2008 Music Appreciation Class
Making music with the Psalms
Dr. Donald Krubsack, Adult Band Camp 2008, Camp LuWiSoMo, Wild Rose, WI
Psalm Paraphrases
Direct Paraphrase – The writer rewrites the text thought by thought for its setting in the hymn.
TLH 14 = Ps 100
(L.M.)
TLH 20 = Ps 67 (7.7.7.7.7.7.)
Free Paraphrase with augmentation – The writer takes the image of the text and infuses
his/her own thoughts, meditations, visions. A short passage is stretched into a multi-stanza hymn.
TLH 1 = Ps 100:4(8.7.8.7.7.7.)
TLH 3 = Ps 95:2 (L.M.)
TLH 18 = Ps 27:8(7.7.7.7.)
Free Paraphrase with diminution – The writer takes the image of the text and reduces a
lengthy psalm to the manageable size of a hymn. The paraphrase makes the psalm concise but
keeps it rich with image and meaning.
TLH 17 = Ps 104(5.5.5.5.6.5.6.5.)
Combination Direct/Free Paraphrase – The writer uses elements of both direct and free
paraphrasing to accentuate meaning of text as it flows within the meter of the tune.
TLH 15 = Ps 117(L.M. with Alleluias)
Writing a psalm paraphrase.
Chose a psalm you would like to use as your text. Keep the following in mind.
- Is this a text that you can embrace, a text with which you would like to spend time?
- Is this a text you feel you could restate in your own words, perhaps in several different ways?
- Do key words of this text have synonyms you might be able to utilize?
Choose a meter for your paraphrase. Keep it simple.
Suggestions:
Restate the text in your own words. Set the pulse of your paraphrase to the meter you
have selected. Write only one stanza.
Hints:
- Choose a rhythm scheme as in column 4 above. (iamb, trochae, etc.)
- It will help to write out the rhythm you will use for each line. The pulse of the words
should fall into the rhythm of your line.
- Check multiple translations of the text for more ideas.
- Read the text. Restate the idea. Don’t be tied to the words you see.
- Think metaphorically. – Praise the Lord forever = “Thy praise shall sound from
shore to shore Till suns shall rise and set no more.”(Isaac Watts, From all that dwell
below the skies)
- You may, or may not want a rhyme scheme. (aabb, abab, or none)
Write a melody for your text.
Guidelines for writing a melody: Refer to TLH 14, Old Hundredth.
- Follow the rhythm of the text.
- Start on tonic, i.e. the first scale degree. (The third or fifth can work, too, but if you
want to keep it simple start with tonic.)
- End the first phrase on the tonic, 3rd, or 5th scale degree.
- End your second phrase on the 5th, 7th, or 2nd scale degree.
- End the third phrase on the tonic, 3rd, or 5th.
- End the last phrase on the tonic, 3rd, or 5th.
- End each phrase with a longer note value. (Half note, whole note, dotted half note.)
– The ends of the first and third phrases may be shorter.
- Select a key that stays within a suitable range. (C4 – D5).
- Select only those pitches that are in the key. (More experienced melody writers may
include a raised 4th, 6th, or 7th. These scaled degrees may be best utilized in the first phrases.)
- For the most part keep the melody moving stepwise. Arpeggiated chords and occasional leaps are
okay.
- A good melody should have contour. (Your melody might rise and fall with the text.)
- When you think you have something right it down. Sing it from the page. Can you sing it easily?
- You can always make adjustments. Experiment with it.
Harmonize your melody.
Guidelines: Refer to TLH 14, Old Hundredth.
- Write the bass line first.
- Use contrary motion wherever possible. Parallel and oblique motions are also
okay.
- Half cadence at the end of the first phrase, ending on the 5th.
- Authentic cadence at the end of the melody, ending on the root.
- Stepwise motion and leaps are characteristics of bass lines.
- Look at the contour of other bass lines in TLH for ideas. Notice the motion between
soprano and bass.
- Write Roman and Arabic numerals under the bass line to determine best chord progressions.
Pay close attention to cadences. (I-I6-IV-V; I-IV-V-I)
- Write the tenor and alto lines
- Fill in the chord tones not present in the bass and soprano.
- As a general rule double the root.
- These voices can be static. Proceed from note to note keeping common tones if possible.
- Any voice with a 7th should proceed downward by step.
- Check for parallel perfect 5ths and perfect octaves.
- Look at the contour of other tenor and alto lines in TLH for ideas.
Additional Reading:
Sing with Understanding: An Introduction to Christian Hymnody, Harry Eskew and Hugh T. MacElrath
Praying the Psalms, Walter Brueggemann
The Psalms, a Commentary by Artur Weiser, Artur Weiser
Let the People Sing: Hymn Tunes in Perspective, Paul Westermeyer, GIA.
Elementary Harmony, Robert W. Ottman, Prentice Hall.
Tonal Harmony, Stefan Kostka and Dorothy Payne, MacGraw-Hill.
