Questioning the Unanswered Cad...

Mar 29, 2014 by

There’s sometimes an audible gasp from the class after singing REDEEMING GRACE, THE HUMBLE PENITENT, or Allison Blake Steel’s arrangement of HICKS’ FAREWELL. Why the surprise? A lifetime of listening and performing music conditions us to expect that a song will usually end on its tonic chord—the chord that functions as a “home” for that song’s major or minor key. In these songs, the bass ends on the expected note, but a note sung by some other part creates a chord other than the home chord. We are left with an unanswered expectation of return.

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Barring It All, Part 1

Feb 18, 2014 by

Thanks to some perceptive comments on fasola-songwriters and elsewhere, I’m going to revisit my previous post on rhythm and...

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Meter, Rhythm, and the Most Aw...

Feb 7, 2014 by

Here’s a sequel to my previous post on tune families.  After reading Charles Seeger’s article ”Versions and...

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Thoughts on Tune Families

Jan 21, 2014 by

In many early American churches—and some churches today—congregational singing consisted of either a preacher lining out...

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In Bethlehem City Christmas CD

Dec 13, 2013 by

We had a wonderful weekend at the Lehigh Valley All-Day Shenandoah Singing!  Not surprisingly, a lot of the Christmas songs in our...

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Suffering Savior (p. 344t)

Nov 30, 2013 by

This was my response to a post by Matt Bell on the fasola-discussions list, but it deserves its own place here… The arrangement...

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