Adam Lay Ybounden

Two separate, original musical settings of the same text for Advent are presented in this octavo. Both evoke the late medieval era of when the lyrics were written by using pedal points, drones, and modal harmonies. The first, more florid SATB setting augments the organ accompaniment with integral flute and oboe parts and a surging hemiola effect, alternating measures of 6/8 and 3/4. The choir is mostly unison throughout, only breaking into full harmony at the final fortissimo. The second setting is for unison choir (until the final four measures) with a spare organ accompaniment and a straightforward triple-time setting, nonetheless beautiful for its simplicity.