Two A
dvent HymnTunes

Settings  for Carillon

I.  Rounded Variations on St. Stephen
Canon, Air and Coda on Psalm 42

Individual 8 1/2 x 11 PDF scores will be featured below
in the course of FMP's 2022-23 complimentary postings

click for →         A 4-Page PDF Binder  

Rounded Variations  onva  Music Score Available October 2022October 2022 
Saint Stephen
[4 pages]     click for →  
  PDF Score    

.Canon, Air & Coda   onn     Music Score Available July 2023
Psalm 42
                [5 pages]   click for →        PDF Score     


      A Triptych of Advent Hymns for Carillon was prepared at the request of John Bordley, Carillonneur of The University of The South, to celebrate A Festival of Lessons and Carols marking Advent 2010 in Sewannee's All Saints‘ Chapel. Two of the three settings are being offered by Fruhauf Music Publications, as listed below.
Rounded Variations on St. Stephen opens (in G major) with an expansive and broadly paced presentation of a traditional Advent hymn tune in tenor bells, followed in a new and contrasting key (B major) by an upbeat verse in treble registers, with its melody displaced by half a measure and set over a syncopated tonic pedalpoint.  In the third variation (in C major), a pedalled alto melody statement is ornamented by hand-played treble passaggio counterpoint. The fourth variation returns (in A-flat major) with the upbeat treatment heard in the second verse, again over a syncopated but migrating pedalpoint; St. Stephen's melody is tonally altered and extend into a retransition, followed by a full restatement of the opening variation.  An eloquent codetta rings out the hymn tune's third and fourth phrases with pealings of Advent tidings. Overall, Rounded Variations offers a palindromic structure; with sections represented by letters, it can be charted as ABCB'A, plus  a codetta.

Canon, Air and Coda on Psalm 42 offers a motivic introduction and  half of a canon, then an intervening lilting hymn tune sounded in its entirety, followed by resumption of canonic treatment, a dramatic cadence, and finally an extended coda.  The setting opens (in F major) with an introduction based on the first line of the melody – an antecedent and consequent phrase that is repeated for the second line of Psalm 42. The first phrase is presented boldly in canon between pedal and manual at the time interval of a half measure, then pauses as all four phrases of the hymn emerge for the first time as a treble lilt (in C major), lightly accompanied by pedal; the fourth phrase is extended eloquently. A canonic presentation of the third and fourth lines of the hymn returns, then an extended coda further develops the closing phrases, hints briefly at a bold pedal reemergence, and ends with an echo of the introduction's first phrase.

         [Reference data  is drawn from:  Hymnal Companion  to The Lutheran Book of Worship,  Philadelphia, 1981.