Post by Etaoin Shrdlu on Sept 26, 2023 10:51:02 GMT
Let's start with hymns.
I recently went to a funeral, and there were four hymns. I've forgotten the first two; they were in long meter (8.8.8.8, which is four lines of eight syllables in iambic tetrameter), and had the same sort of predictable tunes with a limited vocal range. I sort of knew one, though not the other, but it was easy enough to sing along. After all, they're designed to be that way.
An example of a hymn tune in long meter, not a million miles away from whatever the two were that were played:
I didn't know the third hymn, and took an instant dislike to it. First of all, it was trickier to sing than the first two. But everything about the thing irritated me -- the smugness of the sentiment, the repetition in the chorus, the fact that it forces the anapaests of the lyrics into a 4/4 rhythm, although you'd think it's crying out for something in 3/4. (I suspect this last is just me looking for reasons to object to it, as it probably happens fairly often, but I can't think of other examples offhand. Maybe callaina can, as she probably knows about these things.)
The fourth hymn must be one of the most popular hymns in the country. Most people would recognise the tune, even if they couldn't name the hymn. It's fun to sing, even though it's much more complicated than long meter or common meter (8.7.8.7) hymns. I suppose it's the harmonies that do it. Yes, it repeats phrases, which I objected to in the previous hymn, but it seems to work here. From Wiki:
The hymn is usually pitched in A-flat major and has the 8.7.8.7.4.4.7.7 measure which is common in Welsh hymns. The third line repeats the first and the fourth line develops the second. The fifth line normally involves a repeat of the four-syllable text and the sixth reaches a climax on a dominant seventh chord (bar 12) – emphasised by a rising arpeggio in the alto and bass parts. The final line continues the musical development of the second and fourth (and generally carries a repeat of the text of the sixth). On account of these vigorous characteristics, the tune was resisted for some time in both Welsh and English collections but has long been firmly established.
I can't help wondering what exactly was said by those who objected to it.
In English:
And a taste of the Welsh version:
I recently went to a funeral, and there were four hymns. I've forgotten the first two; they were in long meter (8.8.8.8, which is four lines of eight syllables in iambic tetrameter), and had the same sort of predictable tunes with a limited vocal range. I sort of knew one, though not the other, but it was easy enough to sing along. After all, they're designed to be that way.
An example of a hymn tune in long meter, not a million miles away from whatever the two were that were played:
I didn't know the third hymn, and took an instant dislike to it. First of all, it was trickier to sing than the first two. But everything about the thing irritated me -- the smugness of the sentiment, the repetition in the chorus, the fact that it forces the anapaests of the lyrics into a 4/4 rhythm, although you'd think it's crying out for something in 3/4. (I suspect this last is just me looking for reasons to object to it, as it probably happens fairly often, but I can't think of other examples offhand. Maybe callaina can, as she probably knows about these things.)
The fourth hymn must be one of the most popular hymns in the country. Most people would recognise the tune, even if they couldn't name the hymn. It's fun to sing, even though it's much more complicated than long meter or common meter (8.7.8.7) hymns. I suppose it's the harmonies that do it. Yes, it repeats phrases, which I objected to in the previous hymn, but it seems to work here. From Wiki:
The hymn is usually pitched in A-flat major and has the 8.7.8.7.4.4.7.7 measure which is common in Welsh hymns. The third line repeats the first and the fourth line develops the second. The fifth line normally involves a repeat of the four-syllable text and the sixth reaches a climax on a dominant seventh chord (bar 12) – emphasised by a rising arpeggio in the alto and bass parts. The final line continues the musical development of the second and fourth (and generally carries a repeat of the text of the sixth). On account of these vigorous characteristics, the tune was resisted for some time in both Welsh and English collections but has long been firmly established.
I can't help wondering what exactly was said by those who objected to it.
In English:
And a taste of the Welsh version:
