A number of hymns whose tunes are listed in the Gulbransen
Digital Hymnal DH-100 CP’s Master Index are suitable for use as introit hymns.
What I found, when I put together the following list of these hymns and their
tunes, is that a hymn may be listed in the Master Index more than one time due
a different textual variation, a different hymn tune, a different hymn tune
arrangement, and a different hymnal in which it is printed. I have included all
the textual variations in this list. After each text I have listed all the
tunes printed with the text in the Master Index. The tunes in brackets [] are
tunes in the Master Index to which a text may be sung but which is not listed
with the text. The same hymns and tunes are listed in the Gulbransen Digital
Hymnal DH-200’s Master Index.
The names of the hymn tunes are those which are most widely
used in hymnals in the United States. Where a hymn tune has more than one name,
I noted the different names in use. Wherever possible, I have noted the name of
the tune used in The Hymnal, 1940, in
which a number of hymn tunes have been renamed. The names the Joint Commission
for the Revision of the Hymnal gave the tunes names which are not in wide
circulation and are limited to The
Hymnal, 1940. It is one of the peculiarities of that hymnal.
I have also included notes on the other possible uses of the
hymns and how they should be sung.
All Authority and
Power UNSER HERRSCHER/NEANDER
All Creatures of Our
God and King LASST UNS ERFREUEN/VIGILES ET SANCTI
Alleluia, Alleluia!
Give Thanks ALLELUIA #1
All Glory Be to God
on High (Decius; Doan) MIT FREUDEN ZART/BOHEMIAN BRETHREN
This hymn and the following hymn are a metrical version of
the Gloria in excelsis. If they are
sung as an introit hymn, a hymn should be substituted for the Gloria after the Post-Communion Prayer.
While they may be sung during the entrance of the ministers, it would be more
effective if they were sung after the ministers entered during the prelude and
took their places. Both hymns may also be sung as a sequence hymn. If one of
them is used between the Epistle and the
Gospel, a hymn should be sung in place of the Gloria after the Post-Communion Prayer.
All Glory Be to God
on High (Decius; Tucker) ALLEIN
GOTT IN DER HOH
All Praise to Thee,
for Thou, O King Divine SINE NOMINE, ENGELBERG
This hymn is a metrical version of the canticle “The Song of
Christ’s Glory,” Philippians 2:5-11
.
.
Arise, Your Light Is
Come! FESTAL SONG
At the Lamb's high
feast we sing SALZBURG
At the Name of Jesus
KING'S WESTON
The Lord is here!
DUNDEE/FRENCH
Before Jehovah's
Awesome Throne OLD HUNDREDTH
This hymn and the following two hymns are slightly different
versions of Isaac Watt’s metrical setting of Psalm 100, “Before Jehovah’s awful
throne.” “All three hymns attempt to rectify archaic language of the first
line. Awful” is no longer used in the sense that it was used in the eighteenth
century. The second hymn recognizes that even conservative Bible scholars no
longer regard “Jehovah” to be proper rendering the Hebrew name for God. In a
number of hymns “Jehovah” has been retain in the text of the hymn as an
Anglicization of “Yahweh.” This hymn is one of them. All three hymns may be
used in place of the Jubilate Deo in
a service of Morning Prayer.
Before the Lord's
eternal throne WINCHESTER NEW
Before the Lord
Jehovah’s throne WINCHESTER NEW
Blessed Be the God of
Israel FOREST GREEN, KINGSFOLD
This hymn is a metrical version of the Benedictus Dominus Deus written by Carl P. Daw Jr. “Blessed be the God of Israel” is published
in nine hymnals, including Common Praise
(1998)—the hymnal of the Anglican Church of Canada, Renew!, Sing! A New Creation,
With One Voice: A Lutheran Resource for
Worship, and Wonder, Love, and
Praise: a supplement to the Hymnal 1982. This hymn and the following two
hymns may be used as an introit hymn, a sequence hymn, an offertory hymn, or a
post-communion hymn (in place of the Gloria
in excelsis). They may also be used in place of the Benedictus in a service of Morning Prayer.
FOREST GREEN may be sung as a round or a canon, normally at
a distance of one or two measures and a space of one octave.
Blessed be the God of
Israel MERLE’S TUNE, KING’S LYNN, ELLACOMBE
This hymn and the following hymn are slightly different
versions of Michael Perry’s metrical version of the Benedictus Dominus Deus, which is published in Hymns for Today’s Church with the first line, “O bless the God of
Israel.”
In The Hymnal 1982
this hymn is set to THORNBURY. KING’S LYNN and FOREST GREEN are the suggested
alternative tunes. FOREST GREEN is a CMD (or 86.86.D) tune. It is possible to
sing the hymn to FOREST GREEN but it involves singing a number of syllables to
several notes.
The metrical version of the Benedictus printed in Hymns III: Church Hymnal Series III was
James Quinn’s “Blest be the God of Israel.” It is CMD and was set to ST.MATTHEW
with KINGSFOLD as the suggested alternative tune. It is published in Praise God in Song: Ecumenical Daily Prayer
with the first line “Bless’d be the God of Israel” and FOREST GREEN as one of
three alternative tunes. The compilers of The
Hymnal 1982 may have confused the two metrical settings of the Benedictus. It is quite easy to do. Hymnal for Catholic Students attributes
Michael Perry’s metrical version of the Benedictus
to James Quinn.
On the other hand, the digital hymnal’s Master Index lists
FOREST GREEN, 86.86.D, and ELLACOMBE, 86.86.76.76. as the tunes for “I sing the
almighty power of God.” The meter and rhythm of the two tunes is close enough
to permit their interchangeable use, depending upon the versification of the
hymn.
Blest be the God Of
Israel MERLE'S TUNE, KING’S LYNN, ELLACOMBE
This inclusive language version of Michael Perry’s metrical
setting of the Benedictus comes from The Prebyterian
Hymnal: hymns, psalms, and spiritual songs (1990). The Prebyterian Hymnal: hymns, psalms, and spiritual songs (1990),
along The Hymnal 1982, is one of the
thirteen hymnals listed in the Gulbransen Digital Hymnal DH-100 CP’s Manual. Other
inclusive language versions exist. A particularly horrid version in my opinion
is found in Worship and Rejoice
(2000), which for most part is a decent collection of hymns and hymn tunes.
Blessed Jesus at thy
word LEIBSTER JESU
I discuss this hymn further in the section, “Between the
Epistle and the Gospel.”
Brethren, We Have Met
to Worship HOLY MANNA
HOLY MANNA may be sung as a round or a canon, normally at a
distance of one or two measures and a space of one octave.
Brightest and best of
the stars of the morning MORNING STAR, STAR IN THE EAST
Christians, Lift Up
Your Hearts SALVE FESTA DIES
This hymn may be sung throughout the Church Year unlike
“Hail thee festival day” which may be sung only during Easter and on Whitsunday.
Christ Is Made the
Sure Foundation WESTMINSTER ABBEY, REGENT SQUARE, UNSER HERRSCHER/NEANDER
Christ Is Risen!
Shout Hosanna! W ZLOBIE LEZY, HYMN TO JOY
Clap your hands, all
you people CLAP YOUR HANDS (Owen)
This hymn has only one stanza. It is based on Psalm 47,
which is a psalm of ascent. CLAP YOUR HANDS (Owens) is irregular but it is not
difficult to sing. If the stanza is repeated two or three times, it may be used
as an introit hymn. The hymn is particularly suitable for Ascension Sunday. If
it is used as an introit hymn, I would recommend that the ministers enter
during the prelude. Another possible use is that a vocal ensemble sing the
stanza two or three times in place of a prelude. The ensemble should clap their
hands three times at the words “clap your hands.” The congregation should join the ensemble in
clapping their hands.
Come, Christians,
Join to Sing MADRID
Come, Let Us Join Our
Cheerful Songs GRAENBERG/NUN DANKET ALL, AZMON
This hymn is a metrical version of the Dignus es, A Song to the Lamb from Revelation. It may be used at a
number of places in a celebration of Holy Communion. “Come let us join our
cheerful songs” is a good choice to sing in place of the Gloria in excelsis.
In Hymns of the
Protestant Episcopal Church in the United States of America (1827) “Come,
let us join our cheerful songs” is one of two metrical versions of the Dignus
es printed in the Lord’s Supper section of that hymnal. The second version is
Isaac Watt’s “Thou, God, all glory, honour, pow’r.”
1 Thou, God, all Glory, Honour, Pow'r,
art worthy to receive;
Since all Things by thy Pow'r were made,
and by thy Bounty live.
art worthy to receive;
Since all Things by thy Pow'r were made,
and by thy Bounty live.
2 And worthy is the Lamb all Pow'r,
Honour and Wealth to gain,
Glory and Strength, who for our Sins
a Sacrifice was slain.
Honour and Wealth to gain,
Glory and Strength, who for our Sins
a Sacrifice was slain.
3 All worthy Thou, who hast redeem'd
and ransom'd us to God,
From ev'ry Nation, ev'ry Coast,
by thy most precious Blood.
and ransom'd us to God,
From ev'ry Nation, ev'ry Coast,
by thy most precious Blood.
4 Blessing and Honour, Glory, Pow'r,
by all in Earth and Heav'n,
To Him that sits upon the Throne,
and to the Lamb, be giv'n.
by all in Earth and Heav'n,
To Him that sits upon the Throne,
and to the Lamb, be giv'n.
This hymn is included in a section of the Tate and Brady New Version appended to The Book of Common Prayer (1822) of the
United Church of England and Ireland. It is one of three hymns listed under the
heading, “Three Hymns for the Holy Communion.” The third hymn is a metrical
version of the Gloria in excelsis,
“To God be glory, peace on earth,” which is titled “The Thanksgiving in the
Church Communion Service.”
In previous sections are printed a metrical version of the Te Deum laudamus, “O God, we praise thee
and confess,” a metrical version of the Easter Anthems, “Since Christ our
Passover is slain,” a metrical version of the Benedictus, “Now bless’d be Israel’s Lord and God,” a metrical
version of the Magnificat, “My soul
and spirit, filled with joy," a metrical version of the Nunc dimittis, “Lord, let thy servant
now depart,” a metrical version of the Apostles’ Creed, “I steadfastly believe
in God,” and two metrical versions of the Lord’s Prayer, both with the first
line, “Our Father who in heaven art.” In the following section are printed two
doxologies under the heading, “Gloria Patri.” They are “To God our benefactor
bring” and “Praise God from whom all blessings flow.” The metrical versions of
the Magnificat, Nunc dimittis, and the Apostles’ Creed have this “Gloria Patri”
printed after them.
To Father, Son and Holy Ghost
the God whom we adore,
Be glory; as it was, is now,
and shall be evermore.
The first metrical version of the Lord’s Prayer has a
different doxology printed after it. The second metrical version does not have
a separate doxology.
Both the Old Version
and the New Version and a selection
of hymns are appended to the 1815 edition of the same Prayer Book. The Old Version contains metrical versions
of the Ten Commandments, the Athanasian Creed, and the prayer, “Turn thou us, O
good Lord,” from the Commination, as well as the texts previously mentioned.
What may be seen from this brief survey is that Anglican
parish churches typically used in their worship metrical versions of the psalms
and other texts from the Bible and metrical versions of texts from the Prayer
Book well into the nineteenth century. The singing of Anglican chant settings
of the Psalms, the Merbecke Communion Service, and anthems was confined to the
choirs of cathedrals and college chapels.
The Oxford Movement, which idealized and idolized the music of the late medieval period, in its efforts to reshape the music of the parish church along the lines of the music of the medieval cathedral and the medieval monastic church did a disservice to the present day small Anglican church. It promoted what are for the twenty-first century church unrealistic notions of what kind of music should be used in parish worship. Medieval church music is not tailored to the kinds of buildings in which today’s small Anglican church worships. It also requires a highly-competent choir as well as a favorable acoustical environment. What the small Anglican church needs is a new model for the use of music in worship and the early nineteenth century parish church’s use of music offers one such model.
The Oxford Movement, which idealized and idolized the music of the late medieval period, in its efforts to reshape the music of the parish church along the lines of the music of the medieval cathedral and the medieval monastic church did a disservice to the present day small Anglican church. It promoted what are for the twenty-first century church unrealistic notions of what kind of music should be used in parish worship. Medieval church music is not tailored to the kinds of buildings in which today’s small Anglican church worships. It also requires a highly-competent choir as well as a favorable acoustical environment. What the small Anglican church needs is a new model for the use of music in worship and the early nineteenth century parish church’s use of music offers one such model.
Come, Let Us Praise
the Lord DARWALL’S 148TH/DARWALL
This hymn is a metrical version of the Venite. It may be used as an introit hymn at a celebration of Holy
Communion. It may be sung in place of the Venite
in a service of Morning Prayer.
Come, Let Us with Our
Lord Arise MEADVILLE, SUSSEX CARROL
Come, Lord, and Tarry
Not ST. BRIDE
ST. BRIDE may be sung as a round or a canon, normally at a
distance of one or two measures and a space of one octave.
Come, Now Almighty
King ITALIAN HYMN
Come, thou almighty
King MOSCOW, ITALIAN HYMN
Come thou fount of
every blessing NETTLETON
Come, Thou
Long-Expected Jesus HYFRYDOL, STUTTGART, JEFFERSON
JEFFERSON is a hymn tune from the shape-note hymnal Southern Harmony, which is used at the
annual Big Sing in Benton, Kentucky. Other hymns that may be sung to JEFFERSON
include “Glorious things of thee are spoken” and “God our Author and Creator.”
The last hymn is a prayer for mission and may also be sung to PLEADING SAVOR or
IN BABILONE
Come, We That Love
the Lord ST. THOMAS, FESTAL SONG
Come, Ye faithful,
Raise the Strain GAUDEAMUS PARITER, ST. KEVIN
Come, You Thankful
People, Come ST. GEORGE'S, WINDSOR
Creating God, Your
Fingers Trace KEDRON, HANCOCK
KEDRON may be too slow a tune to use for an introit hymn. I
am not familiar with HANCOCK. I have not found an MP3 or MIDI of the tune and
therefore I have not been able to gauge its accessibility or its tempo.
BOURBON is a possible alternative tune. The tempo is faster
than KEDRON. The rhythm of the words and the rhythm of the tune are a good
match.
Crown Him with Many
Crowns DIADEMATA
The Day of
Resurrection LANCASHIRE, ELLACOMBE
Down to Earth, as a
Dove PERSONENT HODIE
PERSONET HODIE, also known as THEODORIC, is the tune of a
medieval Christmas carol by the same name. Its common English translation is
“On this day earth shall ring.” Percy Dearmer wrote “God is love – His the
care” to the tune in 1925. It was first published in Songs of Praise (1925), using Gustav Holst’s 1916 arrangement of
the tune. Since that time a number of hymn writers have written hymns for that
tune. Fred Kaan’s “Down to Earth, as a Dove” is one of them. Like NOEL NOUVELET
and other carol tunes, PERSONET HODIE is a delight to sing.
Earth has many a
noble city STUTTGART
Easter People, Raise
Your Voices REGENT SQUARE
For All the Saints
SINE NOMINE
SINE NOMINE may be sung as a round or a canon, normally at a
distance of one or two measures and a space of one octave.
For the Beauty of the
Earth LUCERNA LAUDONIAE, ENGLAND’S LANE, DIX
DIX may be sung as a round or a canon, normally at a
distance of one or two measures and a space of one octave.
From All That Dwell
Below the Skies LASST UNS ERFREUEN, DUKE STREET, OLD HUNDREDTH
LASST UNS ERFREUEN was renamed VIGILES ET SANCTI in The Hymnal, 1940. It is LM (or 88.88)
with alleluias.
Give To Our God
Immortal Praise DUKE STREET
The glory of these
forty days ERHALT UNS HERR
God Is Love, His the
Care PERSONENT HODIE
See my notes for “Down to Earth, as a Dove.”
God Is My Great
Desire LEONI
This hymn is a metrical version of Psalm 63. It may be sung
in a number of places in a celebration of Holy Communion. “God Is My Great
Desire,” when it is used as an introit hymn, is most effective after the
ministers have entered during the prelude and have taken their places. The hymn
gives voice to our yearnings for God. Psalm 63, also known as the Morning
Psalm, is a fixed psalm in the ancient cathedral office of Lauds. It may be used
as a common seasonal psalm for the Gradual at a celebration of Holy Communion
in which an Old Testament Lesson is read before the Epistle, as well as an
office hymn in a service of Morning Prayer. If it is used as a common seasonal
psalm, it would be used during ordinary time—Epiphanytide and Trinitytide. It
also may be used as a hymn anthem or solo.
God Is Our Fortress
and Our Rock EIN' FESTE BURG
God, my King, Thy
might confessing STUTTGART
God Of Creation, All
Powerful, All Wise SLANE
The God of Heaven
GLORY
This hymn is a metrical version of Psalm 29. If it is used
as an introit hymn at a celebration of Holy Communion, the ministers should
enter during the prelude and take their places before the beginning of the
hymn. “The God of Heaven” may also be used as a sequence hymn or an offertory
hymn. It may be sung as an office hymn after the Venite and before the psalms in a service of Morning Prayer.
GLORY has a brisk tempo.
God of Our Fathers
NATIONAL HYMN
God of the Ages
NATIONAL HYMN
God of the Ages BUNESSAN
God, Omnipotent,
Eternal REGENT SQUARE
God the Omnipotent!
King, Who Ordainest RUSSIAN HYMN
God, We Praise You!
NETTLETON, RUSTINGTON [BEECHER, AUSTRIAN HYMN, HYMN TO JOY]
This hymn is a metrical version of the Te Deum laudamus. “God, we praise you!” may be the shortest
metrical version of the Te Deum laudamus,
which I have catalogued.
In the Evangelical
Lutheran Hymnary and Worship: A
Hymnal and Service Book for Roman Catholics, “God, we praise you!” is set
to NETTLETON, an American folk hymn tune from John Wyeth's Repository of Sacred Music (1813). NETTLETON is published in 164
hymnals, set to “Come thou fount of every blessing” and other hymns. These 164
hymnals include a number of hymnals used in traditional churches in western
Kentucky and northwestern Tennessee. Modern guitar, keyboard, and vocal
arrangements of the “Come thou fount of every blessing” are played and sung in
contemporary churches. NETTLETON is a widely-known hymn tune. It is an
excellent choice for “God, we praise you!”
In The Worshiping
Church: A Hymnal “God, we praise you!” is set to RUSTINGTON. BEECHER is
listed as the suggested alternative tune. The
Worshiping Church: A Hymnal Worship Leader’s Edition contains two
performance suggestions. If the hymn is sung to RUSTINGTON, it should be sung
by the choir as RUSTINGTON is too difficult for most congregations. Hymnody.org
recommends that when the hymn is sung to RUSTINGTON, all stanzas should be sung
in unison, noting that “confident choirs will want to sing the harmony of the
middle stanzas.” If “God, we praise you!” is sung to BEECHER, the hymn should
not be sung to too fast or too slow.
In Christian Worship:
A Lutheran Hymnal “God, we praise you!” is set to AUSTRIA/AUSTRIAN HYMN. In
Church Hymnary (4th ed.) the second
tune for “God, we praise you!” is HYMN TO JOY.
God, Whose Almighty
Word ITALIAN HYMN
God, Who Stretched
the Spangled Heavens HYMN TO JOY, HOLY MANNA
God, You Spin the
Whirling Planets AUSTRIAN HYMN/AUSTRIA, HYFRYDOL
Good Christian
Friends, Rejoice IN DULCI JUBILO
Good Christians All,
Rejoice GELOBT SEI GOTT
Good King Wenceslas
Looked Out TEMPUS ADEST FLORIDUM
Gospel Canticle
FOREST GREEN
“Gospel Canticle” is a name sometimes used for Ruth C.
Duck’s a metrical version of the Benedictus
Dominus Deus, “Now bless the God of Israel.” It is often set to FOREST
GREEN. “Now bless the God of Israel” is listed as one of the New Testament
Canticles in the Church of England’s service book Common Worship (2000) with KINGSFOLD as the suggested hymn tune.
The hymn is also known as “Canticle of Zachary.” “Gospel
Canticle” is also a name sometimes used for Carl P. Daw Jr.’s and James Quinns’ metrical versions of the
same canticle. They also may be sung to FOREST GREEN.
From the Psalter
Hymnal Handbook—
FOREST GREEN is an English folk tune associated with the
ballad "The Ploughboy's Dream." Ralph Vaughan Williams… turned FOREST
GREEN into a hymn tune for The English Hymnal (1906), using it as a setting for
"O Little Town of Bethlehem."
Shaped in rounded bar form (AABA), FOREST GREEN has the
cheerful characteristics of folk tunes. Those characteristics help to support
the humanness of this text: We are to be the children (folk) of God! Sing in
unison or in harmony, but given the tune's many eighth notes, do not rush.
Congregations used to certain rhythmic patterns in hymn tunes will be
challenged by the new rhythms at the transition from line 3 to line 4;
accompanists should give leadership there.
FOREST GREEN may be sung as a round or a canon, normally at
a distance of one or two measures and a space of one octave.
Hail Thee, Festival
Day! SALVE FESTA DIES
Hail to the Lord's
Anointed ELLACOMBE, ES FLOG EIN KLEINS WALDVOGEL/WOOD BIRD
The Head That Once
Was Crowned with Thorns ST. MAGNUS
Heavenly Hosts in
Ceaseless Worship HARWELL [ABBOT’S LEIGH, HYFRYDOL, BLAENWERN, HOLY MANNA,
BEACH SPRING, BETHANY (Smart)]
This hymn is a metrical version of the Dignus es, A Song to the Lamb from Revelation. It may be used in a
number of places in a celebration of Holy Communion. It is a good choice to
sing in place of the Gloria in excelsis.
The hymn is set to HARWELL in The Baptist
Hymnal (1991), a tune composed by Lowell Mason and associated with “Hark!
Ten Thousand Harps and Voices.” Timothy Dudley Smith who wrote the hymn
suggests that it should be sung to ABBOT’S LEIGH or HYFRYDOL. The hymn is set
to ABBOT’S LEIGH and BLAENWERN in Hymns
for Today’s Church (1982).
When using “Heavenly hosts in ceaseless worship” as an
introit hymn, a good hymn tune choice is HOLY MANNA, a tune from the shape-note
hymnal Southern Harmony. HOLY MANNA
is a pentatonic melody in Ionian model. Like all shape-note tunes, it may be
sung unaccompanied. It is published in 95 hymnals. Among the advantages of
using HOLY MANNA is that it has a history as a gathering song. “Brethren we
have met to worship,” with which HOLY MANNA has a long association, is commonly
sung an opening song at shape-note singing events. HOLY MANNA has a robust
melody that makes it particularly suitable for the beginning of the service. It
also is quite accessible, is widely used and therefore may be familiar to
visitors. HOLY MANNA may be sung as a round or a canon, normally at a distance
of one or two measures and a space of one octave.
When “Heavenly hosts in ceaseless worship” is sung between
the Epistle and the Gospel, at the Offertory, before the Communion, or after
the Post-Communion Prayer BEACH SPRING is a good choice for the tune. BEACH
SPRING is tune from the shape-note hymnal Sacred
Harp.
ABBOT’S LEIGH or HYFRYDOL are good choices for the tune
when “Heavenly hosts in ceaseless
worship” is sung as an introit hymn or elsewhere in a celebration of Holy
Communion.
The hymn is fairly short—two stanzas in length. The meter is
87.87.D. This suggests that, if the hymn
is used as an introit hymn, the ministers should enter during the prelude and
take their places before the hymn is begun. They should be at least well into
the sanctuary before it is started.
He is Risen, He is
Risen! UNSER HERRSCHER
Holy Father, great
Creator REGENT SQUARE
Holy God, we praise
thy name GROSSER GOTT/TE DEUM
This hymn is a metrical version of the Te Deum laudamus. See my discussion of “Holy God, we praise thy
name” in the section titled “Between the Epistle and the Gospel.” The short
version of this hymn in The Hymnal 1982
restores the third stanza omitted from The
Hymnal, 1940 version of the hymn and is to be preferred over that version
when the hymn is sung as an introit hymn, sequence hymn, or post-communion hymn
(in place of the Gloria in excelsis).
The longer 1982 version may be used during a solemn
procession at the beginning of a celebration of Holy Communion on Trinity
Sunday and other major festivals. It may also be used during a solemn
procession at the beginning of a Holy Communion celebration giving special
thanks to God for mercies that he shown. If the congregation is large and the
offertory lengthy, the long version may be sung while the Alms and Oblations
are received and presented. Both the short and long versions may be sung in
place of the Te Deum laudamus in a
service of Morning Prayer. Incense may be offered when the longer 1982 version
of “Holy God, we praise thy name” is sung during a solemn procession or in
place of the Te Deum laudamus in a service of Morning Prayer on a major
festival.
Holy, Holy, Holy
NICAEA
Hosanna, Loud Hosanna
ELLACOMBE
How wondrous and
great Thy works, God of praise LYONS, OLD 104TH, HANOVER
This hymn is a metrical version of the Magna et mirabilis, The Song of the Redeemed from Revelation. This
hymn may be sung as an introit hymn, a sequence hymn, or a post-communion hymn
in place of the Gloria in excelsis.
Due to its length the ministers should enter during the postlude and take their
places or at least be well into the sanctuary before the hymn is begun when it
is sung as an introit hymn.
A Hymn of Glory Let
Us Sing LASST UNS ERFREUEN/ VIGILES ET SANCTI, DEO GRACIAS
I come with joy to
meet my Lord LAND OF REST, DOVE OF PEACE
This hymn may sung be sung as an introit hymn, an offertory
hymn, or communion hymn. When the hymn is sung to DOVE OF PEACE, the last line
of each verse is repeated. This is Brian Wren’s original 1971 text, which is
used in The Hymnal 1982 and The United Methodist Hymnal (1989) .
1 I come with joy to meet my Lord,
forgiven, loved, and free,
in awe and wonder to recall
his life laid down for me.
2 I come with Christians far and near
to find, as all are fed,
the new community of love
in Christ's communion bread.
3 As Christ breaks bread and bids us share,
each proud division ends.
That love that made us makes us one,
and strangers now are friends.
4 And thus with joy we meet our Lord.
His presence, always near,
is in such friendship better known:
we see and praise him here.
5 Together met, together bound,
we'll go our different ways,
and as his people in the world,
we'll live and speak his praise.
forgiven, loved, and free,
in awe and wonder to recall
his life laid down for me.
2 I come with Christians far and near
to find, as all are fed,
the new community of love
in Christ's communion bread.
3 As Christ breaks bread and bids us share,
each proud division ends.
That love that made us makes us one,
and strangers now are friends.
4 And thus with joy we meet our Lord.
His presence, always near,
is in such friendship better known:
we see and praise him here.
5 Together met, together bound,
we'll go our different ways,
and as his people in the world,
we'll live and speak his praise.
The text of the hymn has been altered to make it more
inclusive in recent years. See below. I have not identified when this change
was first made and in what hymnals the altered text is used. The alterations
are noticeably when the text is compared with Brian Wren’s original 1971
version.
1 I come with joy, a child of God,
forgiven, loved, and free,
the life of Jesus to recall,
in love laid down for me.
2 I come with Christians far and near
2 I come with Christians far and near
to find, as all are fed,
the new community of love
the new community of love
in Christ's
communion bread.
3 As Christ breaks bread, and bids us share,
3 As Christ breaks bread, and bids us share,
each proud division ends.
The love that made us, makes us one,
The love that made us, makes us one,
and strangers now are friends.
4 And thus we meet, and better know
4 And thus we meet, and better know
the Presence, ever
near,
and join our hearts and sing with joy
and join our hearts and sing with joy
that Christ is
risen here.
5 Together met, together bound
5 Together met, together bound
, in friendship we will stay,
and go with joy to love the world
and go with joy to love the world
and live the way
we pray.
The second inclusive language version adds a sixth
stanza.
1 I come with joy, a child of God,
forgiven, loved, and free,
the life of Jesus to recall,
in love laid down for me.
forgiven, loved, and free,
the life of Jesus to recall,
in love laid down for me.
2 I come with Christians far and near
to find, as all are fed,
the new community of love
in Christ’s communion bread.
to find, as all are fed,
the new community of love
in Christ’s communion bread.
3 As Christ breaks bread and bids us share,
each proud division ends.
The love that made us, makes us one,
and strangers now are friends.
each proud division ends.
The love that made us, makes us one,
and strangers now are friends.
4 The Spirit of the risen Christ,
unseen, but ever near,
is in such friendship better known,
alive among us here.
unseen, but ever near,
is in such friendship better known,
alive among us here.
5 A cloud of loving witnesses
surrounds us while we sing
as all the saints, forgiven, loved,
immortal praises bring.
surrounds us while we sing
as all the saints, forgiven, loved,
immortal praises bring.
6 Together met, together bound
by all that God has done,
we’ll go with joy, to give the world
the love that makes us one.
by all that God has done,
we’ll go with joy, to give the world
the love that makes us one.
The length of the second inclusive language version,
especially sung to DOVE OF PEACE, limits its use. Except for a solemn
procession it is too long for the beginning of a celebration of Holy Communion.
According to the Psalter
Hymnal Handbook—
LAND OF REST is an American folk tune with roots in the
ballads of northern England and Scotland. It was known throughout the
Appalachians; a shape-note version of the tune was published in The Sacred Harp (1844) and titled
NEW PROSPECT as the setting for "O land of rest! for thee I sigh."
The tune was published again with that same text in J. R. Graves's Little Seraph (Memphis, 1873). The name
LAND OF REST derives from the tune's association with that text.
Like many other folk tunes, LAND OF REST should be sung
rather lightly and energetically with two pulses per measure, and faster in a
small group. Sing stanzas 1 and 2 in unison (or using a soloist) and stanzas 3
through 5 in harmony.
LAND OF REST is set to a number of hymns. They include
“Lord, bid your servant go in peace,” “Jerusalem, my happy home O how I long for
thee,” “The Spirit sends us forth to serve,” and “Be known to us in breaking bread.” “Lord, bid your servant go in peace” is a metrical version of the Nunc dimittis. “The Spirit sends us
forth to serve” is a good hymn for the sending out of the people. It reminds
the people that the real service begins after they leave church on Sunday
morning. “Be known to us in breaking bread” is a short two-stanza communion
hymn that would grace the repertoire of any small church congregation.
LAND OF REST has also been adopted for use as service music—The Land of Rest Acclamations. Included
in The Land of Rest Acclamations are
settings for the Kyrie, the Sanctus, “Christ has died, Christ has risen,” the
Great Amen, and the Agnus Dei. This is the text of the Kyrie.
Lord, have mercy, Christ have mercy,
Lord, have mercy upon us.
Lord, have mercy,
Christ have mercy,
Lord, have mercy upon us.
These settings are very easy to learn and to sing. We
regularly used them at St. Michael’s Episcopal Church.
LAND OF REST may be sung as a round or a canon, normally at
a distance of one or two measures and a space of one octave.
DOVE OF PEACE is also a shape-note hymn tune from Southern Harmony.
Immortal, Invisible,
God Only Wise ST. DENIO
I Sing the Almighty
Power of God FOREST GREEN, ELLACOMBE
FOREST GREEN may be sung as a round or a canon, normally at
a distance of one or two measures and a space of one octave.
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