The PSALMS D E N N I S T E I T S M A
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1 The PSALMS Instrumental accompaniment for unison congregational singing of the 150 Psalms on Genevan Tunes from the Book of Praise - Anglo-Genevan Psalter of the Canadian Reformed Churches D E N N I S T E I T S M A
2 These harmonizations of the 150 Psalms are available in PDF format as a free download from Professionally printed copies of a spiral-bound book including all 150 Psalms and 85 Hymns with laminated covers are available for the cost of printing ($12) plus shipping. (Note that shipping charges vary by location from $10 to $25) Copyright Any part of this collection may be reproduced in any manner without permission, providing its source is properly acknowledged. 82 Cedargrove Crescent Winnipeg, Manitoba Canada, R2C 4Y7 Telephone: via jteitsma@gmail.com
3 PREFACE Instrumental music is not required in reformed worship services and neither are animal offerings. The Bible clearly shows that God requires our heart-felt offerings in our worship services, that is the fruit of lips (Heb 13:15; Hosea 14:1,2; Psalm 19:14; etc.). Such offerings are brought with the God given instrument, namely the human voice-box (see appendix for an article on Music in Reformed Liturgy ). Congregational singing in reformed liturgy is the orderly reaction of believers presenting song-offerings that were born by the Spirit, welling up from the heart and responding to the redemptive acts of God (S. Greydanus, Korte Verklaring). Singing in Unison During the Great Reformation, John Calvin in Geneva acknowledged that versification of Bible songs would best enable all believers to actively participate in the public worship services. Under his guidance and encouragement the divinely inspired songs in the Book of Psalms as well as other Bible songs were versified. One melody for multiple verses of each song were composed during the mid 1500's to reflect the content and character of each entire song. These melodies enabled all believers to join-in and make the orderly song-offerings possible during the worship services. Their unique, flowing melodies for congregational singing in unison, require no musical training. Moreover they encourage and stimulate believers to participate in this responsive nature of the reformed public worship services. Tunes The melodies are characterized not only by their suitability for congregational use. They are written in nine of the age-old twelve 'church modes' that had developed in the Western world since the fifth century. These gave birth to the two popular keys of today, the major and minor. Overall, these modes generally show an absence of tension that is so prevalent in major and minor keys. Moreover, the Genevan tunes use only two note values as well as one note for each syllable (half and quarter notes). The melodies never start on an upbeat, but always with one or more long notes (half notes). They never show intervals greater than a fifth except for an occasional octave interval between sentences. For more information on 'modes' please refer to my paper on Tunes of the Anglo- Genevan Psalter 2005, ISBN , or the Notes in my The Hymns 1990 and Organ Offertories 1990 (Inheritance Publications, Neerlandia, AB T0G 1R0). The tunes also reflect the free-flowing rhythm of the Hebrew language of these poetic songs. Their musical style appears timeless as well as linked to the early christian churches and likely even to the music used in the synagogues of earlier times [Fulfil Your Ministry, Dr.K.Deddens, Premier Publ. p.105; for more detailed information see also my booklet, Genevan Tunes, an updated version (2013) of the first part of my paper under the title Tunes of the Anglo-Genevan Psalter (2005)].
4 Tempo and Rhythm The melodies are not metrical (no bars), but rhythmic. They have a natural, flowing pulse rhythm with the beat on the longer of the two note values. In summary, the tunes are simple but not simplistic, unique but not difficult, easy but not repetitive, comforting but not boring, mood reflective but not sentimental, uplifting but not frenzied, rhythmic but not metric. Chorales are usually composed for four-voice choirs, but this keyboard collection of the 150 Psalms is particularly written to accompany congregational singing in unison. The harmonies are simple and easy to play. The distance between voices is kept to less than an octave. The base line represents the ongoing beat or pulse which is between per minute depending on the content of the song, the culture and the customs of the congregation. The proclamation of God's Word on the sabbath redirects our lives to observe God's day, to rest from our evil works and so to make a beginning of the eternal sabbath. The responsive singing is not only the required offering, but it also helps to slow down the believers' average heart beat, which is between 60 and 70 beats per minute for a person at rest. 'Concertizing' these melodies, and their use in the past with only long notes, has possibly contributed to feeling the beat on every syllable instead of on the long notes only. Instrumental accompaniment The sole purpose of instrumental music in a reformed worship service is to serve the peoples' offering of the 'fruit of lips'. Short preludes are added to properly identify the song, its rhythm and its pitch. These ensure that every member of the congregation starts at the same time, especially when a rest, equal to a full-pulse-beat, is observed. This allows everyone to inhale before starting. Short postludes allow a musical closure. Any other music was added to simply fill a page. Repeated notes in the melodies are never to be tied. Other repeated notes may be tied at the player's discretion. This depends on the song, the tempo and the need of the congregation. Therefore, ties are not shown in chorales. On a large keyboard instrument, of course, the melody can be played with a solo voice and the bass-line on a clear, strong pedal. Tying melody notes displays a lack of respect and sloppiness. This collection would not have been possible without the computer know-how of my son James. I owe him my thanks for allowing me, a computer-illiterate eighty-two year old, to be productive, for he set up the program and helped me out. Whenever I was at my wit's end, he managed to get me back on track. The purpose of making these harmonizations available is to encourage the unison singing of the Genevan tunes. These accompaniments may appear simple, but when they promote and improve the intended rhythm, pulse and tempo of these long-lasting melodies for congregational singing, their goal has been reached. When congregations catch on to the correct rhythm and speed, with the pulsating beat on the long notes, the unison singing will also feel more flowing, lighter, quicker and more natural.
5 Psalm 1 Chorale 10,10-11,11-10,10 Ionian
6 Chorale 10,11,10,11-11,10,11,10 Psalm 2 Dorian rit.
7 Psalm 3 Chorale 6,6,7-6,6,7-6,6,7-6,6,7 Ionian
8 Psalm 4 on e Transposition to f sharp Chorale 9,8-9,9,8-9,8-9,9,8 Aeolian rit. D.T. 2015
9 Psalm 4 on f# Chorale 9,8-9,9,8 -- 9,8-9,9,8 Aeolian D.T. 2015
10
11 Psalm 5 (64) Chorale 9,8,8-9,5 Dorian 1 Interlude 2
12 Psalm 6 Chorale 7,7,6-7,7,6 Aeolian Interlude /
13 Chorale 9,9, 8,8-9,9, 8,8 Psalm 7 Hypodorian 1 2 rit. D.T. 2015
14 Chorale 11,11,10,10 Psalm 8 Dorian 1 2
15 Psalm 9 Chorale 8,8,9,9 Dorian 1 2
16 Psalm 10 Chorale 10,10-10,10, - 10,11,11 Dorian 1 2 rit. rit.
17 Psalm 11 Chorale 11,10,11-10,11-10,11 Dorian rit.
18 Psalm 12 Chorale 11,10-11,10 Dorian Canon style Reed
19 Psalm 13 Chorale 8,8,9-9,8 Dorian 1 2 rit.
20 Psalm 14 (53) Chorale 10,11-11,10,4 Dorian 2 slow
21 Psalm 15 Chorale 8,9-8,8,9 Mixolydian 1 2 2
22 Psalm 16 3 Chorale 10,11-10,11-11,11 Hypo aeolian D.T. 2015
23 Psalm 17 (63, 70) Chorale 8,9,9,8-9,8,8,9 Phrygian end stanza 6
24 Psalm 18 (144) Chorale 11,11-10,10-11,11-10,10 Hypo aeolian
25 Psalm 19 Chorale 6,6,6-6,6,6-6,6,7-6,6,7 Mixolydian D.T. 2015
26 Psalm 20 Chorale 9,6-9,6-9,7-9,7 Dorian 1 2
27 Psalm 21 Chorale 8,7,7-8,6,6 Ionian Canonic slow D.T. 2015
28 Psalm 22 Chorale 10,10, 10,5-11,11,11,4 Aeolian
29 Psalm 23 Chorale 11,11-11,11-11,11 Hypodorian 1 2 (Pedal ad lib 8va)
30 Psalm 24 (62,98,111) Chorale 8,8,9-8,8,9 Dorian
31 Psalm 25 Chorale 8,7,8,7-7,8,7,8 Hypo ionian 1 2 D.T. 2015
32 Psalm 26 Chorale 6,6,8-7,7,8 Phrygian 1 or 2 D. Teitsma 2015
33 Chorale 11,10,11,10-10,10,10,10 Psalm 27 Mixolydian D.T. 2015
34 Psalm 28 (109) Chorale 9,9-9,9-8,8 Hypodorian D. Teitsma 2015
35 Psalm 29 Chorale 7,7,7,7-8,8,8,8 Ionian 1 2 D.T. 2015
36 Psalm 30 (76,139) Chorale 8,8-8,8-9,9 Hypo mixolydian D.Teitsma 2015
37 Psalm 31 (71) Chorale 9,6,6-9,7,7 Phrygian
38 Psalm 32 Chorale 11,11-10,10-11,11-10,10 Ionian rit. D.T. 2015
39 Psalm 33 (67) Chorale 9,8-9,8-6,6,5-6,6,5 Dorian
40 Chorale 6,8,8,6-6,8,8,6 Psalm 34 Dorian rit.
41 Psalm 35 Chorale 8,8,9,9-8,8,8,8 Hypo ionian rit. D.T. 2015
42 Psalm 36 (68) on C Chorale 8,8,7-8,8,7-8,8,7-8,8,7 Ionian rit. Transpose to Ionian D D.T. /15
43 Psalm 36 (68) on D Chorale 8,8,7-8,8,7-8,8,7-8,8,7 Ionian D.T. 2015
44
45 Psalm 37 Chorale 11,10,11,10,11,10 Dorian D. Teitsma 2015
46 Psalm 38 Chorale 8,4,7-8,4,7 Aeolian rit.
47 Psalm 39 Chorale 10,8-10,8-10,8 Hypo aeolian rit. D.Teitsma 2015
48 Psalm 40 Chorale 10,8,8,10-7,7,6-6,6,6 Hypodorian
49 Psalm 41 Chorale 10,6,10,6-10,6,10,6 Dorian D.T. 2015
50 Psalm 42 Chorale 8,7,8,7-7,7,8,8 Hypo ionian D.T. 2015
51 Psalm 43 Chorale 9,8-9,9-8,6 Hypo-ionian ritenuto D.T. 2015
52 Psalm 44 Chorale 9,9,8,8-8,9,8,9 Hypomixolydian rit. D.Teitsma 2015
53 Psalm 45 Chorale 11,11,10,10-11,11,10,10 Dorian rit.
54 Psalm 46 (82) Chorale 9,9-8,8-9,9-8,8 Mixolydian rit.
55 Psalm 47 Chorale 10,10,10-10,10,10 Ionian rit.
56 Psalm 48 Chorale 8,8-9,9-7,7-8,8-8,8 Dorian rit.
57 Psalm 49 Chorale 10,10,10,10-10,10,11,11 Hypo- ionian rit. D.T. 2015
58 Psalm 50 Chorale 10,10, - 10,10,11-11 Dorian
59 Psalm 51 (69) Chorale 10,11-11,10-10, 11-10,11 Phrygian rit.
60 Psalm 52 Chorale 9,6-9,6-8,6 Ionian 2 rit.
61 Psalm 53 (14) Chorale 10,11-11,10,4 Dorian rit. Variation
62 Psalm 54 Chorale 8,9,9,8-8,9,9,8 Hypo-ionian rit. Dennis T. 2015
63 Psalm 55 Chorale 9,9-9,8-8,9 Hypo-aeolian 1 rit.
64 Psalm 56 Chorale 10,10,10,7-11,11,11,6 Hypo-ionian
65 Psalm 57 Chorale 10,10-11,10-11 Mixolydian 1 Interlude/ 2
66 Psalm 58 Chorale 9,8-8,9-8,8 Hypomixolydian
67 Psalm 59 Chorale 9,9,8,8-9,9,8,8 Dorian rit. D.T 2015
68 Psalm 60 (108) Chorale 8,8,8,8-8,8,9,9 Hypo-ionian
69 Psalm 61 Chorale 8,4,7-8,4,7 Hypodorian
70 Psalm 62 (24, 95, 111) rit. Chorale 8,8,9-8,8,9 Dorian 1 2
71 Psalm 63 (17, 70) Chorale 8,9,9,8-9,8,8,9 Phrygian rit. rit.
72 Psalm 64 (5) Chorale 9,8,8, - 9,5 Dorian 1 2 rit.
73 Psalm 65 (72) Chorale 9,6-9,6-9,6-9,6 Aeolian rit. D.T. 2015
74 Psalm 66 (98, 118) Chorale 9,8-9,8-9,8-9,8 Hypo-ionian
75 Psalm 67 (33) Chorale 9,8-9,8-6,6,5-6,6,5 Dorian
76 Psalm 68 (36 on C or on D) Chorale 8,8,7-8,8,7-8,8,7-8,8,7 Ionian rit.
77 Psalm 69 (51) Chorale 10,11-11, ,11-10,11 Phrygian rit. D.T. 2015
78 Psalm 70 (17, 63) Chorale 8,9,9,8-9,8,8,9 Phrygian rit.
79 Psalm 71 (31) Chorale 9,6,6-9,7,7 Phrygian rit.
80 Psalm 72 (65) Chorale 9,6-9,6, -- 9,6-9,6 Aeolian rit. D.T. 2015
81 Psalm 73 Chorale 8,8-9,9 -- 8,8-8,8 Ionian
82 Psalm 74 (116) Chorale 10,11,11,10 Mixolydian Interlude/
83 Psalm 75 Chorale 7,7-7,7-7,7 Ionian
84 Psalm 76 (30, 139) Chorale 8,8-8,8-9,9 Hypomixolydian
85 Psalm 77 (86) Chorale 8,8-7,7-8,8-7,7 Hypodorian rit. D.T. 2015
86 Psalm 78 (90) Chorale 11,11-11,11-10,10 Dorian
87 Psalm 79 Chorale 11,11,11,11-6,6,7-6,6,7 Hypo-ionian end of stanza 5 D.T. 2015
88 Psalm 80 Chorale 9,9-8,8-8,8 Dorian
89 Psalm 81 Chorale 5,6-5,5-5,6 Ionian
90 Psalm 82 (46) Chorale 9,9-8,8-9,9-8,8 Mixolydian rit.
91 Psalm 83 Chorale 8,8,9-9,9,9 Phrygian cantus firmus
92 Chorale 8,8,9-8,8,9-8,8 Psalm 84 Ionian rit.
93 Psalm 85 Chorale 10,10-10, ,10-10,10 rit.
94 Psalm 86 (77) Chorale 8,8,7,7-8,8,7,7 Hypodorian D.T.2015
95 Psalm 87 Chorale 11,10-10,11 Hypomixolydian rit. d.t. 2015
96 Psalm 88 Chorale 8,9,9,8-9,9 Dorian rit.
97 Psalm 89 Chorale 12,12-13,13, - 13,13 Hypo-ionian rit. D.T. 2015
98 Psalm 90 (78) Chorale 11,11-11, 11-10,10 Dorian rit.
99 Psalm 91 Chorale 8,8-8,8 -- 8,7-8,7 Dorian rit.
100 Psalm 92 Chorale 7,6-6,7 -- 7,6-6,7 Dorian
101 Psalm 93 Chorale 10,10, - 10,10 Hypomixolydian D. Teitsma 2015
102 Psalm 94 Chorale 9,9,8-8,8,8 Phrygian
103 Psalm 95 (24, 62, 111) Chorale 8,8,9-8,8,9 Dorian
104 Psalm 96 Chorale 9,9-8,8,9 Dorian rit.
105 Psalm 97 Chorale 6,6,7,7-6,6, - 6,6,6 Ionian rit.
106 Psalm 98 (66, 118) Chorale 9,8-9,8-9,8-9,8 Hypo-ionian rit.
107 Psalm 99 Chorale 10,10-10,12 Hypo-ionian
108 Psalm 100 (131, 142) Chorale 8,8-8,8 Phrygian Transpose from phrygian mode in d to e Chorale in e rit.
109 Psalm 101 Chorale 11,11-10,4 Hypo-ionian rit. Second Version rit. D.T. 2015
110 Psalm 102 Chorale 8,8-7,7 -- 8,8-8,8 Phrygian rit.
111 Psalm 103 Chorale 11,11,10, - 11,11,10 Hypomixolydian
112 Psalm 104 Chorale 10,10-11, ,10-11,11 Dorian rubato D. Teitsma 2015
113 Psalm 105 Chorale 9,9-8,8-8,8 Ionian
114 Psalm 106 Chorale 8,8,9-8,9,8 Hypo-aeolian
115 Psalm 107 Chorale 7,6-7,6 -- 6,7-6,7 Dorian rit
116 Psalm 108 (60) Chorale 8,8-8,8 -- 8,8-9,9 Hypo-ionian rit.
117 Psalm 109 (28) Chorale 9,9-9,9-8,8 Hypodorian
118 Psalm 110 Chorale 11,10-11,10 Hypo-aeolian rit. Second Version ritenuto D.T. 2015
119 Psalm 111 (24, 62, 95) Chorale 8,8,9-8,8,9 Dorian
120 Psalm 112 Chorale 9,9-9,9 -- 9,9 Dorian
121 Psalm 113 Chorale 8,8,9-8,8,9 Hypomixolydian 1 2 ritenuto rit.
122 Psalm 114 Chorale 10,10,7-10,10,7 Dorian rit. D.Teitsma 2015
123 Chorale 10,10,7-10,10,7 Psalm 115 Dorian 1 2 Dennis Teitsna 2015
124 Psalm 116 (74) Chorale 10,11-11,10 Mixolydian rit. Second Version rubato
125 Psalm 117 (127) Chorale 8,8-8,8-8,8 Hypomixolydian
126 Psalm 118 (66, 98) Chorale 9,8-9,8 --9,8-9,8 Hypo-ionian Dennis T. 2015
127 Chorale 10,11,10-11,10,11 Psalm 119 Hypo-ionian rit. Dennis T. 2015
128 Psalm 120 Chorale 9,9-9,9-9,9-8,8 Hypodorian Dennis T. 2015
129 Psalm 121 Chorale 8,6,6-8,7,7 Hypomixolydian D.T. 2015
130 Psalm 122 Chorale 8,8,8,8-8,8,9-8,8,9 Ionian rit.
131 Chorale 10,6-11, ,7-10,6 Psalm 123 Hypo-ionian Dennis T. 2015
132 Chorale 10,10,10,10,10 Psalm 124 Hypo-ionian D.T. 2015
133 Psalm 125 Chorale 9,6,6-9,9,5 Dorian
134 Psalm Chorale 8,8 9,6,6-8,8-9,9,5 -- 9,9-8,8 Mixolydian Dorian rit.
135 Psalm 127 (117) Chorale 8,8-8,8-8,8 Hypomixolydian
136 Psalm 128 Chorale 7,6-7,6 -- 7,6-7,6 Dorian ritenuto
137 Psalm 129 Chorale 10,11-10,11 Hypodorian D.T./15
138 Psalm 130 Chorale 7,6-7,6-7,6-7,6 Dorian
139 Psalm 131 (100, 142) Chorale 8,8-8,8 Phrygian Transpose from d to e vers 3 ( Chorale - one note higher on phrygian e) D.T. /15
140 Psalm 132 Chorale 8,8,8-8,8 Phrygian Second Version dt/15
141 Chorale 11,11,8-10,10,8 Psalm 133 Ionian
142 Chorale 8,8,8,8 Psalm 134 Hypo-ionian Second Version D.T. 2015
143 Psalm 135 Chorale 7,7-7,7 -- 7,7-7,7 Ionian
144 on c Chorale 7,7-7,7 on c Psalm 136 Transpose to d Mixolydian on d Chorale on d Second Version on d Dennis T.
145 Psalm 137 Chorale 11,11,10-10,11, 11 Dorian
146 Psalm 138 Chorale 8,4,5-8,4,5 -- 8,4,5-8,4,5 Ionian
147 Psalm 139 (30, 76) Chorale 8,8-8,8-9,9 Hypomixolydian
148 Psalm 140 Chorale 9,8-9,8 Hypo-ionian Chorale Second Version
149 Psalm 141 Transpose from f sharp to g Chorale 9,8-8,9 Phrygian Chorale on g rubato
150 Psalm 142 (100, 131) Chorale 8,8-8,8 Phrygian Dennis T. 2015
151 Psalm 143 Chorale 9,9-8,9,8 Dorian 1 2
152 Psalm 144 (18) Chorale 11,11-10, ,11-10,10 Hypo-aeolian ritenuto
153 Psalm 145 Chorale 10,10,10,10-11,11,11,11 Mixolydian D.T.
154 Psalm 146 Chorale 8,7-8,7-7,7 Hypodorian 1 Interlude/ 2
155 Chorale 9,9-9,9 -- 9,9-9,9 Psalm 147 Phrygian D.T. 2015
156 Psalm 148 Chorale 8,8-8,8 -- 9,9-8,8 Dorian 1 2
157 Psalm 149 Chorale 9,9-9,7 -- 8,8-8,6 Dorian
158 Chorale 7,7-7,7,8-7,7,8 Psalm 150 Ionian
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