Biblical Songs / A Song Cycle Chamber Music - Digital Sheet Music

SKU: A0.1535291

This multifaceted seven song cycle, settings of various Psalms, is suitable for recital or concert use, as well as for worship service. The skillful interaction between the voice and piano, along with contrasting themes and imaginative harmonic structure effectively create a seven-movement sonata for voice and piano. The songs may be performed individually or as a cohesive unit.

The cycle begins with “I Will Sing New Songs,” a fun, rollicking setting of excerpts from various psalms with a jaunty piano accompaniment. It begins with a quick verse in E-minor, then modulates to E-major for the second verse. A short piano interlude carries us to G-major for the emphatic finale.

“Make a Joyful Noise” is a setting of Psalm 100. The piano introduction is a quotation of “The Old One Hundredth” (a.k.a. The Doxology) which segues to a gentle broken chord pattern in A-major accompanying a melodic vocal line. The bridge explores a meandering, slightly dissonant tonality which then circles back to A to reprise the verse.

Next, the beautiful setting of Psalm 25, “I Offer My Soul, This plaintive vocal line works in counterpoint with a melodic piano bass line reminiscent of a cello, and which can, in fact, be effectively supported by a cello solo obligato. The nominal tonality is F#-minor, but moves smoothly through various keys and modes.

“We Shout For Joy” is a setting of Psalm 20 which opens with a bouncy allegretto 6/8 piano introduction in E-major Mixolydian. The somewhat syncopated piano part contrasts nicely with a more melodic vocal line. The upbeat verses alternate with a prayerful interlude on, “May the Lord answer all your prayers.”

The beautiful setting of Psalm 4, “Hear Me When I Call,” is designated, “sempre molto espressivo,” always very expressive. It opens with a guitar-like broken chord pattern in D-minor, introducing an elegiac vocal line, imploring God’s mercy.

“Hallelujah! Praise the Lord!” This setting of Psalm 150 opens with a maestoso vocal proclamation of the title, then gives way to a bouncy, folk-song inspired vivace, with a bridge section reminiscent of ragtime. Fun to sing, fun to play.

The cycle concludes with the masterful setting of Psalm 89, “I Will Sing of the Mercies.” The main section alternates between a strong, vigorous vocal melody and a quieter, but energetic staccato piano line, all ending with an emphatic. “Hallelujah! Amen!” There is a smoother, prayerful bridge which builds to a reprise of the “Hallelujah,” an exciting finale to the seven-song cycle.