Let Us Break Bread Together: The Music and Celebration of the Lord’s Supper, Part 4

By Robin G. Jordan

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.

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.

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.

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.
   

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.

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 104^TH, 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.

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

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.

4  And thus we meet, and better know

 the Presence, ever near,
and join our hearts and sing with joy

 that Christ is risen here.

5  Together met, together bound

, in friendship we will stay,
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.

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.
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.

5  A cloud of loving witnesses
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.

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.