All I Need

[Robert Vaughn]

Last month I mentioned having a song that I might post to the list, but was reluctant to do so. Here it is, for your perusal. Maybe it's a song some would enjoy singing -- or perhaps it will give someone bad dreams at night. You be the judge.

 

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.

[Thomas Malone]

Hi Robert -

Yes, I think your song will delight some and be hard for others to handle!

It does fall into a type that is rare but not unheard of -- similar in
its "run" to 'Rest in the Kingdom' by Mr. Woodard in the Albama
Christian Harmony, and the 'new song' by Hugh McGraw in the new
edition of the same. Both are among my favorites . . .

Thanks for sharing it, maybe the world just needs more gospel music in minor.

All best,

Tom Malone

--
Dr. Thomas B. Malone
Lecturer in Music Education
Coordinator, Choral and Community Music
UMass Lowell
thomas...@uml.edu
cell 617.308.1939

[Wade Kotter]

Robert:

I agree with Tom that the world probably needs more minor gospel music and I like your song overall, but I guess I currently fall into the "find it hard to handle" category, especially the dotted sixteenth-eighth note pattern on "that I" at the end of the measure. I just can't seem to find the right tempo to make that "work" for me. What tempo do you prefer?

Also, thanks to Tom for pointing out those two songs in the CH. For some reason, the dotted sixteenth-eighth note pattern "works" for me in Mr. Woodard's song!?

Wade Kotter

South Ogden, UT

[Robert Vaughn]

Thanks, Wade, Tom.

 

First, Wade, don't feel bad about the sixteenth-dotted eighth pattern not "working" for you. It took me quite some time and fiddling with the score to decide what pattern I was actually singing! And your question made me go back and research whether I think I have it right. I believe I do. I don't know if I can give much advice to help, but try this. I'm in waiting mode, so I had time to pull it up on my laptop and sing it. I'm giving about 2-1/2 to 3 seconds per measure. (I'd say sing it a little faster once it is learned.) Perhaps try to beat it in four instead of two and that might help; when you get to the fourth division of the measure just snap that note on the word "that". I hope that will be useful.

 

I agree that the world could use more gospel music in minor. But if they are going to get it, we will probably have to write it! I'm not aware that any new book/little book composer write (or sing) in minor. I had thoughts along the line of making a SATB 7-shape version of this, and then decided it might be pointless. Perhaps this should have been written in seven and considered a "Christian Harmony" song. But unless I'm being deliberate (intentionally composing a "gospel" song), I write in four stave-four shape. That is the medium that I move in.

 

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.

From: Wade Kotter <wadek...@yahoo.com>
To: "fasola-so...@googlegroups.com" <fasola-so...@googlegroups.com>
Sent: Wednesday, May 9, 2012 11:37 AM
Subject: Re: [fasola-songwriters: 1066] All I Need

[invisibl...@gmail.com]

If there were such a thing as minor gospel music, this feels like it would be a very authentic example of how it would sound.  I think the unusual rhythm moves well, and it seems that beating in 4 would be a must for feeling the syncopation correctly, at least while learning.  Good job with the little gospel-y touches in measure 2 (especially the basses interjecting "yes!").  The latter half of the melody starts to remind me of a minor version of Lily of the Valley.  I like it.

Matt Bell

[Wade Kotter]

Thanks for the good advice, Robert. It's "working" for me now; I'd already decided to beat it in four and getting it closer to your tempo helped as well.

Wade

---

From: Robert Vaughn <rl_v...@yahoo.com>
To: "fasola-so...@googlegroups.com" <fasola-so...@googlegroups.com>
Sent: Wednesday, May 9, 2012 11:05 AM
Subject: Re: [fasola-songwriters: 1067] All I Need

[Robert Vaughn]

Thanks, Matt. I suppose it is debatable whether there is such as thing as minor gospel music. It seems like that as that style developed and became distinct, minor was squeezed out of it like the last drop of water wrung from a sponge. I mentioned elsewhere that our family participated in the "little book" convention music when I was growing up. I don't think I ever saw a minor tune in any of thes convention books. And if there was, I'm pretty sure they were never sung. In contrast, there was a little minor (very little) in our shape note church music, and, of course, a lot in Sacred Harp. I am of the opinion (just a feeling without research to support it) that we have even increased in how much we sing minor in Sacred Harp. I view this growth as contemporary with the Sacred Harp revival that began in the mid 70s. Anyway, to sum up, there ought to be minor gospel music!

 

I think you are right about beating in 4 to get the syncopation. I doubt I could beat this in 2, even though I wrote it and should know how to sing it. I think you're right about the rhythm's kinship to Lily of the Valley. I did not think of it, and I think there is another popular gospel song that I think is somewhat like this. But I have sung Lily of the Valley a lot during my lifetime!

 

Interestingly, the "gospel-y touches" in the second measure were after the fact add-ons that were't there in the first draft. The repeat of the words in the treble and alto were clearly and deliberately imitative of gospel style, but I actually viewed the "yes" in the bass more as a campmeeting shout! I suppose gospel choruses have some reliance on campmeeting choruses, anyway.

 

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.

From: "invisibl...@gmail.com" <invisibl...@gmail.com>
To: fasola-so...@googlegroups.com
Sent: Wednesday, May 9, 2012 1:14 PM
Subject: Re: [fasola-songwriters: 1068] All I Need

[Robert Vaughn]

Wade, I'm glad that was helpful. The song is a probably too out of the ordinary to be a "Sacred Harp" song, but I think it can be a fun sing.

 

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.

From: Wade Kotter <wadek...@yahoo.com>
To: "fasola-so...@googlegroups.com" <fasola-so...@googlegroups.com>

Sent: Wednesday, May 9, 2012 2:08 PM
Subject: Re: [fasola-songwriters: 1069] All I Need

Thanks for the good advice, Robert. It's "working" for me now; I'd already decided to beat it in four and getting it closer to your tempo helped as well.

Wade

[Charlie O]

Robert,

I like what you're doing with "All That I Need" and I hope you do
more. The song made me grin and almost laugh reading it, not because
it isn't good, but because it almost comes off like a satire since you
exactly nailed the expected gospel style and beat - but in minor!

I also looked at your songs in 'Celestial Chords', the 7 shape book,
and I particularly like "Job's Plaint, Answered". Interestingly, I
think that the melody in that song sounds more like a Sacred Harp kind
of melody, even in that setting. The chords are more gospel-like, but
the melody feels more Sacred Harp-like.

So, to me, it looks like you put a Sacred Harp song in a gospel
songbook, and shared a gospel song with a fasola list ;)

Could I talk you into setting "Job's Plaint, Answered" on 4 staffs and
sharing it with the list here for comments?

Thanks,

Charlie Obert

[Robert Vaughn]

Hi, Charlie--

Thanks for your interesting comments. Satire is an interesting way to look at it, since minor does turn the gospel style on its head! Concerning the songs in "Celestial Chords", I had originally written (or "wrote at") three tunes -- the two that were printed and one that was not. The third one I decided not to submit. I showed it to another songwriter who is familiar with Sacred Harp and gospel and he kind of wrinkled his nose at it. Said it looked like an attempt to mix Sacred Harp and gospel that didn't work!! So I put that one back in the basket to maybe be worked on later (or never). But that background made it especially interesting to me when you said "Job's Plaint, Answered" seemed more like a Sacred Harp melody. One curious thing, perhaps, about "Job's Plaint, Answered" is that the entire song, before and after, was written around the alto solo in the chorus. That line (music and words) was taken from a song written by Mrs. Pauline Pate in the 1960s. The song was a tribute to her, a lady I respected very much. She moved most of her adult life in gospel circles, though her (older) family background was in Sacred Harp. When I was a teenager, I went to two singing schools taught by her.

I wouldn't mind putting that song into four staves and posting it here. One question, though. Do you want it as is, with the gospel chords, or do you mean with different harmonies that are more freely moving?

Thanks again for your thoughts.

 
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.

---

From: Charlie O <obel...@gmail.com>
To: fasola-so...@googlegroups.com
Sent: Friday, May 11, 2012 8:31 AM
Subject: [fasola-songwriters: 1072] Re: All I Need

[Charlie O]

> Thanks for your interesting comments. Satire is an interesting way to look
> at it, since minor does turn the gospel style on its head!

That is why I had a humorous reaction reading it. Part of the way you
get humor is to take a pattern, copy it exactly, and then, as you put
it, turn one part of the pattern on its head.

> Do you want it as is, with the gospel chords, or do you
> mean with different harmonies that are more freely moving?

I think you could post it as is, for comments. On the other hand, if
you find you wish to adjust the harmony to use the greater freedom of
4 parts, that would also be interesting.

I use a kind of utilitarian definition as to what defines a Sacred
Harp song. For me, a Sacred Harp song is a song that my singing
community accepts. The community decides. "Cleansing Fountain", "Not
Made With Hands" and "Sessions" are all Sacred Harp songs that don't
fit the dispersed harmony model, and your harmony parts move around a
lot more than any of those songs.

I'm looking forward to the group's comments on your song.

Thanks,

Charlie


> Robert Vaughn <rl_v...@yahoo.com> May 11 05:18PM -0700

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[Robert Vaughn]

Charles, I have transferred JOB'S PLAINT, ANSWERED to a 4-staff setting. It remains pretty much as printed in Celestial Chords with the following exceptions:

1. First and last measures were made full measures.

2. The tenor is moved to a treble on the treble clef.

3. 3rd measure first note, the treble and alto notes are changed from what I had in Celestial Chords.

4. 25th measure first note, the treble and alto notes are changed from what I had in Celestial Chords.

5. 4 shapes instead of 7 shapes.

This should be the only differences between the two, unless I just made a mistake in the typesetting. For those who don't have access to Celestial Chords, I am including a seven-shape SATB version. It is one iteration that I have saved on this computer I'm working at, but isn't exactly as it appears in the book.

A few more comments on the song/tune. It is, I believe, strictly close harmony throughout, with no open chords. I wouldn't write it that way if I had not been trying to meet someone else's expectations (that is, fit the style). Had I been composing Sacred Harp style I would have not worried about that, and also would probably have more high notes in the tenor/treble.

The title is mostly out of the ordinary for gospel convention songs, too. Those words are found nowhere in the text, but is a comment on the text -- "Job's plaint" being a reference to his statement "Man that is born of woman is of few days and full of trouble" (Job 14:1, they got the reference wrong in CC) and "Answered" referring to the chorus/Jesus died for me being the "answer" to that complaint. (My "tune name" title is actually PATE.)

Finally, the notes and words "consenting to die in my place" are taken from a song titled "What is the Reason" written by Mrs. Pate in 1965. This is meant as a tribute to her, but provided some difficulty of trying to create and/or decide on words and tune to fix on both sides of it. How well I accomplished that is left to singers to decide. I would suggest to our "fasola songwriters" that this deliberate excerpting might be one way for you to create a song in tribute to a particular person.

 
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.

---

From: Charlie O <obel...@gmail.com>
To: fasola-so...@googlegroups.com

Sent: Saturday, May 12, 2012 7:02 AM
Subject: [fasola-songwriters: 1074] Re: All I Need

[Charlie O]

Robert,

Thank you for taking the time to set your song "Job's Plaint,
Answered" in 4 shapes for the list.

Reading it over in that form, I have no trouble hearing it as a song
that our local group would accept as a Sacred Harp song without
blinking.

The only note that struck me as at all out of the genre, is 2nd staff,
measure 6, the Mi on the word 'race' in the bass line. My guess is
that, if you had originally set it for 4 shapes, that would have been
different, so that comment is not meant as criticism.

I still hear the melody as being like some of the 3/4 folk-tune based
songs in Sacred Harp. So, I think it works in either 'new book' or
'old book' dress.

I'd be curious to hear if anyone else on the list has any comments on the song.

Again, thanks for taking the time to set and post it.

Regards,

Charlie Obert

On Sat, May 12, 2012 at 8:23 PM, <fasola-so...@googlegroups.com> wrote:
>   Today's Topic Summary
>
> Group: http://groups.google.com/group/fasola-songwriters/topics
>
> All I Need [2 Updates]
>
>  All I Need
>
> Charlie O <obel...@gmail.com> May 12 07:02AM -0500

>
>> Thanks for your interesting comments. Satire is an interesting way to look
>> at it, since minor does turn the gospel style on its head!
>
> That is why I had a humorous reaction reading it. Part of the way you
> get humor is to take a pattern, copy it exactly, and then, as you put
> it, turn one part of the pattern on its head.
>
>> Do you want it as is, with the gospel chords, or do you
>> mean with different harmonies that are more freely moving?
>
> I think you could post it as is, for comments. On the other hand, if
> you find you wish to adjust the harmony to use the greater freedom of
> 4 parts, that would also be interesting.
>
> I use a kind of utilitarian definition as to what defines a Sacred
> Harp song. For me, a Sacred Harp song is a song that my singing
> community accepts. The community decides. "Cleansing Fountain", "Not
> Made With Hands" and "Sessions" are all Sacred Harp songs that don't
> fit the dispersed harmony model, and your harmony parts move around a
> lot more than any of those songs.
>
> I'm looking forward to the group's comments on your song.
>
> Thanks,
>
> Charlie
>
>
>
>
>

> Robert Vaughn <rl_v...@yahoo.com> May 12 03:23PM -0700

>
> Charles, I have transferred JOB'S PLAINT, ANSWERED to a 4-staff setting. It
> remains pretty much as printed in Celestial Chords with the following
> exceptions:
>
> 1. First and last measures were made full measures.
> 2. The tenor is moved to a treble on the treble clef.
> 3. 3rd measure first note, the treble and alto notes are changed from what I
> had in Celestial Chords.

> 4. 25th measure first note,the treble and alto notes are changed from what I

[Robert Vaughn]

Charlie,

You're welcome. Thanks so much for your comments. It will be interesting to see if the style is off-putting to traditional little book/new book singers. I don't attend those singings regularly enough that I would get to know. I just drop in once in awhile when it is convenient.

When you mentioned the "mi" (ti) in the bass line, my first reaction was to think I don't know why I would do that, even in this style. It's just not likely I would use it in such a place. If using a 7th position not in the bass (in major) I would probably do it on an unaccented portion of the measure.  I went back and did a little research. This was not my original selection. Speaking Sacred Harped-ly, I had a 1-5 open chord, "sol" in the bass, and sol/re in the tenor and alto. But this is an open chord not popular in this style and they didn't want it that way but rather a three-note chord. So this really is the publishing company's chord and bass note rather than mine. I'm not saying that as criticism or that there is anything wrong with it, just that left to myself and my tendencies I'm not too likely to do that.

 
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.

---

From: Charlie O <obel...@gmail.com>
To: fasola-so...@googlegroups.com

Sent: Thursday, May 17, 2012 8:27 AM
Subject: [fasola-songwriters: 1076] Re: Job's Plaint, Answered