In classic 4-line hymnody, the third line is often the place for a tonal change. Pivoting on the fifth (e.g. the G chord in a C-major hymn), and incorporating the fifth of five (D in our example), the hymn flirts with a key change, going up the circle of fifths . (A clear example is Salzburg. In Nicaea, a remarkably thorough key change occurs on line 2.)
The effect of the shift is a certain opening-out, an exuberance and dare I say playfulness, which counterbalances the solemnity of the organ. At least that is what I hear.
Much of modern church music employs the fourth of four in abundance. I need not list examples, I hope.
The fourth of four squishes the sound, making it seem serious in a way I find somewhat deadening. That's what I hear, anyway. The question is, is it something new in music? In sacred music?
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2 comments:
Are you speaking of the mixolydian mode? It's common in British and Gaelic folk music, and you'd see it in some American secular stuff from the 60's. Do you have an example?
Pardon the double post, but I just realized we used one yesterday: Lord You Give The Great Commission. 1941 tune, Abbot's Leigh.
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