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Ennis Fruhauf
Hymn Tune Free Harmonizations
for Organ ( in two softbound 8 1/2 x 11 volumes )Volume 1
(34 pages)
Forty Free Harmonizations
of
Twenty-Four Familiar Hymn Tunes
Table of Contents
Aberystwyth Joseph Parry (2 Verses) America (International Anthem Tune) (2 Verses) Antioch George Frideric Handel (1 Verse) Austria Franz Joseph Haydn (1 Verse) Azmon Carl Gotthilf Glaser (2 Verses) Bourbon Freeman Lewis (2 Verses) Brother James Air James Lieth MacBeth Bain (2 Verses) Bunessan (Gaelic Folk Melody) (2 Verses) Coronation Oliver Holden (1 Verse) Deus Tuorum Militum (Grenoble Antiphoner) (2 Verses) Diademata George Job Elvey (1 Verse) Duke Street John Hatton (attr.) (2 Verses) Easter Hymn (Lyrica Davidica) (1 Verse) Ellacombe (German Origin) (1 Verse) Ellers Edward John Hopkins (1 Verse) Gelobt Sei Gott Melchior Vulpius (2 Verses) Gloria Patri Henry W. Greatorex (1 Verse) Hankey William G. Fischer (2 Verses) Hanover William Croft (attr.) (1 Verse) Hyfrydol Rowland Hugh Prichard (2 Verses) In Babilone (Dutch Folk Melody) (2 Verses) Italian Hymn Felice de Giardini (1 Verse) Kingsfold (English Folk Melody) (3 Verses) Kremser (Dutch Folk Melody) (2 Verses) Volume 2
(36 pages)
Thirty-nine Free Harmonizations
of
Twenty-Six Familiar Hymn Tunes
Table of Contents
Land of Rest (American Folk Hymn) (1 Verse) Lasst Uns Erfreuen (German Melody) (2 Verses) Lauda Anima John Goss (1 Verse) Laudes Domini Joseph Barnby (1 Verse) Leoni (Hebrew Melody) (1 Verse) Lyons Johann Michael Haydn (attributed) (1 Verse) Melita John Bacchus Dykes (1 Verse) Mendelssohn Felix Mendelssohn (1 Verse) Mit Freuden Zart (Franco-German Origin) (1 Verse) Nicaea John Bacchus Dykes (2 Verses) Oh when the Saints (Traditional American Spiritual) (1 Verse) Old 100th after Louis Bourgeois (1 Verse) Old 124th (Genevan Psalter) (2 Verses) Perfect Love Joseph Barnby (1 Verse) Personent Hodie (Piae Cantiones) (2 Verses) Puer Nobis Michael Praetorius (adapt.) (2 Verses) Quittez, Pasteurs (Traditional French Melody) (1 Verse) St. Anne William Croft (2 Verses) Salzburg Jakob Hintze (attr.) (1 Verse) Shalom (Traditional Israeli Melody) (2 Verses) Slane (Traditional Irish Melody) (4 Verses) Stuttgart C.F. Witt (adaptation by Gauntlett) (2 Verses) Toplady Thomas Hastings (2 Verses) Truro (Psalmodia Evangelica) (1 Verse) Westminster Abbey Henry Purcell (1 Verse) Woodbird (Traditional German Melody) (2 Verses) Notes
The hymn tunes assembled here come from Latin, Swiss, German, French, Dutch, English, American, and other varied folk hymn traditions spanning over four centuries of musical and liturgical tradition. In many instances, hymn tunes serve as a bridge between sacred and secular practices within world cultures, as evidenced by folk melodies or lilts borrowed by hymnodists and adapted to sacred use – or the reverse, when hymn tunes become popularized by noted performers or in film scores. It is not unusual for a single tune to become attached to more than one hymn text, thus tunes have developed brief names for convenient identification. Various hymnal publications have occasionally coined new names for established tunes later adapted to new texts. Oftentimes there lurks a tale – real or fanciful – behind the naming of hymn tunes: the name of a composer, a town, city or country, or a family name will frequently surface, or more abstruse christenings linked to specific sacred texts, sects or denominations, faiths or creeds. It is not unusual for the composer of a hymn tune to be unknown or anonymous, or to find a tune title linked generically to a manuscript, hymnal or songbook publication.
These free harmonizations are intended as alternative organ accompaniments to be assigned to specific verses in support of congregational hymn singing. They are for the most part written in traditional four-voice harmonized textures and are technically conservative in their demands at the console. The melodies are featured prominently in all settings.
There are four generic categories of layout and voicing present: 1.) the hymn melody appears as a solo in the soprano line, accompanied by two voices in the left hand on a secondary manual and a bass line in the pedal; 2.) the hymn melody is a solo in the tenor register, accompanied by the right hand on a secondary manual, with bass line in the pedal; and 3.) the hymn melody sounds in the soprano register and is harmonized freely in lower voices and played on one manual (with or without pedal). In some instances where there are two or more settings for the same tune, one of the verses can be used as a hymn introduction and another for an intermediate or final verse. Occasionally a slower tempo can be effectively applied to a concluding verse to dramatize a particularly bold text, as will be deduced from the nature of some of the harmonizations included herein.
The settings that feature a solo melody in the soprano or tenor voice can be rendered effectively on an instrument with multiple manuals and pedal by means of terraced dynamics. In some instances, a tune will benefit from registration on a bold solo reed (or reeds in chorus), with or without divisions coupled in support. A solo reed can be deployed effectively for a soprano cantus firmus at 16' and 8' pitches; use of an 8' pitched tenor cantus firmus will often be enhanced by the addition of 4' (and 16') pitch(es).Copyright © 2010 Ennis Fruhauf
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