Hebrew Children (Epiphany day 4)

When I composed the Sacred Harp Suite -- a solo piano suite based on melodies from that influential 1844 American hymnal -- I didn't approach each piece with the same formula. I gave each one what I thought it was asking me for. Some came out pretty straight. Some are almost unrecognizable compared to the original. Some, I thought, could use a little variation section like a jazzer would give it.

"Hebrew Children" is served well with what you'd call a solo section. After the theme is stated, there's a period of free melodic invention spinning off over the chord changes. Later on, I throw a bunch of sprightly zingaleebops in there that don't seem related at all. But they fit for deep reasons.

The result is a robust folk tune cooked on a jazz stove and poured into a classical vessel. And I hope it also sounds good to you.

This song always reminds me that the American settlers saw *themselves* as the Hebrew Children, escaping across perilous water from the Pharaonic tyranny of England. America, over and over, was called the "promised land" and compared to Israel of old, flowing with milk and honey. Abraham Lincoln, right around the time my edition of the Sacred Harp was published, referred to Americans as God's "almost Chosen People." Remarkable! The kinship that those Puritans felt with the ancient Jews is almost unknown now. But it's there, and awaits exploration.

To download my album "Sacred Harp Suite," go to this link:
http://store.payloadz.com/details/234949-music-classical-sacred-harp-suite.html
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To find out more about "Epiphany: 50 Days, 50 Songs," visit my website at http://www.barrybrake.com
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[beaksofeagles]

I meant Fallen

[beaksofeagles]

Can I hear "Babylon is Falling" in this?

[beaksofeagles]

I love what you are doing. I was listening to a choir doing Gershwin harmonies today, and I think you have that sensibility with your interpretation of Sacred Harp. I look forward to hearing more of your work.