FMPNmBnr14

Ennis Fruhauf
Three Traditional Anthem Tunes
Settings  for  Carillon

Available as a Complimentary Download July 2022

 FMPThreeAnthemTunesCarillonBklt2022


      Notes       

        Fanfare on National Anthem is a two verse setting of a hymn tune composed by George William Warren (1828-1902). It was first published in Tucker’s 1892 Hymnal as an alternative tune for a text by Daniel Crane Roberts (1841-1907), written in 1876 for a July 4 Centennial celebration. In this setting fanfare interpolations separate each phrase of the anthem tune. The harmonization is both rich and florid, and the score has been notated to accommodate the unique challenges of tower carillons.

       
Three Verses on America offers a conservative setting of a hymn tune with multiple origins in both American and European history. After a brief introduction, the tune is presented in the tenor register, surrounded by two and three voice chords in the treble range and a bass line in the lowest bells. In the second verse, the melody migrates to the soprano voice, and then back to the tenor range in the third verse, concluding with a brief codetta.

      
Hymn Prelude on The Star Spangled Banner is a single verse presentation of a ceremonial anthem tune. Francis Scott Key’s poetically heroic text (written on September 14, 1814) was subsequently set to the melody of a popular English club song. It became the national anthem on March 3, 1931 and was endorsed by President Herbert Hoover. [For a TIFF image of the first printing, click this link: StarSpangledBanner1814]
       
Following a brief introduction, the first phrase of the tune is sounded and repeated in bass registers (i.e., pedal), with flowing triplet figurations in the treble. The third phrase is played in the alto range, and the final phrase migrates to the tenor voice, with triplet figurations continuing above and an active pedal line below. The last two measures of the phrase are repeated in the bass line and followed by a brief codetta.

        N.B. All three settings can be performed by one player, or as a duet with the bass and treble clefs serving as a divider for the two parts. The scores can readily be adapted for general use as well (i.e., piano, harp, plucked string instruments, etc.) with minimal alterations.


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