme,thoughthis

occurssomewhatlessoftenthanwiththeverse,anditisrareforthechorusto

consistofoneofthesmallhymnmodels(two-phrase,small-scale,standard

harmonic).

Theversewilltypicallybeacomplete,independentmusicalidea.For

example,thehymncouldendattheendoftheverseanditwouldfeelcomplete

evenwithoutthechorus.Thechorusmaybeeitherindependent(itcouldstand

onitsown)ordependent(itclearlystartspartwaythroughamusicalidearather

thanatthebeginning).Dependentandindependentchorusesoccurinroughly

evenproportionsthroughoutthehymnsintheLDShymnal.

82

Traditionaluseofthetermsverseandchorusrelatestothetextofapiece.

Ahymnorfolksongwillhaveseveralverses,eachwithadifferenttext,andeach

followedbyachorusconsistingofthesamerepeatedtextandmusicafterevery

verse.Whiletheverse-chorushymnmodelbearssomeresemblanceto

traditionalverse-chorushymnandsongstructures,itisadistinctlymusical

structureandnotatextualstructure.Mostverse-chorushymnshavemultiple

verseswithdifferenttexts,followedbyasinglechorustextrepeatedaftereach

verse.However,thisisnotnecessarilythecaseforallofthem,andthe

exceptionsstilldemonstratetheotherverse-choruscharacteristicsstrongly

enoughthattheymightstillbeclassifiedasverse-chorushymns.2

Hymn89(Figure4.1)illustratesthecleardistinctionbetweentheverse

andthechorus.Theversecouldstandonitsownasacompletemusicalthought.

Itisnotverylong,butithasaclearbeginning,sufficientmusicaljourney,anda

conclusive,ifslightlyabrupt,ending.Itisatextbookexampleofaclassical

period.

Thechorusisalsoaperiod,buthasadistinctmusicalcharacter.Where

theverseishomophonic,thechorusfeaturesstrongrhythmicandtextual

duettingbetweenthemenandwomen.Wheretheverseprimarilyusesstraight

eighth-noterhythms,thechorusfeaturesdotted-eighth-sixteenth-notefigure

andeighth-notetriplets.

2Forexamplesofverse-chorushymnsthatdonothaveasinglechorustextrepeatedaftereachverse,seehymns96,107,and330,thoughwiththelastonethe‘chorus’mightinsteadbeconsideredacoda,whichwouldchangetheclassificationofthehymntoadifferentmodel.

83

Figure4.1:Hymn89

84

Hymn251(Figure4.2)alsoshowsaself-containedverse,anddistinctive

musicalcharactersfortheverseandchorus.Theverseishomophonic,whilethe

chorusisaunisonmelodywithaccompaniment.Also,thechorushasslower

harmonicrhythmandlessharmonicmotion(half-noteaccompanimentfigure),

butadistinctiverhythmicsnapforthetext“Victory,victory.”

Asillustratedinthefigurebelow,theversefitsthestandardharmonic

structure,butthechorusseemstobeacompoundsentenceof16measures

insteadofeight(R=2N).Thebi(4)andbi’(4)haveparallelmelodyandtheI–V,

V–Itonicprolongationalphrasestructure.Thefinaleightmeasureslackthe

continualforwardmotionthatcharacterizesacontinuationalphrase,buttheydo

exhibitfragmentationandharmonicacceleration.

85

Figure4.2:Hymn251

& # 22 œ œ ..œ œœj œœ œœ ˙̇ œ œœ œ ..œ œœj œœ œœ ˙ ..˙œ œ1. Be - hold! A roy - al ar - my, With ban - ner, sword, and shield,2. And now the foe ad - vanc - ing, That val - iant host as - sails,3. Oh, when the war is end - ed, When strife and con - flicts cease,

? # 22 œ œ ..œ œœj œœ œœ ˙̇ œœ œœ œ ..œ œœJ œœ œœ ˙ ..˙œ

[Boldly h = 69-84

& # œœ œ ..œ œœj œœ # œœ œ . œj œœ œ œ œœ œœ # œœ ˙ .˙ œ œ ˙ .Is march - ing forth to con - quer On life’s great bat - tle - field.And yet they nev - er fal - ter; Their cour - age nev - er fails.When all are safe - ly gath - ered With - in the vale of peace,

? # œ œ ..œ œj œœ œœ ˙ œœ œœ œœ œœ œ œœ ˙ ..˙œ œJ œ . œJ œ

]

& # œ œ ..œ # œœj œœ œœ ˙̇ œœ œ œ . œj œ œœ # ˙ ..˙œ œ œ . œJ œIts ranks are filled with sol - diers, U - nit - ed, bold, and strong,Their Lead - er calls, “Be faith - ful!” They pass the word a - long;Be - fore the King e - ter - nal, That vast and might - y throng

? # œ œ ..œ # œj œœ œœ ˙̇ œœ œ œ . œj œ œœ ˙ ..˙œ œJ œ œ . œJ œ

& # # œœ n œ ..œ œœj œœ œœ # ˙̇ œœ œœ n œ ..œ œœj œ œœ ˙ ..˙ ŒœWho fol - low their Com - mand - er And sing their joy - ful song:They see his sig - nal flash - ing And shout their joy - ful song:Shall praise his name for - ev - er, And this shall be their song:

? # œœ # œ ..œ œœJ œœ œœ ˙̇ œœ œœ œ ..œ œœJ œœ œœ ˙ ..˙ Œ

[ ]

Behold! A Royal Army251Phrase 1: Tonic Prolongational

Phrase 2: Transitional (modulates to V)

Phrase 3: Developmental

Phrase 4: Closing/cadential (circle of fifths)

N-C

PAC

vi:HC

V:PAC (P D T)

P D T

VERSE

86

Theverse-chorusmodelischaracterizedbytwodistinctmusicalsections,

liketheclassicalbinaryform.Itisoftenimportantthenthatthehymnhave

somewayofunifyingthetwosections–somethingtomakeclearthatwhilethey

havedifferentflavors,theyarestillpartofthesameentrée.

&

?

#

#

.œ jœ �Vic to ry,

��

��

Unison

.œ jœ œ œvic to ry, Thru

��

��

œ œ œ œhim that re

� ��

��

.œ jœ �deemed us!

� ��

��

.œ jœ �Vic to ry,

��

��

- - - - - - -

&

?

#

#

.œ jœ œ œvic to ry, Thru

��

��

œ œ œ œJe sus Christ, our

� �

œ œ ��

...�� ŒLord!

..�� Œ

..œœ jœœ ��Vic to ry,

..œœ Jœœ ��

Harmony ..œœ jœœ ��vic to ry,

..œœn Jœœ ��

- - - - - - -

&

?

#

#

..œœ jœœ ��vic to ry,

..œœ Jœœ ��

�� Thru

��

�� Je sus

��

..�� œœChrist, our

..�� œThru

œ

wLord!

� �

� �Christ, our

w

.� .�

.�Lord!

.�- - -

Text: Fanny J. Crosby, 1820–1915Music: Adam Geibel, 1855–1933

2 Timothy 2:3, 22Doctrine and Covenants 104:82

CHORUSPresentation (8) – tonic prolongationbi (4)

bi’ (4)

cont (8) Fragmentation and

accelerated harmonic rhythm PACP D T

87

Thereareseveralofcommonunifyingelementsthatcanservethispurpose.

Themostobviousarekeyandmeter,thoughinsomecasestherearerhythmicor

harmoniccharacteristicsinthechorusthataresimilartoorseemderivedfrom

thoseintheverse,andinsomecasesthetextofthechoruswillbederivedfrom

thatoftheverse.

Itisalsoverycommonforthechorustoborrowsomeofthemusicalmaterial

(afragmentofmelody,harmony,rhythm,orallofthem)fromtheversetoserve

thisunifyingfunction.Mostoftenthechoruswillcopythelastfewnotesor

chords(orthelasttwoorthreeentiremeasures)fromtheendoftheverse.

Hymn273(Figure4.3)demonstratestwoless-commonformalaspects

foundinverse-chorushymns.First,theverseisacompoundperiodwithan

eight-measureantecedentsectionandaneight-measureconsequentsection,

eachconsistingoftwophrases.3Second,thechorusseemstobejustaphrase

pairratherthananyidentifiablestructure.Itwouldbepeculiareventocallita

contrastingperiodconsideringthatitbeginsonthesubdominantharmony.

Thechorusdoes,however,borrowthedottedrhythmandonecomplete

phrasefromtheverse,usingthatcommonmusicalexcerpttoaddcontinuity.

Thelastsixbeatsofthechorusaretakenfromtheendoftheverse(indicatedby

bracketsinthefigure).

3Theabbreviations‘cbi’and‘cci’inFigure4.3standforcompoundbasicideaandcompoundcontrastingidea.Theseareessentiallyfour-measurephrasesservingthefunctionsofabasicideaandacontrastingidea,respectively,inatypicalperiod.Ihaveborrowedtheterm‘compoundbasicidea’fromCaplin(61),thoughherethetermsimplyreferstoafour-measurebasicidea.Caplin’scompoundbasicideaisamorespecificcombinationofcomponentsandcharacteristics.Thisformisalsoknownsimplyasadoubleperiod,andthiscasewouldbeadoubleparallelperiod.

88

Figure4.3:Hymn273

& # 34 œ ..œ œœ œ ..œ œœj œœ œœ œœ œœ œ ..œ œœ œ ..œ œœj œœ œœ ˙̇1. Truth re -flects up - on our sens - es; Gos - pel light re - veals to some.2. Je - sus said, “Be meek and low - ly,” For ’tis high to be a judge;3. Once I said un - to an - oth - er, “In thine eye there is a mote;

? # 34 Œ Œ œ œ Œ œ œ Œ œ œ Œ œ˙ . ˙ . ˙ . ˙

Thoughtfully q = 69-76

Duet

[

& # œ ..œ œœ œ ..œ œœj œœ œœ œœj œ ..œ œ ..œ œœ # œ ..œ œœj œœ œœ œ̇ œ œIf there still should be of - fens - es, Woe to them by whom they come!If I would be pure and ho - ly, I must love with - out a grudge.If thou art a friend, a brother, Hold, and let me pull it out.”

? # Œ Œ œ œ Œ œ œ Œ œ œ œ œ œ œ˙ . ˙ . ˙ . ˙

]

& # œ ..œ œœ œ ..œ œœj œœ œœ œœ œœ œ ..œ œœ œ ..œ œœj œœ œœ ˙̇Judge not, that ye be not judg - ed, Was the coun - sel Je - sus gave;It re -quires a con-stant la - bor All his pre - cepts to o - bey.But I could not see it fair - ly, For my sight was ver - y dim.

? # Œ Œ œ œ Œ œ œ Œ œ œ Œ œ˙ . ˙ . ˙ . ˙& # œ ..œ œœ œ ..œ œœj œœ œœ œœj œ ..œ œ ..œ œœ œ ..œ œœj œœ œœ ˙̇

Mea - sure giv - en, large or grudg- ed, Just the same you must re- ceive.If I tru - ly love my neighbor, I am in the nar- row way.When I came to search more clear - ly, In mine eye there was a beam.

? # Œ Œ œ œ Œ œ œ Œ œ œ ˙̇˙ . .˙ ˙ .

][

Truth Reflects upon Our Senses273

cons (8)cbi (4)

cci (4)

ant (8)cbi (4)

cci’ (4)

VERSE

NC

HCt

PAC

NC

89

Thereturninthechorusofmusicalmaterialfromtheversecan

potentiallyblurthelinesofclassificationbetweenmusicalforms.Whenthe

chorusonlyquotesafewchordsoracoupleofmeasurestheeffectseemstobea

momentaryharkening-backtowhatcamebefore(seehymns52,152).If,atthe

otherextreme,theentireverseweretobequotedattheendofthechorus,the

resultwouldbeanABAform(seehymns250,280).Somewhereinbetweenthe

twomightbesomethingresemblinganabbreviatedroundedbinary(without

repeats)consistingofanasection,absection,andthereturnofhalfofthea

section.Thelinebetweenverse-chorusandtheabbreviatedroundedbinaryis

difficulttodraw,andtherearelikelyhymnsthatcouldfallintobothcategories.

Chapter5willelaboratefurther.4

4Additionalverse-chorushymnsinclude44,52,86,89,105,136,144,152,177,221,228,229,230,233,239,241,243,244,251,271,273,274,and276.

& # œ ..œ œœ œ ..œ œœj œœ b œœ œœ œœ œ ..œ œœ œ ..œ œœj œœ # œœ ˙̇Bless - ed Sav - ior, thou wilt guide us, Till we reach that bliss-ful shore

? # œ ..œ œœ œ ..œ œœJ œœ œœ œœ œœ œ ..œ œœ œ ..œ œj œœ œœ ˙̇œJHarmony

& # œ ..œ œœ œ ..œ œœj œœ œœ œœ œœ œœ b œœ œ ..œ œœj œœ œœ ˙̇Where the an - gels wait to join us In thy praise for - ev - er - more.

? # œ . œ œ ..œ œœj œœ œœ œœ œœ œœ œœ œ ..œ œœJ

œœ œœ ˙̇̇œ . œ4. If I love my brother dearer, And his mote I would erase, Then the light should shine the clearer, For the eye’s a tender place. Others I have oft reproved For an object like a mote; Now I wish this beam removed; Oh, that tears would wash it out!

5. Charity and love are healing; These will give the clearest sight; When I saw my brother’s failing, I was not exactly right. Now I’ll take no further trouble; Jesus’ love is all my theme; Little motes are but a bubble When I think upon the beam.

Text: Eliza R. Snow, 1804–1887; chorus by M. E. AbbeyMusic: Charles Davis Tillman, 1861–1943

Matthew 7:1–5Alma 41:14–15

PAC

CHORUS HCt

90

LARGE-SCALEMODEL

Thelarge-scalemodeldescribeshymnsthataremulti-sectional,usually

bi-sectionalortri-sectional,thoughtherearesomelarge-scalehymnsthathave

foursections.

Therearetwoprimaryindicatorsofsectionaldivision.Thefirstisa

breakinthemusicfollowedbyachangeinmusicalcharacter.Thesecond

indicationissectionalrepetition,i.e.,theendofasectionisfollowedbyarepeat

ofthebeginningofthesectionorofanothersection.Muchlikeaparallelperiod

ispartiallyidentifiedbytherepetitionofinitialmaterial,asectioncanbe

identifiedwhenmusicalmaterialisre-initiatedfollowingacadence.

Theverse-chorusmodelisasubsetofthelarge-scalemodel,butwithits

ownspecificsetofcharacteristics.Thelargescalemodelisabroadercategory

thatalsoincludesinstancesthatdonotfittheconfinesofverse-chorushymns,

butthatarestillmulti-sectional.Commonlarge-scaleformsincludeABA,AAB

ABB,AABA,andbi-sectional(notallbi-sectionalhymnsareverse-chorus).

Hymn280(Figure4.4)isatextbookexampleoftheABAlarge-scale

format,dividedintothreesectionsindicatedprimarilybyadifferenceinkey

area(thisisarareexampleofahymnthatactuallychangeskeysignatures

betweensections)andbythenote-for-note(andinthefirstverseword-for-

word)repetitionoftheAsectionaftertheBsection.Eachsectionconsistsofa

91

multi-phraseconstruct–inthiscase,aperiod.ThehymnfollowstheI–V–I

overallharmonicprogressionstrictlyinconjunctionwiththeABAstructure.5

Figure4.4:Hymn280,Large-Scale,Ternary(ABA)

5Additionalternarylarge-scalehymnsinclude250,260,323,and336.

93

Hymn305(Figure4.5)isalsomulti-sectionalconsistingofeithertwoor

threesections.TheABB’formsuggeststhree.YetwhiletheAsectionisa

modulatoryperiod,thetwoBsectionsformasinglecompoundperiod.From

thisperspectivethehymnmightbeconsideredbi-sectional,withanAfirsthalf

andalongerBsecondhalf.ThisconclusionissupportedbythefactthattheA

sectioncontainsthethreeversesofthehymntext,whilethetwoBsections

togethercontainasinglechorustexttoberepeatedaftereachverse6.Whether

thehymncontainstwosectionsorthree,eachsectionisstillmulti-phrase,and

qualifiestheworkaslarge-scale.7

6Whilethishymnhasaversetextandachorustext,itisworthreiteratingthatthestructureofthetextisnotwhatdetermineswhetherahymnfitstheverse-chorusmodel.Thishymndoesnothaveanindependentmusicalversefollowedbyanadd-onchorusstructure.Rather,theAsectionultimatelytransitionstoandclosesinthedominant,settingupacontinuationofmusicaldirectionthatfollowsinthepairedBsections,whicheventuallyclosethemusicalandharmonicstructureleftopenattheendoftheAsection.7Additionallarge-scaleABBhymnsinclude124,249,and270.

94

Figure4.5:Hymn305,Large-Scale,ABB’

95

Hymn223(Figure4.6)hasatripartiteABCformwithlittlesectional

repetition.TheCsectionborrowsameasureofmelodyfromtheAsection

(noticethesolidbrackets).Theharmonicstructureissimilarbetweenthetwo,8

butCdoesnotuseenoughmaterialtobecalledA’.Yetevenwithoutsectional

repetition,theboundariesbetweenthethreesectionsareclear,primarily

becausetheBsectionisentirelyinthedominant.Eachsectionconsistsofa

contrastingperiod.Thegraphicsbelowindicatetheprolongationalbookending

insectionA(thedashedbracket)andthere-transitionattheendofsectionB

(markedwithRT).

8TheharmoniccorrelationbetweensectionsAandCcanbeseenbylookingatthedownbeatofeachmeasure,thoughthereareadditionalminorcorrelationsaswell.Theii6chordidentifiedintheCsectionreferstothesupertonicharmonyprominentacrossthemeasure,anditisusedtohelpclarifytheharmoniccorrelationbetweensectionsAandC,eventhoughthedownbeatofthemeasureistechnicallyaIVchord.

96

Figure4.6:Hymn223,Large-Scale,ABC

98

Becauselarge-scaleisabroadcategorythatincludeseverymulti-

sectionalhymn,itcantakemanydifferentforms.Interestingexamplesinclude

thefollowing:

• Hymn252isbi-sectional,wherethefirstsectionisamodulatory

contrastingperiodandthesecondhasmostofthecharacteristicsofa

classicalsentence.

• Hymn134isalarge-scaleperiodicstructure.Theantecedentsection

consistsofthreedifferentfour-measurephrasesandcloseswithahalf

cadence.Theconsequentsectionisnearlyidentical,butcloseswitha

one-measurecadentialexpansionandaPACforfinality.

• Hymn255hasanAA’BA’’form.Initiallythisappearsthesameasthe

small-scalemodel,buteachsectionmadeupoftwophrasesthatcompose

acontrastingperiod.

• Hymns109and112eachmightbeconsideredaformofAAB,thoughthe

classificationoftheformisnotquitestraightforward.Whileeachofthe

sixphrasesinbothhymnsconsistsofthetypicalfourmeasures(except

thelastphraseofhymn109),thephrasesfeelshorterintriplemeter,

makingsectionalboundarieslessclear.Thehymnsmightstillbejustified

aslarge-scaleconsideringthattheshortlengthofhymnsoftenrequiresa

condensingofphrasesandotherelementsofthestructure.

99

CHAPTER5:EXCEPTIONALCASES

Thefourmodelsandthestandardharmonicstructureoutlinedinthe

previoustwochaptersareobviouslynotuniversal.Theyencompassamajority

ofthehymnsintheLDShymnal,buttheyareimperfectatbest,andaswithmost

musicalforms,theycannotaccountfortheendlessvarietyofcreativityfound

eveninacollectionasconservativeasaChristianhymnal.Exceptions,

variations,andoutliersareinevitable.

Exceptionalhymnsfallmostoftenintooneoffourdifferentgroups.The

firstarethe“almost-model”hymns:thosehymnsthatalmostfitaparticular

model.Thesecondgrouparethe“cross-model”hymns:hymnsthatseemto

havecharacteristicsofmorethanonemodel.Areasonablysupportedargument

couldbemadeforclassifyingthesehymnsineachoftwo(or,rarely,three)

differentmodels.Thethirdcategoryare“lessertrends”:hymnsthathavea

clear,identifiablestructurethatoccursmorethanonceinthehymnal,butnot

oftenenoughinisolationtobeconsideredamodelinthebroadersenseofan

entirehymnal.Inthefinalcategoryarethe“suigeneris”:thosehymnsthatseem

tostretchtheprocessofstructuralcategorizationbasedontheprinciples

outlinedinthepreviouschapters.Theseareoftensomeofthemostinteresting

hymnstoanalyze.

100

ALMOST-MODELHYMNS

CaseStudy:afour-partthree-phrasehymn

Hymn51(fig.5.1)hasthreephrasesoffourmeasureseach.Mosthymns

likethisdonotfiteasilyintoanyofthemodels.Atfirstglanceitappearstobe

aa’b.Theaanda’phrasescomposeamodulatoryexpositoryperiodwherethe

antecedentphraseistonicprolongationalandtheconsequentistransitional,

closingwithaV:PAC.Together,thetwofitthesmall-scalemodelaswellasthe

standardharmonicstructure,leavingonephraseinthehymn.However,the

thirdphrasedoeshavebothadevelopmental/contrastingmiddlepassage(mm.

9–10)andacadentialpassage(mm.11–12).Inconsequence,thehymnisina

standardharmonicsmall-scaleform,wherethethirdandfourthphrasesare

condensedintoasinglefinalphrase.

Therhymeschemesupportsthisassertion(noticetheblockletters

enclosedinboxesinthegraphicbelow):thetwoaphrasesrhymeattheend,not

internally,whilethebphraseisbrokenintotwoshorterlinesthatrhymewith

eachothereventhoughtheyareonlyhalfaslong.1

1Forcomparison,similarthree-phrasehymnsinclude43,112,and157.Theyarenotstructurallyidenticaltotheexampleshownhere,butsimilarenoughforusefulcomparison.

101

CaseStudy:afour-partfive-phrasehymn

Hymn191(fig.5.2)isoneofseveralwithfivephrasesinthehymnal.

Becausethemodelsarefundamentallysymmetricalinstructure,theasymmetry

offivephrasespresentsachallenge.Howdoesitrelatetoanymodel?Breaking

&

?

# #

# #

44

44

..œœ jœœ œœ œ1. Sons2. Sons3. Moth4. Raise

ofofera

MiMiof

cho

chael,chael,ourrus,

œ


Boldly q = 80–92⌜ œœ œ œ œœ œœ

he’tisgensons

aphiserof

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es!iot

tions,chael,

œ

œœ œœ œœ œœ

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theits

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cienting

greatcean’s


œœ œ œ fa

wheelsMi

roar

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chael’sing

greet.long!side,

swell,

œ

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⌝

- - - - -- - - -

- - - - - -- - - -

&

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# #

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..œœ jœœ œœ œBow,RaiseTakeTill

yea

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might

sands,yourdren’s

y

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him;liontion;tion

œ

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MinInEndThru

isa

lessre

tertor

withbound

berentthying

..œœ Jœœ# œœ œœ#n

œœ œœ# fore

pow’rseedspace

hisofa

doth

feet.song.bide.tellœœ# œœ

- - - - -- - - -

- - - - - -- - - - - -

&

?

# #

# #

..œœ Jœœ œœ œ œHailHailLo!That

theourto

the

paheadgreet

an

triwiththeecient

œ

..œœ jœ œœ œœnJœ

œœ œ œ arch’s

munowone

gladsicad

doth

reign,soft!

vancereign

œ# n

œœ œœn œ œ

..œœ jœœ# œœ œ œSpreadRaiseThouIn

ingsweetsands

his

omelinFa

vero

thether’s

œ

..œœ# Jœœ œœ œœ

⌜

œœ œ œ seadiesglo

house

anda

riousa

main.loft!

dance!gain!

œ

œœ œœ

⌝

- - - -- - - -

- - -- - -

Sons of Michael, He Approaches

Text: Elias L. T. Harrison, 1830–1900, alt.Music: Darwin K. Wolford, b. 1936. © 1985 IRI

Daniel 7:9–10, 13–14Doctrine and Covenants 138:38–39

51

Mod

ulat

ory

Expo

sito

ry P

erio

d

a: ant. (4)

a’: cons. (4)

IAC

V:PAC

PAC

(V: P D T)

(P D T)

b: (4)contrasting middle (2) cadential passage (2)

a

a

b b

Figure 5.1, Hymn 51

102

thishymndownbyphrases,however,demonstratesthatitisnotoverly

complex.

Thefirstphrase(mm.1–4)istonicprolongationalasdenotedinpartby

thebookendingindicatedbythedashedline,andthesecondphraseis

transitional,endingwithaV:PAC.Thefunctionsofthethirdandfourthphrases

arenotimmediatelyapparent,butthefifthphrasehasthefinalharmonicand

melodicdrivetowardtheclosingcadenceofthepiece.Threeofthefour

standardharmoniccomponentsarepresentinthefirst,second,andfifthphrases

ofthehymn,withtwophrasessubstitutingforthesinglephrasethattypically

fillsthedevelopmentalfunction.Yetevenaccountingforthesetwoinner

phrases,thehymnmostcloselyadherestothestandardharmonicstructure.

Neitherofthetwoinnerphrasesappearsverydevelopmental.Thefirst

hasachangeintexture(omittingthebassandtenorvoices),butharmonically

seemstoprolongtonic.Thesecondseemstransitionalbecauseitmovestothe

dominant.Atleastminimallyitfillsthemissingstructuralharmonicroleof

emphasizingnon-tonicharmony.Insum,thesephrasesaremoderately

developmentalatbest.However,theirtextisidentical,givingadditional

emphasistothewords,butalsolinkingthephrasestoeachother.2

2Thereareseveralstandardharmonichymnsthatfollowthispattern:first,second,andlastphrasescorrespondtothefirst,second,andfourthfunctionsofthestandardharmonicstructure,buttherearetwo(andinonecase,three)phrasesinplaceofthedevelopmentalphrase.Incidentally,severaloftheseuseachangeintextureinatleastoneoftheinnerdevelopmentalphrases.Seehymns1,16,17,87,122,150,and202.

103

&

?

bb

bb

43

43

œœ œœ œœ1. Be2. While3. Al4. “Fa

holdguilt

thoughther,

theyin

from

œœ œœ œœ

⌜Reverently q = 69–84

œœgreatmenagme

Rehisore

œœ

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nymove

erdehe

this œœ

..die,ride,

hung,cup...

œœ œœ œœATheyNoYet,

bropiercemur

if

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m’ringthouœœ œœ œœ

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- - - -- -

- - - -- -

&

?

bb

bb

œœlawhandswordwilt,

toandesI’ll œœ

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capeddrink

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side;tongue.

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forandfulest

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bb

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..sin,scorns,fill,me;..

œœ œœ œœThatTheyHeRe

mancrownmagceive

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ryed

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..win.

thorns.will.thee.”..

⌝

--

- - -- - -

Behold the Great Redeemer Die1911: Tonic Prolongation (4)

Figure 5.2, Hymn 191 2: Transitional (4)IAC

V:PAC

V:PAC PAC

IAC?

3: First middle phrase (4)

4: Second middle phrase with repeated text (4)

5: Closing/Cadential (4)

(V: P D — T)

(V: P D —

T) P D — T

104

CROSS-MODELHYMNS

Thistypeofanalysisoccasionallyleadstohymnsthathavecharacteristics

ofmorethanonemodel,thusblurringtheirdistinctions.Thefollowingtwo

hymnstreattheseblurredlinesandillustratesomeinterestingissuesthatarise

intheattempttofitallhymnsintoafewcategories.

CaseStudy:alarge-small-scalehymn

Thetypicalhymnoffourphraseshas16measures.Theshorterhymns

haveeight,andthelongerhave24–32.Hymn255(Figure5.3)isalongone,

giventhatitiscomposedofeightphrasesoffourmeasureseach.Whereasthe

lengthandpagelayoutsuggestalarge-scalehymn,thephraserelationshipsare

yetcorrelatedwithatypicalsmall-scalehymn.AnAA’BA”hymn,eachofitsfour

sectionsiseightmeasureslong,consistingoftwofour-measurephrases.Attwo

phrasespersectionandfoursectionsinthehymn,thisclearlyqualifiesasa

large-scalehymn.

Ontheotherhand,ithasallofthecomponentsofasmall-scalehymn.

TheAandA’togetherformacompoundperiod,comparabletotheexpository

periodofasmall-scalehymn,includingthetypicalhierarchyofcadences:theA

endswithatonicizedhalfcadence,whiletheA’endsstrongerwithafullV:PAC.

Itmightbecalledacompoundmodulatoryexpositoryperiod.TheBsection

exhibitsseveralcharacteristicsofacontrastingmiddle:changesintexture,

register,rhythmicmotives,andmelodiccontour.Itshouldbenoted,however,

thatthesecontrastingcharacteristicsaremostevidentinthefirstphraseoftheB

105

section,whilethesecondphrasehasmaterialtakenfromearlierinthehymn,

negatingsomeofthecontrast(seethestylizedbracketsmarkingthespecific

musicalcomponentsborrowedfromearlierphrases).ThefinalA”section

returnsmaterialfromthecompoundmodulatoryexpositoryperiodbefore

closingthehymnwiththefinalcadence.Insum,thishymnarguablyqualifiesin

boththelarge-scaleandthesmall-scalemodels,aseemingcontradictionin

terms.

106

& # 44 œ œ œ . œ œ œ . œ œ ˙ œœ œ œ . œ œœ œœ ˙ ...˙̇˙ œ Œ ˙ ˙1. — Firm as the moun-tains a -round us, Stal-wart and brave we stand2. We’ll build on the rock they plant-ed A pal - ace to the King.

? # 44 ˙ œŒ ˙̇ ˙̇ ˙ ˙̇ œœ œœ œ œ

Resolutely q = 96-116[ ]

Unison

& # œ . œ œ œ œ œ œ œ ˙ œœœ œ œ . œ œ œ n ˙ ..˙#˙ ˙ ˙ ..˙ ˙ # ˙On the rock our fa - thers plant - ed For us in this good- ly land—In - to its shin- ing cor - ri -dors Our songs of praise we’ll bring,

? # ˙ œ œ œ œ œŒ ˙̇ ˙̇ ˙ ˙ ˙̇ ˙ .

& # œ . œ œ œ . œ œ œ . œ œ ˙ œ ..œ œœ œ œ . œ œœ # œœ #˙ ..˙˙ œ Œ ˙ . ˙The rock of hon - or and vir-tue, Of faith in the liv - ing God.For the her - i - tage they left us, Not of gold or of world-ly wealth,

? # Œ ˙ œ˙̇ ˙̇ ˙ ˙̇ œœ œœ œ œ

& # œ . œ œœ n# œœ œœ œ . œ n œœœ ˙̇ œœ œ œ . œ œ # œ ˙ ...˙̇œœ ˙ ˙̇They raised his ban - ner tri - um-phant — O - ver the des - ert sod.But a bless - ing ev - er - last - ing Of love and joy and health.

? # œ . œ œ œ# œœ # œœ œœ œœ ˙̇ œ œ # ˙̇ ˙ œ

Carry On255

.PC

HCt

vi:HC

V:PAC

A

A’

Figure 5.3, Hymn 255

ant. (8)

cons. (8)V/vi vi (V 6r 7 )/V V7

V: IV V7 I

V: P D T

It+6

Compound modulatory expository period (16)

107

& # œ . œ œ ..œ œœj b œ ..œ œœj n œœ ˙̇ œ . œ œœ œ . œ œœ œ . œ ˙ ..˙œ . œ œ . œ œ . œ œ . œAnd we hear the des - ert sing-ing: Car - ry on, car - ry on, car - ry on!

? # œ . œ œ ..œ œœj bœ ..œ œœj œœ ˙̇ œ . œ œœ œ . œ œ . œ ˙ ..˙œ . œ œ . œ œ . œ œœ œ . œ Œ œ œ

& # œ ..œ œœ # œœ œœ œœ œœ œœ ˙̇ œ ..œ œœ œœ #œ ..œ œœ nœœ #œ . œ ˙ ..˙ Œœ . œ Œœœ œœ œœ œœ œœ£

Hills and vales and moun-tains ring-ing: Car-ry on, car-ry on, car-ry on!

? # œ ..œ œœ œœ œ ..œ œœ œ . œœœ œœ œœ œœ œœ ˙̇ œ ..œ œœ œœ œ . œ ˙ ..˙ Œ

& # œœ œ ..œ œœ œœ œ . œ œœ ˙̇ œœ œœ œ . œ œœ # œœ # ˙ ..˙œ œ . œHold - ing a - loft our col - ors, We march in the glo - rious dawn.

? # œœ ˙̇ œœ ˙ ..˙œœ œ ..œ œœ œœ œœ œœ œ ..œ œœ œœ œœ Œ œ œ

& # n œ œœ œ . œ œœ œœ œœ ˙̇ # œ ..œ œœ œœ œ ..œ œœ œœ œ ..œ œœ ˙ ...˙̇œ œO youth of the no - ble birth - right, Car - ry on, car - ry on, car - ry on!

? # œœœ œœ œ ..œ œœ œœ n œ œœ ˙̇ #b œ ..œ œœ œœ œ ..œ œœ œœ œ ..œ # œœ ˙ ...˙̇

][ U

uText: Ruth May Fox, 1853–1958. © 1948 IRIMusic: Alfred M. Durham, 1872–1957. © 1948 IRI


Harmony

B

A”

IAC

V:PAC

vi:HC

PAC

V: P D T

It+6

Ger+6

108

CaseStudy:atwo-phrasesmall-scalehymn

Hymn28(Figure5.4)hasonly8measures.Mostshorthymnsfitthetwo-

phrasemodel,asdoesthisone.Despiteitsbrevity,ithasdenseharmonic

motionandaconstantlymovingbassline.Itsfirstphrasecadencesonthe

dominantandthesecondresolvestothetonic,andithastheshortfinalcadence

(P,D,andTonthefinalthreebeats).

Italsoappearstohavetheaaba’structureofasmall-scalehymn.

Whetherthiscouldbeconsidereditsphrasestructureisquestionablebutnot

entirelyimplausible.Thehymncouldcomfortablybereadorsungwithaduple

meter(2/4insteadof4/4),suggestingahalf-phraselengthforthehymn(R=½

N),resultinginabrisk,snappyhymnoffourphraseswithfourmeasureseach.

Placementofcadencesisstillsomewhatproblematicconsideringthatthefirst

phraseisinunisonanddoesn’thaveaclearcadence,thoughitmightbe

consideredanon-cadentialphraseending.Thesecondandthirdphrasesclose

onahalfcadence(inFigure5.5belowthesuggestedcadencepointsatmeasures

2and6havebeenplacedinparentheses).Thefirsttwophrasescouldbecalled

aperiodicinitialstatement,thethirdhasqualitiesofacontrastingmiddle

(harmoniccontrastwithsubmediantchords,changeinmelodiccontour,

dominantprolongation),andthelasthasthecadentialclosure,includingarising

tonic(enclosedinasquare).Insum,thehymncontainsmostcharacteristicsof

boththetwo-phrasemodelandthesmall-scalemodel.

109

&

?

#

#

44

44

œ œ œ œ œ1. Saints,2. Out3. Rise

beof

and

holdalllift

howpastup

œ œ œ œ œ

œ œ œ œ œœ œ œ œ œ

With energy q = 88–108⌜ œ œ œ œ œ œ

greatdisZi

Jepenon’s

hosa

stan

vahtions,dard;

œ œ œ œ œ œ

œ œ œ œ œ œœ œ œ œ œ œ

œœ œ œ œœ œœHathGodTell

hisis

our

blessbring

Fa

ingsing

ther’s

œ


œ œ œ œ ��onin

chil

youto

dren

shed.one

now:

œ œ

œœ œœ ��- - - -

- - - - -- - - -

&

?

#

#

œœ œ œ œœ œœZiEvHeav

on’ryen’s

evtruthbless

’rybyed

œ

œœ œœ œœ œœ

œœ œ œ œœ œwhereprophKing

isetsap

growspo

proach

ingken,es;

œ œ

œœ œœ œœ œ œœ

œ œ œ œœ œœAsForAll

thethe

men

goslast

must

peldays

be

œ œ œ

œ œ œ œœ œœœ œ œ

œœ œœ ��lighthavefore

isbe

him

spread!gun.bow.

œœ œœ ��

⌝

- - - - -- - - -

- - - - -

Saints, Behold How Great Jehovah

Text: Douglas W. Stott, b. 1925. © 1985 IRIMusic: A. Laurence Lyon, 1934–2006. © 1985 IRI

Doctrine and Covenants 64:41–42Doctrine and Covenants 133:37–38

28

&

?

#

#

44

44

œ œ œ œ œ1. Saints,2. Out3. Rise

beof

and

holdalllift

howpastup

œ œ œ œ œ

œ œ œ œ œœ œ œ œ œ

With energy q = 88–108⌜ œ œ œ œ œ œ

greatdisZi

Jepenon’s

hosa

stan

vahtions,dard;

œ œ œ œ œ œ

œ œ œ œ œ œœ œ œ œ œ œ

œœ œ œ œœ œœHathGodTell

hisis

our

blessbring

Fa

ingsing

ther’s

œ


œ œ œ œ ��onin

chil

youto

dren

shed.one

now:

œ œ

œœ œœ ��- - - -

- - - - -- - - -

&

?

#

#

œœ œ œ œœ œœZiEvHeav

on’ryen’s

evtruthbless

’rybyed

œ

œœ œœ œœ œœ

œœ œ œ œœ œwhereprophKing

isetsap

growspo

proach

ingken,es;

œ œ

œœ œœ œœ œ œœ

œ œ œ œœ œœAsForAll

thethe

men

goslast

must

peldays

be

œ œ œ

œ œ œ œœ œœœ œ œ

œœ œœ ��lighthavefore

isbe

him

spread!gun.bow.

œœ œœ ��

⌝

- - - - -- - - -

- - - - -

Saints, Behold How Great Jehovah

Text: Douglas W. Stott, b. 1925. © 1985 IRIMusic: A. Laurence Lyon, 1934–2006. © 1985 IRI

Doctrine and Covenants 64:41–42Doctrine and Covenants 133:37–38

28a a’

a”b

G: I I V I V 4e I V6 5e IV6 ii6 IV V

I IV6 vi ii7 V vi ii6 6t V I V6 I6 IVM7 V7 I

HC

PACP D T

(HC?)

(HC)

Figure 5.4, Hymn 28

( ) ( )

( ) ( )

( )

( )

110

LESSERTRENDS

Theproposedmodelsdonotaccountforeveryhymn.Therearehymns

thatconformtootherknownformsandmusicalstructures.Notsurprisingly,

manyoftheseareinfamiliarforms.Manyofthesesmallstructuresaretooshort

orsmalltoformanentiremusicalpiece.However,hymnsareanextremely

condensedgenre,andthesesmallstructuresareidealframeworksforsome

hymns.Amongthesearetheperiod,smallternary,andsentence.

Sometwo-phrasehymnshavebutasingleperiod(seehymns137,238,

and291).Othersdonotfitthetwo-phrasemodel,butuseaperiodicstructure

(see160,162,and247).

Somehymnsareinasmallternaryformconsistingofonlythreephrases

withfourmeasureseach,acompactabaform.Hymns104and111are

strikinglysimilar,withanaphrase,abphraseconsistingoftwoiterationsofthe

samemusicalidea,andarepeatoftheaphrasethatisnearlyidenticaltothefirst

phrase.Thesehymnsdonotconformtoanyofthemodelspreviouslydescribed,

buttheirformisunmistakable.

AlthoughfewhymnsintheLDShymnalconsistofasingletextbook

classicalsentence,thesententialcharacteristicsinthehymnsareoftenmodified

toaccountforthecompactnatureofthemusic.Hymn188(Figure5.5)has

severalsententialcharacteristics(seealsohymn308).

Thehymnisasymmetricwithafour-measurepresentationalphraseand

afive-measurecontinuationalphrase.Theopeningbiistwomeasureslong,

111

beginningwiththeinitialpickupnote,andendingbeforethepickuptomeasure

3.Thebi’isthesamelength,momentarilyshiftingtheharmoniccentertothe

mediant.Thebasicideaanditsrepeatarenotperfectlyparallel,butclose.

Togethertheyformapresentationalphrasethatshiftstothemediantrather

thanprolongingtonic.3

Thecontinuationalphrasefragmentsbyscalardescent(FtoE,AtoG,and

CtoB)foundinthetwoiterationsofthebasicidea(thecorrelationisshownby

thestylizedbracketsinFigure5.5).Italsoacceleratestheharmonicrhythmto

thefinalcadence.Whilethehymndoesnotadheretoallthecharacteristicsofa

classicalsentence,itisneverthelesssentential,fittingthesentencestructure

withminorabnormalities.4

3Whileitisnotunprecedented,itisextremelyuncommonforapresentationalphrasenottoprolongtonic.Foroneexample,Beethoven’sPianoSonataOp.14,no.2featuresapresentationalphrasethatdoesnotprolongtonic.4Thishymnalsohasmanytwo-phrasecharacteristics:denseharmonicmotion,acontinuallymovingbassline,andchordchangesonnearlyeverybeat.However,thesentencestructureconsistsofasinglelongphraseandcannot,therefore,beatwo-phrasehymn.

112

Roundedbinarydoesnotappearinthehymnal,butthreehymnsexhibita

formthatisreminiscentofitsphrasestructure.Totakeoneexample,hymn70

(Figure5.6)usesaformthatcanbestbelabeledaab½a.However,itdoesnot

&

?

44

44

œœ1. When2. The3. No4. We

œœ

Thoughtfully q = 80–96

œœ œœ œœ œœin

Kingcrowntake

theofofthe

wonKings

thorns,bread

drousleftno

and

œœ œœ œ œœ œ


realmsworlds

crucup

aofel

this

bovelight,crossday

OurBeCouldIn

.œ Jœœ œœ œœ.œ

-

-

--

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?

œœ## œ œœa œœSavcamemakemem

iortheour’ry

hadmeekgreat

of

beenandRethe

œ

œ œœ œœ# œœœ

..œœ jœœ œœ œœncalledlow

deemsin

uplyer

less

onOne;shun.One,

ToInHeAnd

..œœ Jœœ œœ œœ#

⌜ ..œœ jœœ œœ œœ#save

brightcountpray

ourestedfor

worlddayhis

strength,

ofor

ownthat

..œœjœ œœ œœ#Jœ

-

--

--

-

---

&

?

œœ œœn œœ œsindarkwillwe

byestbutmay

love,night,

naught,say,

HeHeAndAs

œ

œœ œœ# œœ œœn

..œœ jœ œ œœsaid,said,said,he,

“Thy“Thy“Thy“Thy

will,will,will,will,

OOOO

Jœ œ


œ œ œ œLord,Lord,Lord,Lord,

be

bebe

be

� �

œ œ œ œ� �

..��done.”done.”

done.”done.”

.� .�

⌝

-

Thy Will, O Lord, Be Done

Text: Frank I. Kooyman, 1880–1963. © 1948 IRIMusic: Robert P. Manookin, 1918–1997. © 1985 IRI

Moses 4:2; Luke 22:41–442 Nephi 10:24

188Figure 5.5, Hymn 188 Pres. (4)bi (2) bi’ (2)

cont. (4)

harmonic acceleration

C: I IV6 I IV V2 I6 iii: i

iii: V2 i6 viio6t i C:V7/vi vi IM 4e cto7

I 6r viio7/vi vi 2 IV ii6 I6 ii7 V 7 I

( )

( )

( )

113

havethebinaryharmonicstructure,nordoesitrepeatthesecondhalfasis

typicalofbaroquebinaryform.567

Theaphraseconsistsoffourmeasuresthatprolongtonic,includingthe

useofbookendingacrosstheentirephrase(indicatedbythedashedlineabove

thescore).Therepeatoftheaphraseisidenticaltothefirst.Exceptforthenew

textinthesecondphrasethemusiccouldberenderedwithrepeatbars.The

four-measurebphraseincludesaharmonicchange,firsttonicizingiii,thenV,

cadencingwithaV:PAC,therebyprolongingdominantharmony.8

Asmall-scalehymnwouldfollowwiththefinalreturnoftheaphrase.

Instead,thephraseistruncatedtoacompact,two-measureideareprisingonlya

modifiedclosingcadence.Theendingspansthelasthalfoftheaphrase.910

5Seealsohymns68and72.6Ithappensthatallthreeofthesehymntunesdatefromthesixteenthandseventeenthcenturies.Hymn68ishereattributedtoMartinLuther,hymn70isfromtheBohemianBrethren’sSongbook,1566,andhymn72isfromStralsundGesangbuch,1665,thoughthearrangementinthehymnaldatesfromthenineteenthcentury.Thissuggeststhepossibilitythatthisformwasmorecommonplaceamonghymnsinsixteenthandseventeenthcenturies.7TheAsectionisharmonicallyclosed,suggestingtheless-commonsectionalbinary.Also,becausetheendoftheBsectionusesmusicidenticaltotheendoftheAsection,thepiecemightbelabeledbalancedbinary(Green1965,72–76).8Thebphraseisalsomadeupalmostentirelyofmelodiccomponentsfromtheaphrase,providingincreasedunityandcontinuitythroughoutthehymnevenwiththeharmoniccontrast.ThedescendinglineDC#BAthatappearstwiceatthebeginningofthebphraseistakenfromthesecondmeasureoftheaphrase,andtheDF#G(#)Aascentthatendsthebphrasecanbeseenasachromaticvariationoftheopeningascentoftheaphrase.9Thereprisedcadentialmelodyisnotidenticaltothatoftheoriginal,butthedescendingBGEofthepenultimatemeasuremightbeseenasanabbreviatedrenderingoftheBAGF#Edescentthatbeginsthelasthalfoftheaphrase.10Thesmall-scalecharacteristicsqualifythisasan‘almostmodel’hymn.Itisincludedamongthe‘lessertrends’simplyasanexampleofasmallcollectionofhymnsthatallhavethesamedistinctiveform(seefootnotes6and7).

114

Figure 5.6, Hymn 70

PAC

a (4)

a (4)

D: I – – – – – – – – – ii – – – –

V 7 I

115

Thereisonefinalmusicalanomalyamongthe“lessertrends”that

warrantsbriefdiscussion.Manytheoreticiansrelegatethemajorityof

contemporaryProtestanthymnstothesinglesimplifiedformcategoryof

strophic,meaningasingleversethatisrepeated.Astructuralanalysisofahymn

issometimesrenderedasAAA,representingthemultiplerepeatsofthesame

music.Therearehymnsthatfollowthispatternonasmallscalewithinasingle

hymn,thatis,thephrasestructureofasingleverseofahymnmightbe

PAC

PACV:PACV:P D T P D T

b (4)

½ a (4)

(iii: iv V 6r 7 i) (V:V 4e I6 V7 I)

D: V2 I6 p I (V:ii V7 I)

116

representedasaaa,theentirehymntherebyconsistingofthreesimilarphrases

melodicallyandfunctionally.Thisformcanbetermedcondensedstrophic.11The

aaastructuredoesallowforsomeharmonicormelodicvariationbetween

phrases.Thecondensedstrophicformrequiresenoughvariationtokeepthe

musicinterestingacrossmultipleverses.

11Seehymns213(“TheFirstNoel”)and319.

117

SUIGENERIS

Atthefarendofthespectrumofmodelstructuralconformity,beyond

hymnsthatconformtomostmodelaspects,thosethatcouldconformtomore

thanonemodel,andthosethatconformtoalessertrend,arehymnsthatstretch

theanalyticalprocessbothwithinandbeyondthetechniquesalreadyexplored.

Thefollowinghymns“think”outsidetheformalbox.

CaseStudy:aformalparagraph

Hymn37(Figure5.7)haseightphrasesand32measures,anditis

balancedandsymmetrical.Itssheerlengthsuggestsalarge-scalehymn,though

alookatpossiblephrasegroupingscallsthisintoquestion.Thereareno

repeatedphrasesormelodies,andthereisnoperiodicstructurebetweenany

phrasepairs.Thereismotivicvariation,butlackinganysectionalrepetition,the

hymnmightfeellikeamusicalparagraphorrun-onsentence.Thehymn’s

strongestunifyingelementsareaparallelrhythminthephrasesandits

repetitionofachromaticlowerneighborfigurethatbeginsthefirstsixphrases

(indicatedbytheshortdottedbarsinFigure5.7).

Theeightphrasesareeasytoidentifybytheirparallelrhythmicstructure,

thoughsomeofthemendwithnon-cadentialphraseendingsratherthan

cadences.Whilethereisnosectionalrepetition,acarefulscrutinysuggestsfour

phrasepairs.

Thefirsttwophrasesarebothtonicprolongational:phrase1hasaI–V–

Ineighborchordstructureandendswithanon-structuralIAC,whilethe

118

neighborchordinphrase2can’tdecidewhetheritisaIVoraV2,leadingtoaNC.

Thesecondtwophrasesformatransitionalpassagethatwalksthroughthe

circleoffifthstoendwithaV:PAC(phrase3cadencingonthesubmediant,which

ispartofanextendedcadentialprogressiondrivingtotheV:PAC).Thethirdpair

isdevelopmental,withachromaticbasslinethatwalksthroughbothphrases.It

alsochangesregisterinallvoices,anddrivestowardnon-tonicharmony.In

addition,thesopranoandtenorvoicesinphrase5havetradedmelodiesfrom

phrase1,addingdoublecounterpoint.Theeliminationoftherestsonthe

downbeatalsosetsthesetwophrasesapartfromthefirstfour.Phrases7and8

donotemploythechromaticlowerneighbor.Thisunitesthemandcontrasts

themfromtheothersixphrases.Intandemtheydrivetowardthefinalcadence.

Alarge-scalehymnemerges,consistingoffourphrasepairsthatfillthe

fourfunctionsofthestandardharmonicstructure.Thefirstpairistonic

prolongational,thesecondtransitional,thethirddevelopmental,andthefinal

closing/cadential.

119

Figure 5.7, Hymn 37

Phr

ase

3 P

hras

e 2

N-C

Ab: I V I I – – – – (Neighbor – – – – – – –) I

I IV V2 V2 IV V2 IV I I – – – – (Neighbor – – – – – – –) I

V: (V7/ii ii

vi:IAC (N-C)

Phr

ase

1

IACTo

nic

Pro

long

atio

nal

Tran

sitio

nal

120

Phra

se 4

Ph

rase

5

Phra

se 6

V:PAC

N-C (HC)

ii:IAC

… V I)

Ab: I V

V2/IV V7/ii ii …

Dev

elop

men

tal

121

CaseStudy:acuriouscombinationofformalfragmentsinfluencedbythe

text

Hymn217(Figure5.8)isdifficulttoparsewithrelationtothemodelsand

thestandardharmonicstructure.Ithasseveralinstancesofmusicalimbalance,

yetmaintainsaunityofelementsthatmakeitcohere.Thehymnrepeatsboth

rhythmicandmelodicideasthroughout,effectingthiscohesionamidstructural

oddities.

Phra

se 7

Ph

rase

8

PAC

Cad

entia

l/Clo

sing

cto7 V 6r V6/vi vi

I6 IV (P) ii7 V 6r 7 I

P D T

122

Thehymnspansonly12measures,butitsmartialstylemightsingmore

comfortablyinaduplemeterthaninquadruple.

Thefirstcadenceoccursinm.5,alreadyshowinganasymmetrical

phrase.Thefirsttwomeasuresarethebiandbi’ofapresentationalphrase

functioningasatonicprolongationthroughthedownbeatofm.3.M.4isa

dominantexpansion(indicatedbybrackets)precedingtheV:PACinm.5.

Musically,theexpansioncouldberemovedleavingamoresymmetricphrase

thatresemblesamodulatorysentence.

Theothertwocadencesarethehalfcadenceinm.10andthePACatthe

end.Theselastfourmeasuresformaperiodwithtwo-measureantecedentand

consequentphrases.Theotherthreemeasures(6–8)displayanotheranomaly.

Measures6and7havetheprimarycharacteristicsofapresentationalphrase:

thesamemelodypresentedtwiceindifferenttranspositionsoverharmonic

motionofI–V,V–Iprolongingtonicacrossthephrase.Asintheopening

measures,anotherharmonicexpansionisinserted(tonic,thoughwithan

implieddominantonthefinalfermata).However,thepresentationalphraseis

nevercompletedwithacontinuation,orevenaconsequentphrase.Itisleft

unfulfilleduntiltheperiodbringsclosure.Adiagramfollows:

Pres.(2),+Cont.(3withVexpansion)—V:PACPres.(2)+Iexpansion(1)—NocadenceAnt.(2)+Cons.(2).—HC,—PAC

123

Thetwoharmonicexpansionsandtheunfulfilledpresentationalphrase

demonstratetheimbalance.12

Muchoftheperceivedimbalancethroughthephrasescanbeattributedto

thepoeticstructure.Thetextfeaturesrhyminglinesofasymmetricallengths

thatrequirecareintheirsetting.Thefirstversewillstandinfortheothertwoin

illustratingthesedifficulties.

a aCome,letusanewourjourneypursue, bRollroundwiththeyear, bAndneverstandstilltilltheMasterappear. c cHisadorablewillletusgladlyfulfill, dAndourtalentsimprove dBythepatienceofhopeandthelaboroflove.(thelastlineisrepeated).

Therhymeschemehasbeenmarkedinthetextabove(aabbccdd),butas

thefollowingtableillustrates,thelengthsoftheselinesareinconsistent.The

extrasyllablesaddedtothelastbanddlinesrequireaccommodationinthe

musicalsetting.Thecomposerherehasaccountedfortheextrasyllablesby

addingaharmonicexpansioninthemiddletwolines.

12Thehymnalsofitsabinarystructure.Measures1–5formtheAsection,movingtothedominantandclosingwithaV:PAC.Measures6–12composetheBsection,with6–8formingacontrastingmiddle,andmeasures9–12formingareturntothetonicharmony.

124

Rhymedline a a b b c c d d

Numberof

Syllables

5 5 5 11 6 6 6 12

Thelastfourmeasuresformaperiodthataccountsfortherepeatofthe

lastlineoftext:theparallelnatureoftheantecedentandconsequentphrases

illustratesthatthecomposerreadthemasaunit,asdoestherepeatedtextof

bothphrases.

125

Sentence-ish (5)Pres (2)bi (1)

Figure 5.8, Hymn 217

bi’ (1)

V expansionmodulating, interrupted,cont.-like phrase (3)

harmonic acceleration

Pres (2)bi (1) bi’ (1)

V:PAC

G: I V

I 6 V V – – – – – – – – V: ( I IV V 6r 7 I)

V: T P D T

G: I V V I

126

&

?

#

#

œ œByPressEn

theester

œ œ

œœ œœ

⌜ œ œ œœ œœ œœ œœ œœpaonin

tiencetoto

ofourmy

hopeview,joy

andandand

thee

sit

œ

œœ œœ œ œ œœ œœ œœœ œ

œ œ œœ œœ œœU

later

down

bornion

ofty’smy

love.here.

throne.”

œ

œ œ œœ œœ œœuœ

⌝

- -- - - -

- -

Text: Charles Wesley, 1707–1788Music: Attr. to James Lucas, b. 1726

2 Timothy 4:7–8Matthew 25:21 (14–30)

I expansion

PAC

HCPeriod (4)ant. (2)

cons. (2)

I (V) (V) I V

V I V 6r 7 I

127

CHAPTER6:CONCLUSION

Summary

Modernhymnsareusedbyawidedemographicofpeopleforworship

anddevotion,bothpublicandprivate.Theyspeaktotheheartsandmindsof

individualsandcommunities,andtheyoffermusicalinteresttostudentsand

scholars.

Thehymnalusedforthisstudy,titledHymnsoftheChurchofJesusChrist

ofLatter-daySaints(1985),showsthehomogenizinginfluenceoftheNew

EnglandSingingSchoolsonmodernProtestanthymnody.Itincludesamajority

ofborrowedhymntunesaswellasasizeableminorityofproprietaryhymn

tunesthatarestylisticallysimilar.

Together,CaplinianandSchenkerianmethodsofferavaluableapproach

foranalyzinghymns.Whenlargenumbersofhymnsareanalyzedusingthese

methods,patternsemergerevealingstructuresthatarecommontomanyhymns.

Thestructuresidentifiedinthisstudyincludetwosmallermulti-phrase

modelsandtwolargersectionalmodels.Themulti-phrasemodelsincludethe

small-scalemodelthatistypicallysomevariationofaabaphrasestructure;and

thecompacttwo-phrasemodelconsistingofashorttwo-phrasebinaryhymn

structure.Thestandardharmonicstructureisfoundmostcommonlyin

conjunctionwiththetwosmallermodels;itcircumscribesexpository,

transitional,developmental,andclosing/cadentialharmonicfunctionsacrossa

singlehymn.

128

Thelargersectionalmodelsaremadeupoftwoormoresections;each

madeupoftwoormorephrases.Thesemodelsincludetheverse-chorusmodel

thatconsistsoftwosections,averseandachorus,thathavedistinctmusical

characters;andthelarge-scalemodelthatisalooser,moregenericcategory

describingallothersectionalhymns.

Thesefourmodelsandthestandardharmonicstructuretogethercan

accountforamajorityofthehymnsintheLDShymnal.Muchoftheinterestof

studyingthehymnsisfoundindiscoveringthat,withinthestructuresdescribed

bythisstudy,thehymnsexhibitanabundanceofstructuralvariety,creativity,

andinterest.Manyhymnsstretchthedefinitionsofmodelsorshare

characteristicsofmorethanonestructure.Otherhymnsexhibitless-common

formaltrends,andstillothersfurtherchallengemodelboundariesorlargely

defyformalcategorizationbasedontheprinciplesandmethodsinthisstudy.

AdditionalObservations

Hymnsareamicrocosmoflargerformsandstructures.Manyofthesame

principlesthatarestudiedinlargerworksareevidentinthehymnsona

comparativelytinyscale.TheanalyticalmethodsofCaplinandSchenker1offer

newinsightandgreaterclaritytoclassicalworks,anditshouldbenosurprise

thattheyalsogiveinsightandclaritytoastudyofmodernProtestanthymns.

Hymnsinteractwiththesemodernanalyticalmethodsinwaysthatchallengethe

1Thesetwotheoristsarerepresentativeofamultitudeofscholarsandstudentsofmusicalform,afewofwhomarementionedaswellintheliteraturereviewinchapter1.

129

principles,butthatalsoultimatelyupholdthemascomprisingasound,valid

perspectivefromwhichtoexamineawideswathoftraditionallytonalmusic.

Becausethehymnsareamicrocosmoflargerformalconcepts,and

becausethoseformalconceptsemergethroughtheuseofmodernanalytical

principles,thehymnshaveagreatpedagogicalpotentialforteachingboththe

analyticalprocessandtheformalconceptsonascalethatissmallerand,

perhaps,moreaccessibletothenovice.

Itisclearthathymnarrangersworkdeliberatelywithinaframeworkthat

producesstylisticconsistency,butthevarietyproducedwithinthatframework

isstillremarkable.

FurtherResearch

Thisstudyispotentiallyavaluableadditiontomusicalresearchin

hymnody,butitisplainlyonlyastep.Therearemanypossiblewaysthis

researchmightbeexpanded.

Perhapsthefirstandmostobviouswouldbetoapplythismethodologyto

additionalhymnals,i.e.,toevaluatewhetherandtowhatextentthehymnsin

otherhymnalscanbedescribedbythesemodels.Thismayservetovalidatethe

workdonehere,oritcoulddemonstrateaneedtoreviseorexpandthese

models.Additionally,astudyofhymnalsofdifferentdenominationsandfaith

traditionscouldestablishtheLDShymnaleitherasrepresentativeofthewider

bodyofhymnody(asIbelieve),orashavingastyledistinctfromotherreligious

hymntraditions.Eitherdiscoverywouldhavefascinatingimplications.

130

Thisstudyonlysparinglyconsidersthewayshymntextsinfluencethe

shapeandformofhymnmusic.Yethymntextiscentraltothedefinition,form,

andcontentofcongregationalhymns.Anin-depthformalanalysisincorporating

hymntextswouldcertainlyshedlightonasurveyofmusicalhymnforms.

TheworkandmethodsofHeinrichSchenkerarecitedseveraltimesin

thisstudy,twoofhismostfundamentaltheoreticalconceptsarepoorly

represented:thefundamentallinerepresentingtheoverarchingmelodicline,

andthefundamentalbassrepresentingtheharmonicstructurethatsupportsthe

overarchingline.Thefundamentalbassisrelatedtotheconceptsofharmonic

prolongationandcadentialclosurediscussedinitiallyinchapter2,butthisstudy

doesnotattempttoidentifythefundamentallinesofhymns.Afuller

Schenkerianstudywouldlikelyinfluencetheidentificationofharmonic

structuresthroughoutthehymnal,andcouldthereforeofferavaluableoreven

transformativeperspectiveonthiswork.

Anotherpossibilitywouldbetotrackthedevelopmentofthemusicof

severalhymnsfromearliestmusicaltranscriptstotheirmodernequivalents.

Forexample,thereexistsawrittenharmonizationof“TheSpiritofGod”(hymn2

inthecurrentLDShymnal)fromthe1840’sthathasthesamemelodyand

essentiallythesameharmony,butseemstobetheworkofamateursby

comparisonwiththemodernarrangement.2Additionalhistoricalresearch

2TheearliestLDShymnalthatcontainedprintedmusiciscalledACollectionofSacredHymnsfortheUseofLatter-daySaints(LittleandGardner1844;Moody1989,30).ItisnicknamedtheBellows-Fallshymnal,afterthelocationitwaspublished,anditcontainedamelodyandbasslinefortwohymnsthatarealsofoundinthe1985LDShymnal:“TheSpiritofGod”(hymn2)and“Adam-ondi-Ahman”(hymn49).

131

wouldlikelyuncoverotherhymns,ofboththeLDSandotherfaiths,whosemusic

hasevolvedoverthedecadesandcenturiessincetheywerewritten.

Asagenreofmusicalart,hymnshavenotbeengivenfaircreditforthe

musicalpossibilitiesfoundtherein.Acareful,in-depthstudyofhymnstructures,

suchasthisonehasstriventobe,revealsthatthereisasurprisingamountof

musicalinterestintheLDShymnal.

HymnsoftheChurchofJesusChristofLatter-daySaintsisavalued

collectionformanyreasons.Itisfilledwithpoetrythatspeakstothefaithand

beliefsofchurchgoers,itisanefficienttoolforteachingandencouragingsinging

amongtheSaints,anditholdshistoricalandculturalmemoryofthecommunity.

Additionally,asthisstudydemonstrates,themusicalinterestandstructural

varietyinthehymnaljustifyitstreasuredplaceinLatter-daySaintchurchesand

homes.

132

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APPENDIX A

IndexofReferencedHymns

Entriesinboldincludeanalyzedfigures.Theentireindexofthehymnalhasbeenincluded,thoughnotallhymnsarementionedinthisstudy.Thisdoesnotmeantheywerenotanalyzed,onlythatsomeanalyticalmaterialhadtobe

excludedintheinterestofconcisework.

Hymn# HymnName Page(s)1 TheMorningBreaks 1022 TheSpiritofGod 1303 NowLetUsRejoice 394 TruthEternal 575 HighontheMountainTop 636 RedeemerofIsrael

7 Israel,Israel,GodIsCalling 35,408 AwakeandArise

9 Come,Rejoice 39,4710 Come,SingtotheLord

11 WhatWasWitnessedintheHeavens? 54,6012 'TwasWitnessedintheMorningSky

13 AnAngelfromonHigh14 SweetIsthePeacetheGospelBrings 75

15 ISawaMightyAngelFly 38,4916 WhatGloriousScenesMineEyesBehold 67,10217 Awake,YeSaintsofGod,Awake! 67,10218 TheVoiceofGodAgainIsHeard 39,4019 WeThankThee,OGod,foraProphet

20 GodofPower,GodofRight21 Come,ListentoaProphet'sVoice 39,40,57,60,63

22 WeListentoaProphet'sVoice 4723 WeEverPrayforThee 4624 GodBlessOurProphetDear

25 NowWe'llSingwithOneAccord 5426 JosephSmith'sFirstPrayer 38,53,6327 PraisetotheMan 3828 Saints,BeholdHowGreatJehovah 108–10929 APoorWayfaringManofGrief 3830 Come,Come,YeSaints 38,5331 OGod,OurHelpinAgesPast 7532 TheHappyDayatLastHasCome

140

33 OurMountainHomeSoDear34 OYeMountainsHigh 35,38

35 FortheStrengthoftheHills36 They,theBuildersoftheNation 63

37 TheWintryDay,DescendingtoItsClose 117–12138 Come,AllYeSaintsofZion 47,5339 OSaintsofZion 35,39,40,61,6340 Arise,OGloriousZion 54,5741 LetZioninHerBeautyRise 35,38,39,50–5142 HailtotheBrightnessofZion'sGladMorning!

43 ZionStandswithHillsSurrounded 10044 BeautifulZion,BuiltAbove 8945 LeadMeintoLifeEternal 7546 GloriousThingsofTheeAreSpoken 4747 WeWillSingofZion

48 GloriousThingsAreSungofZion 36,38,39,4949 Adam-ondi-Ahman 13050 Come,ThouGloriousDayofPromise

51 SonsofMichael,HeApproaches 100–10152 TheDayDawnIsBreaking 8953 LetEarth'sInhabitantsRejoice 67,7354 Behold,theMountainoftheLord 57,61,6355 Lo,theMightyGodAppearing! 54,60,6156 SoftlyBeamstheSacredDawning

57 We'reNotAshamedtoOwnOurLord 72,74–76,58 Come,YeChildrenoftheLord 36,37,4959 Come,OThouKingofKings 38,39,43–44,47,5760 BattleHymnoftheRepublic

61 RaiseYourVoicestotheLord 5762 AllCreaturesofOurGodandKing

63 GreatKingofHeaven 67,72,7364 OnThisDayofJoyandGladness 3865 Come,AllYeSaintsWhoDwellonEarth

66 Rejoice,theLordIsKing! 57,61,63,6767 GlorytoGodonHigh

68 AMightyFortressIsOurGod 11369 AllGlory,Laud,andHonor

70 SingPraisetoHim 112–11571 WithSongsofPraise 57,6772 PraisetotheLord,theAlmighty 11373 PraisetheLordwithHeartandVoice

74 PraiseYetheLord75 InHymnsofPraise

141

76 GodofOurFathers,WeComeuntoThee77 GreatIstheLord78 GodofOurFathers,WhoseAlmightyHand 57,61,63

79 WithAllthePowerofHeartandTongue 7380 GodofOurFathers,KnownofOld

81 PressForward,Saints82 ForAlltheSaints83 GuideUs,OThouGreatJehovah84 FaithofOurFathers85 HowFirmaFoundation86 HowGreatThouArt 89

87 GodIsLove 10288 GreatGod,AttendWhileZionSings 7389 TheLordIsMyLight 82–84,8990 FromAllThatDwellbelowtheSkies

91 Father,ThyChildrentoTheeNowRaise 35,4092 FortheBeautyoftheEarth

93 PrayerofThanksgiving 6794 Come,YeThankfulPeople

95 NowThankWeAllOurGod96 DearestChildren,GodIsNearYou 82

97 Lead,KindlyLight 38,40,5398 INeedTheeEveryHour 6799 Nearer,DearSavior,toThee 39,40,53100 Nearer,MyGod,toThee 35,38101 GuideMetoThee 28–29,36,38,49102 Jesus,LoverofMySoul

103 PreciousSavior,DearRedeemer 35,39,57104 Jesus,Savior,PilotMe 110105 Master,theTempestIsRaging 46,89106 GodSpeedtheRight 46107 Lord,AcceptOurTrueDevotion 82108 TheLordIsMyShepherd

109 TheLordMyPastureWillPrepare 98110 CastThyBurdenupontheLord

111 RockofAges 110112 Savior,RedeemerofMySoul 98,100113 OurSavior'sLove 47,63,64–66114 ComeuntoHim 63115 Come,YeDisconsolate

116 Come,FollowMe117 ComeuntoJesus118 YeSimpleSoulsWhoStray

142

119 Come,WeThatLovetheLord 79120 LeanonMyAmpleArm

121 I'maPilgrim,I'maStranger122 ThoughDeepeningTrials 67,102

123 Oh,MayMySoulCommunewithThee 75124 BeStill,MySoul 93125 HowGentleGod'sCommands 79126 HowLong,OLordMostHolyandTrue 59127 DoestheJourneySeemLong?

128 WhenFaithEndures 47129 WhereCanITurnforPeace?

130 BeThouHumble131 MoreHolinessGiveMe 35,53

132 GodIsinHisHolyTemple 63133 FatherinHeaven 57134 IBelieveinChrist 98135 MyRedeemerLives 79136 IKnowThatMyRedeemerLives 89137 Testimony 75,110138 BlessOurFast,WePray

139 InFastingWeApproachThee 38,53140 DidYouThinktoPray? 38141 Jesus,theVeryThoughtofThee 57142 SweetHourofPrayer

143 LettheHolySpiritGuide 38144 SecretPrayer 89145 PrayerIstheSoul'sSincereDesire

146 GentlyRaisetheSacredStrain 57147 SweetIstheWork 53148 SabbathDay

149 AstheDewfromHeavenDistilling 67150 OThouKindandGraciousFather 67,102151 WeMeet,DearLord 59152 GodBewithYouTillWeMeetAgain 89153 Lord,WeAskTheeEreWePart 57154 Father,ThisHourHasBeenOneofJoy 59155 WeHavePartakenofThyLove 75156 SingWeNowatParting 35–36,40,53,63157 ThySpirit,Lord,HasStirredOurSouls 100158 BeforeThee,Lord,IBowMyHead

159 NowtheDayIsOver160 SoftlyNowtheLightofDay 110

161 TheLordBewithUs

143

162 Lord,WeComebeforeTheeNow 59,110163 Lord,DismissUswithThyBlessing 38,39,40–41,48–49164 GreatGod,toTheeMyEveningSong

165 AbidewithMe;'TisEventide166 AbidewithMe!167 Come,LetUsSinganEveningHymn168 AstheShadowsFall 75

169 AsNowWeTaketheSacrament170 God,OurFather,HearUsPray171 WithHumbleHeart172 InHumility,OurSavior 53–54

173 WhileofTheseEmblemsWePartake174 WhileofTheseEmblemsWePartake175 OGod,theEternalFather176 'TisSweettoSingtheMatchlessLove177 'TisSweetToSingtheMatchlessLove 89

178 OLordofHosts 61,73179 Again,OurDearRedeemingLord

180 FatherinHeaven,WeDoBelieve 72,73181 JesusofNazareth,SaviorandKing

182 We'llSingAllHailtoJesus'Name183 InRemembranceofThySuffering 61,63

184 UpontheCrossofCalvary 72–73,185 ReverentlyandMeeklyNow

186 AgainWeMeetaroundtheBoard 57,61187 GodLovedUs,SoHeSentHisSon 61,63188 ThyWill,OLord,BeDone 110–112189 OThou,BeforetheWorldBegan

190 InMemoryoftheCrucified 59,63,67191 BeholdtheGreatRedeemerDie 57,67,101–103192 HeDied!TheGreatRedeemerDied

193 IStandAllAmazed194 ThereIsaGreenHillFarAway 75

195 HowGreattheWisdomandtheLove196 Jesus,OnceofHumbleBirth197 OSavior,ThouWhoWearestaCrown 53

198 ThatEasterMorn 59199 HeIsRisen!

200 ChristtheLordIsRisenToday201 JoytotheWorld202 Oh,Come,AllYeFaithful 63,102

203 AngelsWeHaveHeardonHigh 30,204 SilentNight

144

205 OnceinRoyalDavid'sCity206 AwayinaManger207 ItCameupontheMidnightClear 38,39

208 OLittleTownofBethlehem209 Hark!TheHeraldAngelsSing 61

210 WithWonderingAwe211 WhileShepherdsWatchedTheirFlocks 53

212 Far,FarAwayonJudea'sPlains213 TheFirstNoel 46,116

214 IHeardtheBellsonChristmasDay 75215 RingOut,WildBells 59

216 WeAreSowing35,39,40,56–64,57,61

217 Come,LetUsAnew 121–126218 WeGiveTheeButThineOwn 79219 BecauseIHaveBeenGivenMuch

220 Lord,IWouldFollowThee221 DeartotheHeartoftheShepherd 89

222 HearThouOurHymn,OLord 67,78–79223 HaveIDoneAnyGood? 95–97224 IHaveWorkEnoughtoDo

225 WeAreMarchingOntoGlory 35,53,57,63226 ImprovetheShiningMoments

227 ThereIsSunshineinMySoulToday 67228 YouCanMakethePathwayBright 89229 Today,WhiletheSunShines 89230 ScatterSunshine 89231 Father,CheerOurSoulsTonight

232 LetUsOftSpeakKindWords233 Nay,SpeakNoIll 89

234 Jesus,MightyKinginZion 75235 ShouldYouFeelInclinedtoCensure 35236 Lord,AcceptintoThyKingdom 36237 DoWhatIsRight 36,38238 BeholdThySonsandDaughters,Lord 75,110239 ChoosetheRight 89240 KnowThis,ThatEverySoulIsFree

241 CountYourBlessings 89242 PraiseGod,fromWhomAllBlessingsFlow

243 LetUsAllPressOn 89244 ComeAlong,ComeAlong 89245 ThisHouseWeDedicatetoThee 75246 Onward,ChristianSoldiers

145

247 WeLoveThyHouse,OGod 110248 Up,Awake,YeDefendersofZion

249 CalledtoServe 93250 WeAreAllEnlisted 89251 Behold!ARoyalArmy 25,84–86,89252 PutYourShouldertotheWheel 24,98253 LikeTenThousandLegionsMarching 75254 TruetotheFaith 24255 CarryOn 98,104–107256 AsZion'sYouthinLatterDays 38257 Rejoice!AGloriousSoundIsHeard 35,53258 OThouRockofOurSalvation

259 HopeofIsrael260 Who'sontheLord'sSide?261 ThyServantsArePrepared 75

262 Go,YeMessengersofGlory263 GoForthwithFaith 35,40,63

264 Hark,AllYeNations! 35,38265 Arise,OGod,andShine

266 TheTimeIsFarSpent267 HowWondrousandGreat 39,40

268 Come,AllWhoseSoulsAreLighted 27,35,38269 Jehovah,LordofHeavenandEarth

270 I'llGoWhereYouWantMetoGo 93271 Oh,HolyWordsofTruthandLove 89272 OhSay,WhatIsTruth?

273 TruthReflectsuponOurSenses 87–89,274 TheIronRod 54,89275 MenAreThatTheyMightHaveJoy

276 ComeAwaytotheSundaySchool 89277 AsISearchtheHolyScriptures 69–72278 ThanksfortheSabbathSchool 38,40279 ThyHolyWord 46,75280 Welcome,Welcome,SabbathMorning 89,90–92281 HelpMeTeachwithInspiration

282 WeMeetAgaininSabbathSchool 39

283 TheGloriousGospelLightHasShone38,39,40,44–45,60,63

284 IfYouCouldHietoKolob 46,59285 GodMovesinaMysteriousWay

286 Oh,WhatSongsoftheHeart287 Rise,YeSaints,andTemplesEnter 75

288 HowBeautifulThyTemples,Lord 63

146

289 HolyTemplesonMountZion* 35,40,63290 Rejoice,YeSaintsofLatterDays

291 TurnYourHearts 110292 OMyFather

293 EachLifeThatTouchesOursforGood 75294 LoveatHome

295 OLoveThatGlorifiestheSon296 OurFather,byWhoseName 36,47–48,53

297 FromHomesofSaintsGladSongsArise 39298 HomeCanBeaHeavenonEarth 67299 ChildrenofOurHeavenlyFather

300 FamiliesCanBeTogetherForever301 IAmaChildofGod 67

302 IKnowMyFatherLives 46303 KeeptheCommandments

304 TeachMetoWalkintheLight305 TheLightDivine 93–95

306 God'sDailyCare 79307 InOurLovelyDeseret 35,38308 LoveOneAnother

309 AsSistersinZion(Women)310 AKeyWasTurnedinLatterDays(Women) 58

311 WeMeetAgainasSisters(Women) 39,41–42,63312 WeEverPrayforThee(Women) SeeHymn23313 GodIsLove(Women) SeeHymn87314 HowGentleGod'sCommands(Women) SeeHymn125315 Jesus,theVeryThoughtofThee(Women) SeeHymn141316 TheLordIsMyShepherd(Women) SeeHymn108317 SweetIstheWork(Women) SeeHymn147318 LoveatHome(Women) SeeHymn294319 YeEldersofIsrael(Men) 116320 ThePriesthoodofOurLord(Men)

321 YeWhoAreCalledtoLabor(Men) 39322 Come,AllYeSonsofGod(Men) 36323 RiseUp,OMenofGod(Men'sChoir)

324 RiseUp,OMenofGod(Men) 79325 SeetheMightyPriesthoodGathered(Men) 39,47326 Come,Come,YeSaints(Men'sChoir) SeeHymn30327 Go,YeMessengersofHeaven(Men'sChoir)

328 AnAngelfromonHigh SeeHymn13329 ThyServantsArePrepared(Men'sChoir) SeeHymn261330 See,theMightyAngelFlying(Men'sChoir) 82331 OhSay,WhatIsTruth?(Men'sChoir) SeeHymn272

147

332 Come,OThouKingofKings(Men'sChoir) SeeHymn59333 HighontheMountainTop(Men'sChoir) SeeHymn5334 INeedTheeEveryHour(Men'sChoir) SeeHymn100335 BrightlyBeamsOurFather'sMercy(Men'sChoir) SeeHymn235336 SchoolThyFeelings(Men'sChoir)

337 OHomeBeloved(Men'sChoir)338 AmericatheBeautiful 38,39,53

339 MyCountry,'TisofThee340 TheStar-SpangledBanner341 GodSavetheKing SeeHymn339

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APPENDIXB

SourcesofHymnTextsandTunesusedinExamples

SourceinformationistakenprimarilyfromtheappendicesofHymnsoftheChurchofJesusChristofLatter-daySaints,OurLatter-dayHymnsbyKarenLynnDavidson,hymnary.org,andthePsalterHymnalHandbookbyEmilyRuthBrink

andBertusFrederickPolman.LDSartistsaremarkedinbold.

PoeticMeterAbbreviations:D=DoubledCM=CommonMeter(8686)CMD=CommonMeterDoubledSM=ShortMeter(6686)LM=LongMeter(8888)Figure2.1,Hymn268Come,AllWho’sSoulsareLighted

Text:ReginaldHeber(1783-1826)Music:LowellMason(1792-1872)Meter:7676DTunename:MissionaryHymnThistunewaswrittenspecificallyasasettingforHeber'stext.

Figure2.2,Hymn101GuideMetoThee

TextandMusic:OrsonPrattHuish(1851-1932;LDS)Meter:64646664TuneName:JAMESServesaLitanytypefunction,learningthroughrepetition.FirstpublishedinDeseretSundaySchoolSongbookin1892.

Figure2.3,Hymn203AngelsWeHaveHeardonHigh

Text:Frenchcarol(ca.1862)Music:FrenchCarolMeter:7777(withrefrain)Tunename:GLORIA

Figure3.1,Hymn7Israel,Israel,GodisCalling

Text:RichardSmyth(1838-1914;LDS)Music:CharlesC.Converse(1832-1918)Meter:8787D878787

149

Tunename:ERIEAlreadyapopulartunewiththesaints,earlieritwaspairedwith“OhMyFather.”ManyProtestantdenominationssingittoJosephScriven’stext“WhatafriendwehaveinJesus.”

Figure3.2,Hymn156SingWeNowatParting

Text:GeorgeManwaring(1854-1889;LDS)Music:EbenezerBeesley(1840-1906;LDS)Meter:6565DTunename:PARTINGFirstpublishedin1880bytheJuvenileInstructorandtheTuneBookforthePrimaryAssociation.

Figure3.3,Hymn58ComeYeChildrenoftheLord

Text:JamesHWallis(1861-1940;LDS)Music:Spanishmelody;arrangedbyBenjaminCarr(1768-1831)Meter:7777DTunename:SPANISHHYMNSpanishFolkMelody.Carr’sarrangementisusedasasettingfordifferenttextsinseveralChristianhymnals.

Figure3.4,Hymn163Lord,DismissUswithThyBlessing

Text:JohnFawcett(1740-1817)Music:JeanJacauesRousseau(1712-1778)Meter:8787D

878787Tunename:GREENVILLEFromtheoperaLeDevinduVillage(TheVillageSoothsayer),1752.

Figure3.5,Hymn311WeMeetAgainAsSisters

Text:PaulL.Anderson(b.1946;LDS)Music:BonnieLauperGoodliffe(b.1943;LDS),associateTabernacleorganistMeter:7676DTunename:SISTERHOODPublishedinLDShymnal1985Musicwrittenspecificallyforthistext."Intendedto'highlightthetextandbeeasilylearnedandeasilysung."3

3Davidson1988,313,quotingcomposerBonnieGoodliffe.

150

Figure3.6,Hymn59Come,OThouKingofKings

Text:ParleyP.Pratt(1807-1857;LDS)Music:Anonymous(ca.1889)Meter:666688Tunename:SANFORD

Figure3.7,Hymn283TheGloriousGospelLightHasShown

Text:JoelH.Johnson(1802-1882;LDS)Music:GottfriedW.Fink(1783-1846)Meter:CMTunename:BETHLEHEMBETHLEHEMwasoriginallyasettingto“WhileShepherdsWatchTheirFlocks.”

Figure3.8,Hymn296OurFatherbyWhoseName

Text:FBlandTucker(1895-1984)alteredMusic:JohnDavidEdwards(1806-1885)Meter:6666888Tunename:RHOSYMEDREAnglicanhymntunenamedforthevillageinNorthWaleswherethecomposerservedasvicar.PublishedbythecomposerinOriginalSacredMusic(1836)foruseinAnglicanchurchesinWales."ThistunehasachievedsomefameinahymnpreludearrangementbyRalphVaughanWilliams"4

Figure3.9,Hymn163

SeeFigure3.4Figure3.10,Hymn41LetZioninHerBeautyRise

Text:EdwardPartridge(1793-1840;LDS)Music:Anonymous(Württtemberg,Germany,ca.1784)Meter:CMDTunename:ELLACOMBE"PublishedinachapelhymnalfortheDukeofWürtemberg(GesangbuchderHerzogl,1784),ELLACOMBE(thenameofavillageinDevonshire,England)wasfirstsettothewords"AveMaria,klarerundlichterMorgenstern."DuringthefirsthalfofthenineteenthcenturyvariousGermanhymnalsalteredthetune.SinceELLACOMBE'sinclusioninthe1868AppendixtoHymnsAncientandModern,whereitwassettoJohn

4Davidson1988,299.

151

Daniell'schildren'shymn"Come,SingwithHolyGladness,"itsusethroughouttheEnglish-speakingworldhasspread."5

Figure3.11,Hymn172InHumility,OurSavior

Text:MabelJonesGabbott(b.1910;LDS)Music:RowlandHughPrichard(1811-1887)Meter:8787DTunename:HYFRYDOL(Welshforgoodcheer,tuneful,orpleasant).“OneofthemostlovedWelshtunes,HYFRYDOLwascomposed…in1830when[Prichard]wasonlynineteen.Itwaspublishedwithaboutfortyofhisothertunesinhischildren'shymnalCyfaillyCantorion(TheSingers'Friend)in1844.”6

Figures3.12,3.13,3.14,3.15,Hymn216WeAreSowing

Text:Anonymous(fromthehymnalPureDiamonds,Cleveland,1872)Music:HenryA.Tackett(1852-1918;LDS)Meter:8787DTunename:WESTWOODDeseretSundaySchoolUnionMusicBook1884.

Figure3.16,Hymn113OurSavior'sLove

Text:EdwardL.Hart(b.1916;LDS)Music:CrawfordGates(b.1921;LDS)Meter:4846DTunename:ETERNALLIFETunewrittenspecificallyforthistext.PublishedinEnsign,July1977.

Figure3.17,Hymn277AsISearchtheHolyScriptures

TextandMusicby:C.MarianneJohnsonFisher(b.1932;LDS)Meter:8787Tunename:ABIDINGPEACEBlindsincebirth,theauthor/composeroriginallysetthetextinBrailleandthendictatedtextandmusictoafriend.

Figure3.18,Hymn184UpontheCrossofCalvary

Text:VilateRaile(1890-1954;LDS)Music:LeroyJ.Robertson(1896-1971;LDS)Meter:(CM)

5Brink1998.6Ibid.

152

Tunename:MARIANFigure3.19,Hymn57We'reNotAshamedtoOwnOurLord

Text:WilliamW.Phelps(1792-1872;LDS)alteredMusic:JohnLonghurst:(b.1940;LDS)TabernacleorganistMeter:(CM)Tunename:AUSTINTunesettothistextforthe1985hymnaltoreplaceamuchmoredifficultsettingusedinearlierhymnals.

Figure3.20,Hymn222HearThouOurHymn,OLord

TextandMusic:FrankW.Asper(1892-1973;LDS)Meter:(SM)Tunename:REBECCA

Figure4.1,Hymn89TheLordisMyLight

Text:JamesNicholson(1828-1876)Music:JohnR.Sweeney(1837-1899)Meter:101011115757Tunename:WANAMAKERPresbyterianSundaySchoolhymn.

Figure4.2,Hymn251Behold!ARoyalArmy

Text:FannyJ.Crosby(1820-1915)Music:AdamGeibel(1885-1933)Meter:IrregularTunename:ROYALARMYFirstpublishedin1894.Acollaborationofablindauthorwithablindmusician.

Figure4.3,Hymn273TruthReflectsUponOurSenses

Text:ElizaR.Snow(1804-1887;LDS)ChorusbyM.E.AbbeyMusic:CharlesDavisTillman(1861-1943)Meter:8787(12lines)Tunename:RAILWAYTOHEAVENThetunewasoriginallywrittenforM.E.Abbey'spoem"Life'sRailwaytoHeaven."BecausethetunewaslongerthanSnow'stext,thechorusfromAbbey'spoemwasretained,thuscreatingsomedisconnectbetweenthethemeoftheversesandthechorus.

153

Figure4.4,Hymn280Welcome,Welcome,SabbathMorning

Text:RobertBBaird(1855-1916;LDS)Music:EbenezerBeesley(1840-1906;LDS)Meter:8787(12lines)Tunename:WELCOMESundayschoolsong.

Figure4.5,Hymn305TheLightDivine

Text:MatildaWattsCahoon(1881-1973;LDS)Music:MildredT.Pettit(1895-1977;LDS)Meter:868675757685Tunename:LIGHTDIVINEWrittenasachorusforprimarychildren.

Figure4.6,Hymn223HaveIDoneAnyGood?

Textandmusic:WillL.Thompson(1847-1909)Meter:IrregularTunename:EASTLIVERPOOLFirstpublishedin1904.

Figure5.1,Hymn51SonsofMichael,HeApproaches

Text:EliasL.T.Harrison(1830-1900;LDS);alteredMusic:DarwinK.Wolford(b.1936;LDS)Meter:878777Tunename:JULIE

Figure5.2,Hymn191BeholdtheGreatRedeemerDie

Text:ElizaR.Snow(1804-1887;LDS)Music:GeorgeCareless(1839-1932;LDS)Meter:(LM)

88888Tunename:SACRAMENTFirstpublishedinUtahMusicalTimesin1877.

Figure5.3,Hymn255CarryOn

Text:RuthMayFox(1853-1958;LDS)Music:AlfredM.Durham(1872-1957;LDS)Meter:IrregularTunename:PAROWAN

154

WrittenforandperformedattheMutualImprovementAssociationconferenceofJune1930.

Figure5.4,Hymn28Saints,BeholdHowGreatJehovah

Text:DouglasW.Stott(b.1925;LDS)Music:A.LaurenceLyon(b.1934;LDS)Meter:8787Tunename:EDGARLyonsaid"Iwantedtowriteashort,energeticpiecenotunlikethespiritedpiecesofEnglishorigin,suchas'ForAlltheSaints.'"Firstpublishedinthe1985hymnal.

Figure5.5,Hymn188ThyWill,OLord,BeDone

Text:FrankJ.Kooyman(1880-1963;LDS)Music:RobertP.Manookin(b.1918;LDS)Meter:(LM)Tunename:HELENEThistunewaswrittenbyrequestforthe1985hymnal,butwasoriginallyintendedforadifferenttext.

Figure5.6,Hymn70SingPraisetoHim

Text:JohannJ.Shütz(1640-1690);TranslatedbyFrancesElizabethCox(1812-1897)Music:FromBohemianBrethren'sSongbook,1566;alteredMeter:87887Tunename:MITFREUDENZARTThistunewasoriginallywrittenforthereformationhymntextofthesamename.

Figure5.7,Hymn37TheWintryDay,DescendingtoItsClose

Text:OrsonF.Whitney(1855-1931;LDS)Music:EdwardP.Kimball(1882-1937;LDS)Meter:10101010DTunename:ALEX

Figure5.8,Hymn217Come,LetUsAnew

Text:CharlesWesley(17077-1788)Music:AttributedtoJamesLucas(b.1726)Meter:10166661212Tunename:LUCAS

155

Wesley'stextwasfirstpublishedwithLucas'tuneinan1833hymncollectioneditedbyLowellMason.

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