a new song

[Bruce A. Randall]

Hello all,

 

I thought people might want to see a song I wrote this weekend. I have been to Newtown; I taught shape-note workshops at a folk festival that used to meet there, and I've probably driven right past the school.

 

I'm particularly eager to hear what people think about the end of the first system, where the alto & bass clash with each other.

Also you'll note that the shape-notes are non-standard; the FA is an isosceles triangle, not a right triangle. That's all I have...

 

best wishes,

Bruce Randall

 

[Robert Vaughn]

Hi, Bruce--

It's been kind of quiet around here. I guess everyone's getting ready for Christmas. I was hoping others would reply before I put my two cents in!

Thanks for submitting "Sandy Hook". I like the melody (and the melodies of the parts). I especially like the beginning two measures of the lower brace. Just something about that sound and sequence really works for me. I also notice that the melodies work well without a lot of range (mostly within a fifth or sixth it seems). Without hearing it sung I'm not qualified to say how well the bass-alto clash works at the end of the first brace, but it seems to me that it would be OK. 

I'm also curious about the use of the isosceles triangle instead of the right triangle for FA. Is there a story there?

Thanks. Have a blessed day.  

 

His glories sing,

Robert Vaughn
Mount Enterprise, TX
http://baptistsearch.blogspot.com
Ask for the old paths, where is the good way
http://mtcarmelbaptist.blogspot.com
For ask now of the days that are past...
http://oldredland.blogspot.com
Give ear, all ye inhabitants of the land.

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From: Bruce A. Randall <meli...@hotmail.com>
To: fasola-so...@googlegroups.com
Sent: Monday, December 17, 2012 7:13 PM
Subject: [fasola-songwriters: 1161] a new song

[Wade Kotter]

And I was hoping you would chime in first, Robert! Oh well...

Anyway, Bruce, I really like "Sandy Hook." It is a wonderful musical response to an unspeakable tragedy. All the parts are interesting and singable. I agree with Robert that the bass-alto clash at the end of the first system should work OK for experienced singers, although less experienced singers might find it a bit difficult. And I agree with Robert about the first two measures of the second system; there's something special going on there. One thing I do find unusual, at least in Sacred Harp terms, is the use of three consecutive VI chords in root position in the third measure of the second system. Earlier this evening I did a quick browse of the 1991 edition and VI chords in any form, especially with the root in the bass, are extremely rare in minor songs and I didn't find any examples of three VI chords in a row in any form. That said, to me this section sounds nice and fits perfectly with the descending bass line established in the preceding measures. I'd be interested if anyone else has comments on this interesting use of VI chords in root position. And does anyone else hear the echos of New England psalmody that I seem to hear? Finally, Bruce, I hope you will consider submitting this to "The Trumpet," if not during this round at least sometime down the road. This song deserves to be widely sung and would, I believe, receive a very positive response. Hopefully someday we will be able to sing it together.

Wade Kotter

South Ogden, UT

PS: MOUNT DESERT is one of our favorite songs here in Utah. I need to get my hands on your "Valley Harmony" one of these days!

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From: Robert Vaughn <rl_v...@yahoo.com>
To: "fasola-so...@googlegroups.com" <fasola-so...@googlegroups.com>
Sent: Tuesday, December 18, 2012 9:42 PM
Subject: Re: [fasola-songwriters: 1163] a new song

[Randy Webber]

I like the melody and will try the piece in Cincinnati on Jan. 1.  The 7th between the bass & the counter (next-to-last note of 1st line) doesn't sound very dissonant to me, though a 19th century listener without exposure to 20th century atonal compositions might disagree.  The augmentation of the tenor between the other 2 parts (to E natural) makes the chord more striking.  Likewise, I found the way you used of the 5th in the treble of the next-to-last measure striking.

The entire 2nd line has a descending motif in the melody, and the repeated 6 chord in root position (3rd measure) supports the melody directly above in a manner that classical theory, at least, would consider orthodox.

The text is sadly appropriate to the event commemorated.

Randy

[Bruce A. Randall]

Thank you all for your comments. I think I will keep the "weird stuff" at the end of the first system; I tried it other ways and it didn't seem any better. This is actually a v/V chord with "wrong" voice leading, although I was thinking more melodically and less chordally.

The VI chords in the 2nd system are part of the bass line leading downward; if the bass singers are accustomed to raising the 6th, they should be reminded to NOT do this here (also in the 3rd measure where it's part of the parallel-5ths phrase, again leading downward).

 

The story of the isosceles triangles isn't as interesting as one might think. I use the "Encore" computer program, which doesn't "do" shape-notes. It does, however, have noteheads used for percussion music, including a square, a little diamond, and one-and-only-one triangle. I think it's a little confusing this way, but better than nothing.

 

best wishes,

Bruce Randall

[Robert Stoddard]

I have been neglecting reading this group's email recently, as we've been hammering away on finalizing The Shenandoah Harmony to go to press next month.  470 tunes, including 61 new tunes (+3 previously unpublished Cagle tunes).  The music committee is very eager to get this book to singers by March.

On topic, though, I've typeset Bruce's SANDY HOOK (attached) to look more familiar to Sacred Harp singers.

Best wishes for a peaceful holiday season,

Robert Stoddard

Boston