Psallam rehearsal notes

Psallam provides an order of service and musical resources. You will need to make choices about what you sing, and how hard that music is to be. Indeed, you may wish to replace some of the suggested content by music (or words) that better suit your occasion and resources. The sign ‡ indicates possible places where you may wish to choose a different setting of a text, or even a different item altogether.

It is important to look first at the outline of the service (p. v), and to assess the context of your own celebration.

• How many people might be present?

• Will most of them be choral singers who have prepared for the service?

• Is there too much unfamiliar music for those who are ‘ordinary’ members of the congregation to share?

• How capable are the singers? (In the resources section there are harder and easier choices to be made.)

• How technically adept is the keyboard player?

• Should some of the music be given to cantors, solo singers or smaller groups among those who are taking part?
  (At a choral festival this might be an individual choir, or to high or low voices, and so on.)

• Even though most of the music is written out with four voice parts, much of it can be sung in unison. Would this suit your resources better?

Other factors you may wish to consider are:

• Is there to be a sermon or address? (It is proposed that this should come near the end of the service (see p. 35) But there may be other appropriate places to consider, depending on how you structure the service. For instance you could have a short reflection introducing the three main themes of trust in God, lament and praise (i.e. before sections II, III and IV).

• How long should the service be? (You may wish to omit a whole section, or to omit some elements in some or all of the sections.)

This may be sung or spoken.

The pitch may be varied to suit the vocal range of the singers – especially of the minister.

The words should be sung in a natural way, and as a genuine dialogue between minister and people. The ‘Alleluia’ at the end needs to have energy.

This will be best sung unaccompanied. If the pitch of The Greeting is as written, it should be possible to go straight from one item to the next, using A as the common pitch.

The refrain

Depending on the size of the group, the refrain can be sung quite fast (crotchet = c. 120 or even more with a smaller group). In bar 3 (‘-la-te De-‘) the stresses should be placed on ‘la’ and ‘De’ – as though a 6/8 bar. It may be more effective to use a hard English ‘J’ for ‘Jubilate’ rather than Italiante ‘Iu’.

If the whole congregation is joining in the refrain it may be best for the choir or a cantor to sing the refrain through at the beginning to set the pitch, speed and style. The congregation should repeat the same pitches for both ‘alleluia’ (i.e. following the second soprano line in the last two bars).

The refrain is sung at the beginning and the end of the psalm. For a longer performance it would be possible to sing the refrain after each verse of the psalm. The refrain at the end of the psalm has a different ending (but the congregation can sing the same notes as before).

The verses

These will be best sung by cantor(s) or choir alone, unaccompanied. The verses are in three parts. At the end of the second part (where there is a vertical line in the middle of the stave) the gap should be longer.

Note the change in key signature. Use the F# in the tenor at the end of the refrain to pitch the opening major triad of the psalm tone.

This may be said or sung. (If it is sung, the tone is provided on p. 116. The pitch follows on from the end of Psalm 100.

Even if the main part of the prayer is said, the response at the end of the prayer can be sung.

The silence which follows the end of the Prayer of Blessing provides a time to change from praise to reflection. It will take some time to establish itself. Allow at least 30 seconds of silence, or even more.

This is a beautiful and unaffected unaccompanied melody. Although it is shown in four parts (with the melody at three octave pitches most of the time) it can be sung in unison (high voices only, low voices only, or both together). It is intended to be sung unaccompanied; however, in some circumstances it may be effective for a keyboard instrument to double the outer pitches.

The two-bar phrases should be sung in pairs, and each phrase should be shaped so that ‘mer-‘ of ‘mercy’ is the high point. Care will need to be taken to ensure that the starting pitch of each four-bar unit is absolutely accurate, so that the following phrase can be in tune.

The voice parts are straightforward, and the lower stave can be sung by the whole congregation throughout. Shape the first two phrases towards ‘God’ and the third ‘mor-‘ of ‘Immortal’.

The accompaniment is intended for piano and string bass. If you are adapting this to another instrument (e.g. organ) you need to think about the ways in which it can reflect the underlying swing and not sound like relentless crotchets.

This is an early American melody, very much in the folk melody style that the English-speaking settlers brought from the homeland and made their own (e.g. the Appalachian collections). It needs to hold onto the innocence and freshness of that style. That means it must not get bogged down in quavers: it needs to lift on the opening up-beat of each line. The high point of each line comes in the third bar of the phrase.

This collection offers a unison version for verses 1 and 4, and a more demanding harmony version for verses 2 and 3. It could be sung in unison (unaccompanied or accompanied) for all four verses. Of the harmony version could be used for all four verses (with or without accompaniment).

This hymn concludes opening section of the service. It could be followed by a short time of reflection, perhaps including a piece of instrumental music.

The refrain was originally in unison. It can be used as a congregational song in that way, and either the choir or a cantor can sing it to them at the beginning of the psalm.

The harmonised version can be used sung by choirs who want that challenge – indeed it can be sung unaccompanied. The refrain builds naturally (in dynamic and intensity ) towards ‘everlasting’.

The chant for the psalm tone poses no problems for pointing. It can be sung in unison by the whole choir or by cantor(s) with accompaniment, or in harmony with or without accompaniment. However, if you intend to sing this in harmony, your choir’s tuning has to be spot on. Spend a good deal of time rehearsing chord to chord, slowly, ensuring that each voice is really hearing each interval precisely in relation to their own line horizontally and to each chord vertically. A particularly tricky change comes for the altos after the first double bar: they have not only to get from F natural to C sharp, they have to ‘cancel out’ the C natural of the tenors.

This setting is based on the African-American spiritual ‘Steal away to Jesus’. If your singers do not know this already, they need to know the text so that they make the connections to Simeon’s song. If they do know it, you need to be sure that their memory of the melody corresponds to this version. Here is one version of the words:

Steal away, steal away, steal away to Jesus!
Steal away, steal away home,
I ain’t got long to stay here.

My Lord, He calls me,
He calls me by the thunder;
The trumpet sounds within my soul,
I ain’t got long to stay here.

Refrain

Green trees are bending,
Poor sinners stand a-trembling;
The trumpet sounds within my soul,
I ain’t got long to stay here.

Refrain

My Lord, He calls me,
He calls me by the lightning;
The trumpet sounds within my soul,
I ain’t got long to stay here.

The piece needs to be sung in the style of a spiritual – a balance of passion and simplicity. There are clearly marked dynamic contrasts to make: above a real piano needs to be achieved at the beginning. Attention needs to be paid to choral balance: there are places where basses are high and sopranos are low (as at the opening), and the basses will need to control the tone.

The whole piece could be sung unaccompanied in unison.

As with the paired Magnificat (p. 52) this setting needs capable singers, organist and violinist (or comparable instrumentalist).

This is a ‘lilting waltz’ – and that means that a very slow pulse of one-in-a-bar needs to be underlying, even if you are beating crotchets. Make the choir feel the style of a slow waltz.

The opening is characterised by very slow-moving harmonies over a static bass for 37 bars with weaving vocal and solo instrumental lines above. It will be best to learn the vocal lines without the organ chords and bass in the first instance. Each melodic vocal line has to be confident so that the separate layers of the composition are clear.

You will need to decide how far your singers can extend the opening phrases before they need to take breath. Even if they have to breathe every three or four bars, they need to think through the whole phrase, imagining that they too are string players extending the line. (You may wish to arrange for some ‘staggered’ breathing, where different singers breathe at different times so that the line appears to be continuous.)

The whole piece builds steadily over the first 58 bars. Then it bursts into the swing style of the Gloria Patri. If you are singing the Magnificat as well, then this needs to match the Gloria of that movement. Beware, only the first phrase is exactly the same in both movements! Thereafter there are correspondences (albeit transposed lower in the Nunc dimittis) but they are not always exact.

The violin part may be downloaded here.

We apologise for the misprint: the first note of the voice part (bar 3) should be middle C.

This is a setting of American folk verse, first published in New Hampshire in 1784. The music reflects that folk origin – highly lyrical and melodic, but with an underlying simplicity.

The singers need to capture that lyricism. They need to move confidently through the changes of time-signature which flow naturally from the melody.

The melody of verse 1 and of the lower part of verse 2 is identical. The upper part of verse 2 is in strict canon melodically until the end of bar 18, but there are rhythmic differences in bars 16 and 17 which may catch out the singers.

The melody of verse 3 (end of bar 19) in the upper part is derived freely from that of verse 1 so needs care. The same free treatment of the melody applies in verse 4 (end of bar 27) and verse 5 (end of bar 35). It moves across all three parts in some cases (e.g. from flute to upper voices in the opening of verse 4, and from lower voices to upper voices at the beginning of verse 5).

The flute part may be downloaded here.

This simple refrain expresses the prayer of all God’s people, rising steadily as the smoke of the incense – a sensory as well as a visual experience. The text is taken from Psalm 141. It can be sung in unison (with or without accompaniment) or in harmony (best unaccompanied). If you need an organ or piano note, beat that in, and get the player to hold the note for a whole bar until the singers have come in.

Getting them in cleanly is what is crucial. To do this, the singers have to think towards the first main beat of each phrase, and to tuck the triplet semiquavers in just before it. Practise the music without the words (e.g. to ‘la’), and omitting the triplet semiquavers.

The singing should be sustained – capturing the mystery of the prayer and incense – but without losing the 6/8 pulse.

This beautiful extract from a Song without Words (for piano) expresses our assurance and trust in God. It consists of four four-bar phrases. Except where the words demand otherwise, each four-bar phrase should be sung in one breath. This means that singers need to take a deep breath before each phrase. At the end of the first three lines of the music score, it may be best to shorten the last note by a crotchet, to allow a full beat for breathing. (More experienced choirs may not need so long a gap.)

The music needs to be calm, and that requires very disciplined singing. The leap of an octave for the sopranos (bar 10) will need particular care: it needs to be both clean and relaxed, in spite of the change of register.

The first and third phrases move towards the first beat of the fourth bar: those of the second and fourth phrases are shaped towards the third beat of the third bar.

This is set to a traditional melody (conflictingly identified as French or Welsh in different sources). It could be sung to other 8787D (e.g. Hyfrydol or Blaenwern).

This needs to be assured – a confident statement of faith. It will work well sung in unison throughout. Whether sung in unison or harmony there needs to be a forward energy.

In verse 3, the sense of the words runs over in lines 1 and 3, and this should be observed in the breathing. Breathe after ‘Spirit’ in line 1, and then at the appropriate punctuation in lines 2, 3 and 4.

As in the previous section, this hymn may be followed by a short period of reflection, perhaps including a piece of instrumental music.

This psalm is typical of the psalms of lament. Despite the psalmist’s despair, he or she expresses trust in God and praise to his Name in the closing verses: in spite all the difficulties, trials and setbacks, hope in God is never lost. These apparently conflicting standpoints need to be reflected in the singing of the psalm.

With a small singing group, it may be best for the first and third quarter of the chant to be sung by a single voice, and for the whole psalm to be sung unaccompanied. For larger choirs, it may be more effective for all the sopranos (and perhaps altos) and all the tenors and basses to sing the first and third quarters, and to use the accompanied version of the chant.

A third possibility would be to use the unaccompanied version of the chant for verses 1-4 and the accompanied version for verses 5-6. However, you need to be sure that your singers will stay in tune!

We apologise for two misprints in the soprano part: in bar 21 the first note should be C natural (not C sharp); and in bar 24 the first note should be C sharp (not C natural).

This haunting melody comes from Latvia, and while the text may refer to the exile of the Jews in Babylon we can think more readily of oppressed and displaced persons in our own time.

The opening requires two forms of humming (closed and open mouth). Singers need to distinguish between these, placing the tone in different parts of their head. The small acciacaturas need to be quick – like the inflection of a small bagpipe.

The music of the sopranos and altos of verse 1 (beginning in bar 7) and of the tenors and basses in verse 2 (beginning in bar 17) is identical, as is the accompaniment sung be the tenors and basses (beginning in bar 7) and the sopranos and altos (beginning in bar 17). It may be useful to rehearse these elements simultaneously.

In verse 3 (beginning in bar 26) the music corresponds to sopranos and altos (beginning in bar 7) and tenors and basses (beginning in bar 17) until the end of bar 32, when there is a different ending.

The final verse is different, and the altos need to take care with the tuning.

The melody of this song is strong enough to be sung on its own, unaccompanied. There is an alternative arrangement (also by John Harper) in the service book, The Litany of the Thorns, also published by the RSCM.

Those who sing this text to Gibbons’ reflective Song 46 or the wistful setting by William Walton or even the steelier setting by Kenneth Leighton will find this to be very different in approach. This is far more dramatic and forceful. The music begins strongly, setting the relentless organ chords against the contrapuntal lines of the voice parts. This is the powerful, lamenting cry of the sinner, battered by the assaults of evil.

The piece is structured as four choral sections, and the singers need to understand the rhetoric of the music. The general shape of the dynamic envelope in each section of the piece is from forceful to gentle – this is particularly true of the second section (‘Cease not’). The exception is the third section (‘To cry for vengeance’) which retains its force over all six bars. The sub-phrases are very short, and need to be sung aggressively. This is followed by the reprise of the opening, with a varied version of bars 27-30 to conclude (bars 55-58).

The lines need to be strong and sustained, even when the dynamic level is low. There are instances where it will be best for the singers to shorten the final note even before a rest (e.g. bar 19, 22, 23, 36 and 37).

The harmonisation of this refrain divides into as many as seven voice parts. As with the other prayer refrains, it can be sung in unison, both accompanied and unaccompanied. This will make it accessible to the whole congregation. However, the voice parts are quite straightforward and there are no difficult leaps. Even a small choir should be able to manage all the parts. The three lower parts (marked for tenor, baritone and bass) all lie within the bass compass; both alto parts are within the range of tenors; and the second soprano part is within the alto range. Thus, it should be possible to distribute the voices as necessary to cover all the parts.

There are two versions of this arrangement: one with accompaniment (p. 21), the other unaccompanied (p. 96). Each is equally manageable, though the first requires a reasonably able keyboard player. The accompaniment is better suited to the piano than the organ.

Take note of the opening instruction to sing ‘meditatively, and with utmost simplicity’. The dynamic range of the piece extends from pp to mf, and the performance needs to be scaled to those levels – even when some of the voices go into their upper register (e.g. accompanied version, the soprano descant in the final verse, which is marked mp).

In the accompanied version, the first entry of the voices (bar 4) may catch them out: they will instinctively expect to come in two beats later.

In both versions, the balance of the voices will need care in bars 22-23 (accompanied version; bars 18-19 unaccompanied version), when the basses rise up from low to high register: they may easily dominate the upper voices.

The words of this hymn merit study: there are some beautiful images which draw on the themes of the psalms of lament, and on the narrative of the Passion: for instance, silence as praise, and the tears of God when we are bereft.

The new tune Lachrimae Dei follows the simple folk idiom of Nettleton and Arfon. The simple harmonisation should be well within the reach of most choirs. The hymn would work well as a choral song in Lent or Passiontide or at funerals, memorial services, or services of healing.

This hymn concludes this section of the service, and may be followed with a short period of reflection, perhaps with instrumental music.

This straightforward psalm with refrain has been specially composed by the Roman Catholic Canadian composer, Denis Bédard.

The refrain can be sung in unison by the whole congregation with accompaniment, with or without choral harmony and (as appropriate) descant. The descant could also be played on a solo instrument.

The refrain may be sung first by a cantor or choir, and then by all. It is then sung after each pair of verses.

The verses of the psalm may be sung by cantor(s), choir in unison, or choir in harmony. If there are several cantors or the choir is singing in unison, there is an opportunity to contrast the voices used (i.e. high or low) either from one verse to the next, or from one pair of verses to the next.

The short lines of the psalm verses need to be sung with energy, skipping easily from stress to stress. The psalm must never sound lugubrious.

There are just two elements in this setting of Magnificat: the plainsong tone and the short African song ‘Mayenziwe’. Each is sung in alternation.

The original words of ‘Mayenziwe’ are taken from the Zulu form of the Lord’s Prayer: ‘Your will be done’. These are particularly appropriate for Mary’s song, as she accepts God’s will to be the mother of his Son.

The plainsong verses may be sung by a cantor, by a section of the choir (perhaps alternating high and low voices from one verse to the next). The style of the chanting needs to be unaffected and simple, allowing the natural stresses of the words to come through.

The ‘Mayenziwe’ verses need to be equally unaffected and simple, though here the rhythm and ensemble need to be strong. There are indications for different dynamic levels; there can also be differences in articulation between one verse and the next – particularly where the choral group is small.

The real difficulties here are typographical. It is simply impractical to put every slur to show different tied and untied patterns of the notes. However, if the singers learn the basic song (and, if you wish, you can find a version with the original Zulu text in The Light of Life, also published by the RSCM), then the fitting in of the words will be far more straightforward. The piece will best be sung from memory!

Neither the chant nor the African song should be accompanied. This is real a cappella music.

This is the biggest piece in the book, and demands capable singers and an accomplished organist and violinist (or comparable instrumentalist). The voice parts themselves are technically not too demanding (the piece was written for St Paul’s School, Concord, New Hampshire): the organ part requires a professional level of playing.

From the outset everyone taking part has to be imbued in the rhythmic swing that powers much of the piece. Even (as in the opening vocal phrases) when it looks as though you can count 4/4 everyone has to be feeling the 3+3+2 pulse.

There are sections where the pulse is effectively 2/2 (e.g. bars 26-30, 51-62, 88-101). Even here there can be no loss of ensemble and rhythmic precision, even when the tempo is slower (as in 51-62) or the lines are more lyrical (as in 88-101).

Overall the piece has to be sung and played with enormous panache, rhythmic precision, and great attention to articulation and dynamic detail.

The violin part may be downloaded here.

For those who do not want to sing Magnificat ‘Mayenziwe’ and for whom the setting by Dorothy Papadakos is just too challenging, this setting of a metrical version of Benedicite may offer an appropriate choice. The voice parts are well within the range of a small choir – even a choir without tenors (but with sufficient baritones and/or basses to divide into two parts).

The main material of the voice parts is announced in bars 5-14. This is in two sections: opening statement and refrain. The refrain (bars 10-14) is unchanging in each verse, except for the very last three bars of the whole piece.

The opening statement (bars 5-9) is used throughout the piece as well, but with greater variation. In verse 2 (bar 18) the altos use the melody, but there is a soprano descant. In verse 3 (bar31) the there is a second part for the basses, and some small changes to both melody and rhythm (bar 33). The opening of verse 4 (bar 44) uses the melody with a slight variation (bars 45-6) for upper voices. The same is true of the lower voices in last verse (bar 57), but both soprano and alto parts are new to this verse.

Although there is no metronome or style marking, this piece needs to move forward confidently. A speed of about crotchet = 116-20 may be suitable. Some dynamic variation may also be appropriate. Here is one possible scheme:

v. 1 f; v.2 mf, crescendo in the refrain to f for ‘and praise’; v. 3 mf with crescendo to f for ‘ O storms and thunders’, then mf for the refrain; v. 4 mf, crescendo in the refrain to f for ‘and praise’; v. 5 f, with ff ending.

Ensure that your singers know what is repeated and what is varied. This will save rehearsal time. The opening phrase needs to sweep through, normally in one breath, growing through the high D (e.g. bars 6-7). Breaths are necessary in verse 3 (bar 33), and verse 4 (bar 45).

This refrain needs to be sung with dignity and sustained tone, even in the opening quiet phrase. There is a sudden change of dynamic to forte at the end of bar 6: this needs to be striking. To achieve maximum effect, the opening phrase really must be genuinely piano.

The refrain is best sung in harmony unaccompanied. However, it could be sung in unison with accompaniment. It can also be sung in three parts, without tenor. The descant is optional, and may be used on the second time through.

The doxology concludes Bach’s cantata ‘Meine Seel’ erherbt den Herrn’ (BWV 10). It is a setting of the German Magnificat melody adapted by Luther from the Latin plainsong tonus peregrinus. The keyboard part is a reduction of the parts for the full orchestra, and is an important part of the texture.

The music needs to sweep along, taking its style from the polyphonic Amen. It is best felt as 2 in a bar (about minim = 56-60). The pauses in bars 5, 8 and 14 may simply regarded as markers of phrase ends. There is no need to lengthen the note significantly (or even at all).

While the opening is bold, the concluding Amen invites a gradual reduction of the dynamic as the voice parts (especially the tenors) move lower in their range.

Altos may need to be reminded that the F in bar 3 is F natural.

Although not ideal, this chorale could be sung by sopranos only with organ accompaniment.

This well-known adaptation of the German chorale ‘Lasst uns erfreuen’ by Vaughan Williams scarcely needs comment. It is best sung, as indicated, with alternation of unison and harmony singing in each verse.

This hymn concludes the last of the three central sections of the service. In this instance, it is appropriate to move straight on to the dialogue which opens the next section.

This setting is intended for use in any circumstance where RSCM singers are gathered, and can be sung with or without accompaniment in unison, two parts (SA or TB or ST/AB), three parts (SAB) or SATB.

The tenor part is both the most demanding and the voice which can be most readily omitted. The tenor part can be replaced or doubled by an instrument of suitable range (i.e. cello or saxophone), and the instrumental part will soon be available.

The genesis of this piece is a simple harmonic progression, and the inspiration is from the Russian Orthodox Church. The singing should be sustained and resonant, even when it is quiet. Good breath control is required. The two longer phrases (bars 6-10 and 11-15) should really be sung in one breath (though it is possible – if undesirable – to breathe after ‘lips’ and ‘hearts’).

Each phrase is clearly shaped towards or just after the middle. The music of the first two phrases and the penultimate phrase are related (and include similar lines for the tenors). The third and fourth phrases have identical music. This can help reduce the time needed to learn the notes.

The music needs to flow, always sensitive to the words, but with a steady (but not too slow) crotchet beat.

This is a much more demanding setting of the same text (with small variants). There is a refrain ‘Bless, O Lord’ which marks the beginning of each section of the piece, and rises in pitch successively from F (bar 1) to G (bar 9), A (bars 16 and 22) and finally B flat (bar 28), before returning to F (as ‘Amen’, bar 39). These pitches provide anchor-points for the following section – indeed the bass part is restricted to this anchor as a series of successive pedal points until bar 32. With one exception, these changes follow naturally from the end of the previous section. The exception is bar 28, where the shift to B flat is abrupt, and needs to be absolutely secure so that the new tonal centre is clearly established.

The dynamic shape of the piece follows the same pattern as the pitch, with the climax at bar 34 in the section that starts on B flat (the highest of the pedal points). The opening is quiet: the ending, very quiet.

The phrases are carefully judged so that, even at the slow pace indicated (crotchet = c. 62), each can be sung in a single breath. Where breaths are taken they are mostly within a quaver rest, and any end consonant should be sounded on that rest. This requires ongoing support for the breathing from the diaphragm, since the breaks are so short: there needs to be a constant reservoir of air which is topped up at the breathing points.

It is important to learn this carefully, with real attention to the rhythm and the pitch (especially the pitching of the low D in bars 8 and bar 11). If this is done casually it may never ever be right.

Bars 5-8 and 9-12 each need to be sung in one breath.

This must be sung with a swing and at a pace (probably no slower than crotchet = 120). However, there is a danger in going too fast before the rhythm and pitch are absolutely secure.

In performance it may be best for the whole round to be sung in unison once right through before dividing into parts. It will be best to mix upper and lower voices in each group when dividing into parts. The entry points are indicated on the score.

How many times you sing the round through may depend on the occasion. If it is sung a number of times there are opportunities for dynamic variation, which can be shaped during the performance since everyone should be watching you and singing from memory.

Use of drums may further enliven the piece.

This arrangement requires slick keyboard playing, absolute rhythmic precision from everyone, and a sense of humour (which is allowed even in worship). Though the piece was conceived for organ (and specifically Coventry Cathedral organ) it will work well with piano.

After the organ introduction, the opening verse goes through twice: first without the organ, second time with the organ. Energy is essential throughout, as are rhythm and articulation, even though the first verse need not be too loud.

The second time through can be stronger (and will naturally be so with organ support).

The last statement jacks the pitch up a semitone. The vocal writing is different but straightforward. In bar 38 the altos and tenors may need some help pitching the G natural and F flat: the clue comes from the soprano G flat – rising a semitone to G natural for the altos, and falling a tone for the tenors to F flat.

This is a straightforward setting of the hymn, in C major (a pitch better suited to congregational singing). There are five verses in the English, but only four verses in Spanish. The descant and organ part for the final refrain can be used (p. 114) – but the organist will need to transpose!

This is a new arrangement with opening fanfare, and interlude and descant for the final refrain, made by Sir David Willcocks for this service. The full score and brass and percussion parts are available here.

This arrangement is in D major – a better pitch for choirs (but on the high side for modern congregations, as a rule).

If there is a brass ensemble, the organ reduction of the fanfare and the interlude should not be played. The organ should play only in the refrain and verses.

It is critical to judge the speed of the fanfare carefully (with its semiquaver figuration) and its relationship to the hymn.

The Spanish words can be used for this version also, and can be sung from the version in C on page 40. However, they will need to be written in for the sopranos singing the descant.