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Has anyone recorded this traditional 4 part harmony tune, as written?
I figured it out for guitar but, would love to see what some of you you all have done.
If anyone hasn't heard it but, are looking for a holiday tune to learn that hasn't been done a million times, this song is lovely.
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12-17-2025 12:36 AM
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Can I be honest? Someone else has started a similar thread around simple tunes like Amazing Grace and Shenandoah. Same idea.
I hate messing around with these kinds of tune, they're too pure. Jazz tunes are built to take alternate and out harmonies and it's fun to do. But these kinds of hymns and folk tunes don't really respond to it. Even professional versions seem a bit phoney and contrived.
Just saying. That's my view anyway.
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In the Bleak Mid Winter, my fav hymn/carol, as a northern teenager.
Originally Posted by ragman1
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Ted Greene was strong on arranging hymns and christmas songs for guitar
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Joe Pass did a lot too but you'll notice that they're the ones with some bounce to them, not the softer ones like Silent Night and this one.
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reminds me of the Mr. Bean theme
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Can I be honest? Someone else has started a similar thread around simple tunes like Amazing Grace and Shenandoah. Same idea. Originally Posted by ragman1
This is different. While this not harmonically complex (most jazz standards are not either by the way), this is a Christmas carol by Gustav Holst. The words capture a humble, cold Nativity scene while reflecting on giving one's heart to Jesus; it's known for its stark beauty, linking Christ's birth to powerful themes of divinity, poverty, and devotion.
Religious themes not withstanding, it's a beautiful melody and four part harmony with beautiful moving lines throughout.
I hate messing around with these kinds of tune, they're too pure. Jazz tunes are built to take alternate and out harmonies and it's fun to do. But these kinds of hymns and folk tunes don't really respond to it. Even professional versions seem a bit phony and contrived.
DO NOT mess around with this play it as is. I deliberately posted this in the Classical forum. I'm not looking for jazz interpretations or reharmonization. The four part harmony, i feel in this case, lends to some interesting and challenging discoveries on how to voice and play each harmony on the guitar.
Give it a shot and take a chance. I can post a video of how I'm working through it if anyone is interested.
Here's a better recording to hear the harmonies.
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It's okay, I realised later you wanted a classical rendering. Quite right. Originally Posted by pawlowski6132
I do play it as it is, or very nearly :-)DO NOT mess around with this play it as is.
I won't, if you don't mind. I don't have a classical guitar at the moment and I haven't played classical for many, many years. Which won't stop me taking a good look at it. But I'd certainly be interested to hear what you're doing with it.Give it a shot and take a chance. I can post a video of how I'm working through it if anyone is interested.
I can see there would be technical difficulties because of the range of notes, although re-tuning strings might be feasible or, indeed, changing the key. There's simply re-arranging it, of course, but that would require some skill and wouldn't be Holst any more.
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I don't see this as a "classical" piece requiring a nylon string traditional guitar. It's a 20th century composition and can be played on anything.
I'm currently working it out with a 1930 Gibson L4 and I think it sounds great using a pick, hybrid picking or all fingers-only.
Seriously, just try the first measure. No detuning or key changes required.Last edited by pawlowski6132; 12-17-2025 at 01:12 PM.
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Oh, I can go well beyond the first measure but it's the work, you see... :-)
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uh huh...one measure isn't a lot of work is it? Originally Posted by ragman1
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What good is one measure? You're very desperate to get me doing this! Show me your video.
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Ok, you know what? forget it. Originally Posted by ragman1
good luck.Last edited by pawlowski6132; 12-17-2025 at 02:07 PM.
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I knew you'd say that. But you shouldn't. Wanting others to support you isn't indicative of real interest. If you're interested work at it and then others will be drawn to you, especially if it's good.
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nyc chaz -
She's basically doing it the way I first thought of it and how I'd do it if I had nails and a nylon guitar. Except I made a backing and played notes over it. It's pretty simple in C.
Pawlowski said he's doing it with pick/fingers and a Gibson L4 using the 4-part Holst arrangement in F as a template. I think that's going to be troublesome myself.
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I think her authentic warm winter jumper is a nice touch. Originally Posted by ragman1
It's still my fav hymn, I play the melody sometimes, without even thinking.
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My son had lessons with her (Laura Snowden) for a while, she used to live nearby. Excellent player, I believe she was mentored by Julian Bream.
I’ve never managed to catch her live for some reason. Once she was playing in a lunchtime concert opposite the office where I worked, but I was stuck in a meeting and couldn’t get out!
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Last edited by Question; 12-18-2025 at 12:10 PM.
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Anyway, here's one I did back in 2018. Same idea but when I still had some feeling for the music. Seems to have died a little since then.
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Yes she is a disciple of Julian Bream.The Christmas tunes she arranged and posted on YT are all simple but very elegant.She is a virtuoso but she shows that less can be more,something many accomplished players whatever their genre never seem to learn. Originally Posted by grahambop
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Excellent. Well done, Question. All those stretches I was avoiding :-)
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Excellent version/arrangement, very well played. Well done for making all those stretches. Originally Posted by Question
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@Guyboden
Thanks, but just to be clear; this isn't my arrangement, I am playing the original choir arrangement from Gustav Holst.
I just copied the choir score onto treble clef and transposed it up an octave for guitar.
The OP posted the choir score and wanted to learn it himself or see if anyone else would like to attempt to play it as written.
I changed very little other than arpeggiating some chords and anticipating/delaying some bass notes etc..
What I find interesting is how "good" voice leading on the piano is mostly small smooth physical movements, whereas due to the nature of the guitar this leads to some very large stretches and hence makes playing legato more difficult.
Give it a try and you will see what I mean! (I have already worked out usable fingerings for you)
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