Angels we have heard on high
Sweetly singing o’er the plains
And the mountains in reply
Echoing their joyous strains
CHORUS:
Gloria, in excelsis Deo!
Gloria, in excelsis Deo!
Shepherds, why this jubilee?
Why your joyous strains prolong?
What the gladsome tidings be
Which inspire your heavenly song?
Chorus
Come to Bethlehem and see
Him Whose birth the angels sing;
Come, adore on bended knee,
Christ the Lord, the newborn King.
Chorus
See Him in a manger laid
Jesus Lord of heaven and earth;
Mary, Joseph, lend your aid,
With us sing our Savior’s birth.
Chorus
This is a traditional French carol (Les Anges dans nos Campagnes) that was translated into English by Bishop James Chadwick.
This carol commemorates the story of the birth of Jesus Christ found in the Gospel of Luke, in which shepherds outside Bethlehem encounter a multitude of angels singing and praising the newborn child.
This is “Angels We Have Heard on High” with choir and orchestra.
The Piano Guys, Peter Hollens, David Archuleta, and The Mormon Tabernacle Choir get together to sing “Angels We Have Heard On High”
From RevKev, Pender UMC’s Former Associate Pastor – “As it was, so it is, Christmas about Jesus. We are all distracted by the glitz and festivities, but let us hear the sound of Angels and the call to worship our Newborn King.
Just in time for Christmas, a gift from God to you: A baby in a manger who would love us through and through..”
“I Heard the Bells on Christmas Day” is a Christmas carol based on the 1863 poem “Christmas Bells” by American poet Henry Wadsworth Longfellow. The song tells of the narrator’s despair, upon hearing Christmas bells, that “hate is strong and mocks the song of peace on earth, goodwill to men”. The carol concludes with the bells carrying renewed hope for peace among mankind.
This version is done by Casting Crowns. I chose it because the Pender choir sang this on Christmas Eve with past-Associate Pastor Dan Elmore singing the solo…and I fell in love with this version.
As seen on 2008 TBN Christmas special. “I Heard The Bells On Christmas Day” is available on Casting Crowns’ Christmas album, Peace On Earth.
More traditionally, the Mormon Tabernacle Choir’s version:
I heard the bells on Christmas Day
Their old, familiar carols play,
and wild and sweet
The words repeat
Of peace on earth, good-will to men!
And thought how, as the day had come,
The belfries of all Christendom
Had rolled along
The unbroken song
Of peace on earth, good-will to men!
Till ringing, singing on its way,
The world revolved from night to day,
A voice, a chime,
A chant sublime
Of peace on earth, good-will to men!
Then from each black, accursed mouth
The cannon thundered in the South,
And with the sound
The carols drowned
Of peace on earth, good-will to men!
It was as if an earthquake rent
The hearth-stones of a continent,
And made forlorn
The households born
Of peace on earth, good-will to men!
And in despair I bowed my head;
“There is no peace on earth,” I said;
“For hate is strong,
And mocks the song
Of peace on earth, good-will to men!”
Then pealed the bells more loud and deep:
“God is not dead, nor doth He sleep;
The Wrong shall fail,
The Right prevail,
With peace on earth, good-will to men.”
Isaac Watts wrote the words to “Joy to the World” in 1719, based on Psalm 98 in the Bible. The hymn originally glorified Christ’s triumphant return at the end of the age, rather than a song celebrating His first coming. Only the second half of Watts’ lyrics are still used today.
The music was adapted and arranged to Watts’ lyrics by Lowell Mason in 1839 from an older melody which was then believed to have originated from Handel. The name “Antioch” is generally used for the hymn tune.
As of the late 20th century, “Joy to the World” was the most-published Christmas hymn in North America.
There are versions of Joy to the World available at the O’Connor Music Studio for any level of playing, starting with Pre-Reading, all the way up through Advanced and duets.
I’ve always liked Leroy Anderson’s Sleigh Ride as a secular Christmas song 🙂 It’s not technically a Christmas song since the words never mention Christmas but it’s often played now so it seems like a way to ease into the season.
Anderson had the original idea for the piece during a heatwave in July 1946; he finished the work in February 1948. Lyrics, about a person who would like to ride in a sleigh on a winter’s day with another person, were written by Mitchell Parish in 1950.
The orchestral version was first recorded in 1949 by Arthur Fiedler and The Boston Pops Orchestra. The song was a hit record and has become the equivalent of a signature song for the orchestra.
A fun arrangement has been made for piano duet. I have copies here to lend and it’s available on amazon (of course! What isn’t?)
• 1820 ~ Jenny (Johanna) Lind, Swedish coloratura soprano, “The Swedish Nightingale”
• 1882 ~ Karol Szymanowski, Polish composer
• 1917 ~ A new word cropped up in the American lexicon: Jazz. The Literary Digest described jazz as music that caused people to, “shake, jump and writhe in ways to suggest a return to the medieval jumping mania.”
• 1927 ~ Paul Badura-Skoda, Austrian pianist and music editor
• 1927 ~ “Mammy, how I love you, how I love you, my dear old mammy!” It was Al Jolson in blackface, singing in the first full-length talking picture, The Jazz Singer, as it opened in New York City. In reality, The Jazz Singer was not a true talkie. There were only 291 spoken words in the landmark film; however, it was the first to integrate sound and this small amount of dialogue into a story through the Vitaphone disk process; and the first to entertain a large audience. The talking part was mostly singing, and it was Al Jolson who made the flick a success, proving to the critics that an all-talking film could work. (Because he didn’t think the pioneer of talkies would be all the rage, George Jessel actually turned down the starring role; as did Eddie Cantor.) A silent version of the film was released to movie theaters who had not yet popped for the $20,000 or so that it cost to rewire their venue. The audience was thrilled with Jolson’s sound performance as a cantor’s son, Jake Rabinowitz, rejecting the world he came from to become a singer of popular music, changing his name to Jack Robin in the process. Although not jazz as we know it, the songs Jolson sang became part of American music culture: Toot Toot Tootsie (Goodbye), Blue Skies, Waiting for the Robert E. Lee and, of course, My Mammy. For those truly with a need to know, Neil Diamond did not audition for Jolson’s part when finding out that Jessel had turned it down. Diamond performed in a remake of The Jazz Singer in 1980. As Jolson said, “Wait a minute, wait a minute, you ain’t heard nothin’ yet!” Maybe, through the wonders of modern technology, we could hear Jolson and Diamond together, in concert. That would be the Mammy of all jazz singin’.
• 1941 ~ Claude Thornhill and his orchestra recorded Autumn Serenade on Columbia Records.
• 1946 ~ Millie Small (Smith), Singer, known as ‘The Blue Beat Girl’ in her native Jamaica
• 1949 ~ Bobby Farrell, Singer
• 1950 ~ Thomas McClary, Guitarist with The Commodores
• 1951 ~ Kevin Cronin, Singer with REO Speedwagon
• 1960 ~ Steve Lawrence and partner, Eydie Gorme, starred at the new Lotus Club in Washington, DC.
• 1962 ~ Robert Goulet stepped out of the role of Sir Lancelot after singing/acting the part since 1960. The fabulously successful Broadway musical, Camelot, also starred Richard Burton as King Arthur and Julie Andrews as Queen Guenevere.
• 1964 ~ Matthew Sweet, Guitarist, singer, songwriter
• 1969 ~ George Harrison‘s song ‘Something’ was released as the “A” side of a Beatles’ 45, a first for Harrison. Along with Lennon and McCartney’s ‘Come Together’, the single went on reach No.1 on the US chart the following month. Both tracks were lifted from the Abbey Road album.
• 1973 ~ Gene Krupa (1909) passed away. He was an American jazz drummer, bandleader, actor, and composer known for his energetic style and showmanship. His drum solo on “Sing, Sing, Sing” (1937) elevated the role of the drummer as a frequently used solo voice in the band.
• 1974 ~ “Mack & Mabel” opened at Majestic Theater NYC for 66 performances
• 1985 ~ Nelson Riddle, Grammy Award-winning orchestra leader passed away
• 2001 ~ Blues singer Mamie “Galore” Davis died of a stroke. She was 61. Davis was born Sept. 24, 1940, in Erwin, where she started singing the blues. She graduated from O’Bannon High School and joined a local band. She performed with such musicians as Little Johnny Burton, Buddy Hicks, Little Milton and the Ike and Tina Turner Revue. Her first solo recording, Special Agent 34-24-38, was recorded on the St. Lawrence label in 1965. Under her first producer, Monk Higgins, she recorded two more singles for St. Lawrence, including her biggest hit, It Ain’t Necessary, in 1966.
• 2003 ~ Victor Buelow, who made it into the record books as the longest-serving community band director, died os an apparent heart attack. He was 94. Buelow directed the Jefferson American Legion Band for 72 years, from 1931 through the 2002 band season. Guinness World Records declared him the longest-serving director anywhere after he retired. Buelow stayed with the band even in retirement, playing the alto horn this summer
• 2007 ~ Queen’s groundbreaking promo for their 1975 hit Bohemian Rhapsody was named the UK’s best music video in a survey of music fans. Out of 1,051 adults polled by O2, 30% named the six-minute video, (which took only three hours to shoot and cost a mere £3,500 to make), their favorite.
• 2018 ~ Montserrat Caballé, Spanish soprano, died at the age of 85
• 2020 ~ Eddie Van Halen (Edward Lodewijk Van Halen) died at the age of 65. was a Dutch-American musician, songwriter, producer, and inventor.
• 2020 ~ John Lester Nash Jr. was an American singer-songwriter, best known in the United States for his 1972 hit “I Can See Clearly Now”. Primarily a reggae and pop singer, he was one of the first non-Jamaican artists to record reggae music in Kingston.
The American Fotoplayer is a type of photoplayer developed by the American Fotoplayer Company between the years of 1912 and 1925. The Fotoplayer is a type of player piano specifically developed to provide music and sound effects for silent movies.
…
The appeal of the Fotoplayer to theatre owners was the fact that it took no musical skill to operate. The Fotoplayer would play the piano and pipe organ mechanically using an electric motor, an air pump, and piano rolls while the user of the Fotoplayer would follow the onscreen action while pulling cords, pushing buttons, and pressing pedals to produce relatable sounds to what was occurring onscreen. These actions could create sounds such as a steamboat whistle, a bird chirp, wind, thunder, a telephone bell, as well as many others. On Fotoplayers specifically, most effects were created using leather cords with wooden handles on the ends which the effects were directly connected to. For example, the steamboat whistle sound effect was created using a household bellows with a whistle at the end. Pulling the cord compressed the bellows, delivering a gust of air into the whistle. Creating a drum roll on the other hand was a bit more complicated. A clockwork device was needed to time the strikes of the drum which required constant winding.
Writer and neurologist Oliver Sacks, who died on Sunday, August 30, 2015 at age 82, spent his life wondering on the myriad connections among biology, thought, emotion and perception.
For those of us who obsess over the how and why of music, Sacks’ work on sound and its effects on the brain – and vice versa – was particularly illuminating. His book on the subject, “Musicophilia: Tales of Music and the Brain,” remains essential reading for those who want to understand the mechanics of music.
Through bountiful research and mesmerizing case studies, Sacks addressed topics including music and amnesia, music therapy, musical prodigies and those who suffer from debilitating aural hallucinations.
These days, there is much pressure for parents to begin their children in activities from an early age. We know that children tend to pick up new skills easily and we want for them to have an opportunity to become experts at these new skills. We also see curiosity, desire and eagerness to learn in our children and want to capitalize on that.
Music lessons are no exception. We often get calls asking the question, “When is the best time to enroll my child in piano lessons?” The answer to that is a tricky one, and varies for each child. The right age for one may not be the right age for another. Here are a few questions to ask yourself if you are considering enrolling your child in music lessons:
1. Does my child have an attention span to sit still for chunks of time and listen to instruction?
Many teachers today are very creative in using off-bench activities during lessons and have a plethora of activities to make lessons fun and engaging. However, the fact remains that your child will need to sit at the piano for some periods of time during the lesson. It is important that your child have the attention span to do this.
Life very often throws some curious coincidences my way. Just as I was preparing a presentation for architecture students at the Goa College of Architecture on ‘Architecture and Music’ and looking at the relationship of the Fibonacci sequence to music, what should appear in my newsfeed but the announcement of the famed piano firm Steinway and Sons unveiling its 600,000th piano, incorporating the iconic Fibonacci spiral in its design.
The veneer of the “Fibonacci” piano features the eponymous spiral made from six individual logs of Macassar Ebony, “creating a fluid design that represents the geometric harmony found in nature.”
In the words of designer Frank Pollaro, who spent over 6000 work-hours over four years in its creation: “Designing Steinway & Sons’ 600,000th piano was an honour and a challenge. To me, knowing that this piano would become part of history meant that it had to be more than just a beautiful design, but also needed to visually convey a deeper message…as I considered the number 600,000, the Fibonacci spiral came to mind. The way in which it continues to grow but stay true to its form is very much like Steinway and Sons over these many years. Combining the universal languages of music and mathematics suddenly made perfect sense.”
Mind you, 600,000 is not a number in the Fibonacci sequence; I checked. 600,000 is between the 29th and 30th numbers in the Fibonacci series, which are 514,229 and 832,040 respectively. But Pollaro was nevertheless highlighting an interesting relationship between music and mathematics.
Named after the Italian mathematician Leonardo Fibonacci (c. 1170- c. 1250) who brought the Indian-Arabic numeral system to Europe, the Fibonacci series appear in nature and in music, and finds application in architecture and in instrument design, much before the Fibonacci Steinway.
The basic ideas of the Fibonacci progression are contained in the writings of Indian scholar Pingala (300-200 BC) in his treatise on Sanskrit prosody.
The Fibonacci numbers have the following integer sequence: 0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144, 233, 377, 610, 987 and onward. Each added number is the sum of two previous numbers before it.
In nature, the Fibonacci sequence underpins phyllotaxis (arrangement of leaves on a stem), branching in trees, fruit sprouts of a pineapple among many other examples, and even the shape of the human external ear, and the cochlear apparatus of the inner ear.
It can be applied to the western musical scale as well, with the caveat that the starting note one makes the measurement from (or the ‘root’ note) is designated as 1 and not 0. By this token, there are 13 notes in a scale through its octave. There are 8 notes in a diatonic scale (hence the top note is called an ‘oct’ave). The 5th and 3rd notes create the basic foundation of musical chords. All these are Fibonacci numbers.
The very notes in the scale are based on natural harmonics created by ratios of frequencies. Ratios found in the first seven numbers of the Fibonacci series (0, 1, 1, 2, 3, 5, 8) are related to key frequencies of musical notes. Thus if we take an arbitrary frequency of 440 Hz, the root note has a ratio of 1/1, but the octave above it has a frequency of 880 Hz (2/1 of 440); a fifth above has a frequency of 660 Hz (3/2 of 440), and so on for other notes in the scale.
In last Sunday’s article, I had mentioned the ‘golden proportion’ or phi, which underpins the proportions of the Parthenon temple in the Acropolis in Athens, Greece. This ‘golden ratio’ (also called the ‘golden section’, ‘golden mean’ or the ‘divine proportion’) of 1:1618 or 0.618 has influenced composition in painting and photography, prompting the notion of dividing a canvas into thirds vertically and horizontally, and to position a subject of interest ‘about one-third’ of the way across instead of in the centre.
This ‘golden ratio’ can be obtained by dividing a Fibonacci number (in the higher reaches, not the first few) by its immediate predecessor. The quotient approximates phi (φ). Thus 987/610= 1.61803, and its inverse is 0.618.
The climax or high point of many songs and other compositions is often found at the ‘phi’ (φ) point (61.8 per cent) of the work. We have seen this to be true in the first movement of
S. Bach’s G minor sonata for solo violin.
In many compositions in sonata form, the addition of a coda causes the recapitulation (the return of the original idea that started the work) to begin at the 61.8 per cent point.
The legendary violin maker Antonio Stradivari seemed to be aware of the ‘golden section’ and used it in the placement of the f-holes on his violins. The proportions of the violin conform to the ratios of ‘phi’ (φ). The spiral of a violin scroll also obeys the Fibonacci progression.
Isn’t it amazing, how the visual and aural world, indeed nature itself can all be unified by the same mathematical sequence?[NT]
MaryO'Studio 