Liturgical Uses: Responsorial psalm
Refrain:
“Let my tongue be silenced, if ever I forget you.”
Verses:
1) By the streams of Babylon
We set down and wept,
as we remembered Zion.
By the aspens of that land, we hung up our harps.
2) There our captors asked us the lyrics of our songs,
And they urged us to be joyous!
Sing for us the songs of Zion.
3) How could we sing to the Lord in a foreign land?
If ever I forget you, Jerusalem,
Let my right hand be forgotten.
4) Let my tongue be silenced if ever I forget you,
If ever I remember not Jerusalem is my greatest joy!
Arrangement:
Vocal:
Refrain: SATB
Verses: One or two cantors
Instrumental Options:
1) "Unplugged": Acoustic guitar and bass
2) Keyboard: Piano with guitar and bass (also adaptable to organ)
3) Layered synthesizers
4) Chamber orchestra
1) "Unplugged": Acoustic guitar and bass
2) Keyboard: Piano with guitar and bass (also adaptable to organ)
3) Layered synthesizers
4) Chamber orchestra
Availability:
Sheet Music:
Lead sheets.
Order from Wood Harbor Music
Recorded Versions:
CD: Praise for the New Dawn, Vol. 1
Order from Wood Harbor Music
Digital download at CD Baby.
Listen on Spotify!
Sheet Music:
Lead sheets.
Order from Wood Harbor Music
Recorded Versions:
CD: Praise for the New Dawn, Vol. 1Order from Wood Harbor Music
Digital download at CD Baby.
Listen on Spotify!
Synth version:
Composer's Notes:
Psalm 137 recalls the Babylonian captivity. The mood is somber: “How could we sing to the Lord in a foreign land?” This is a tale best uninterrupted, and so, my arrangement bookends the refrain, leaving the cantor to present a continuous story.
This recording presents two distinct arrangements of Psalm 137. First is is this “unplugged version,” where the cantor sings in contemplative tone, accompanied by simple acoustic guitar supported by bass.
The second version on the CD is is my original arrangement, inspired by Philip Glass’ use of layered arpeggios to create a dream-like texture. Lacking my own chamber orchestra, I used 13 synth tracks blended with background vocals. The verse melody in C Dorian mode is set against chord substitutions, such as Ab maj7 substituting for the Cm, resulting in a wonderful Lydian tonal stretch where the A natural of the C Dorian melody sits perfectly against Ab in the bass. I love it!
Credit must be given to Jaclyn Snell for suggesting a judicious movement of one note in Verse 4: a small change that made a big improvement!
Contrast the two settings: simple acoustic vs. layered. I think both work.
