By Robin G. Jordan
In this article, in
addition to listing hymns suitable for use as introit hymns at a celebration of Holy Communion, I discuss the use of several metrical settings of the canticles and psalms, West Gallery music, Percy
Dearmer’s proposal for the renewal of church music, and number of other topics
related to church music.
Jesus Comes with
Clouds Descending HELMSLEY, BRYN CALFARIA
This hymn is a inclusive language version of “Lo, he comes
with clouds descending.”
Join All the Glorious
Names DARWALL/DARWALL’S 148TH
Joyful, Joyful, We
Adore You HYMN TO JOY
The King of Glory
KING OF GLORY/PROMISED ONE
Kathy Hebert and I introduced this hymn at St. Michael’s
Episcopal Church. It was very popular with the congregation. It is particularly
suitable for use as an introit hymn during Advent. It may also be used on Psalm
Sunday and other occasions. Arnold Duba has also set a hymn, “Lift up the gates
eternal,” to the same tune.
KING OF GLORY/PROMISED ONE is an Israeli folk tune.
King Of the Universe,
Lord of the Ages RUSSIAN HYMN
The King Shall Come
CONSOLATION, ST. STEPHEN
CONSOLATION (Dare) is also known as MORNING SONG. When this
hymn is sung to ST. STEPHEN, care should be taken not sing the hymn in a
perfunctory manner, which may happen due to the misuse of Hymn 249, “Thy
gospel Jesus we believe” in some churches. In these churches it has become a
fixture between the Epistle and the Gospel. Hymn 249, however, was not written
to be sung before the reading of the Gospel but at a child’s first communion.
It is a communion hymn! Listen to Missio performing “Thy gospel Jesus we believe” in a live performance in 2011.
CONSOLATION (Dare) may be sung as a round or a canon,
normally at a distance of one or two measures and a space of one octave.
Let All Things Now
Living ASH GROVE
Let Every Christian
in Concert Sing DUNDEE
I searched for this hymn on the Internet but found no hymn
with this first line. The search did generate numerous results for “Let saints
on earth in concert sing,” “Let saints below in concert sing [join],” and “Let
saints together sing.” The hymn appears to be a variation of Charles Wesley’s
hymn, “Let saints in concert sing.” DUNDEE is the tune to which Wesley’s hymn
is set in all the hymnals containing the hymn and listed on the hymnary.org
website.
Let the Whole
Creation Cry SALZBURG, LLANFAIR
Let Us with a
Gladsome Mind WILLAMS BAY, MONKLAND, [INNOCENTS, ORIENTIS PARTIBUS]
Lift High the Cross
CRUCIFIER
Lift Up Your Heads,
Ye Mighty Gates TRURO
TRURO may be sung as a round or a canon, normally at a
distance of one or two measures and a space of one octave
.
Lo, He Comes with
Clouds Descending REGENT SQUARE, HELMSLEY, ST. THOMAS
Long Ago, Prophets
Knew PERSONENT HODIE
See notes for “Down to Earth, like a Dove.”
Lord Christ, When
First You Came to Earth MIT FREUDEN ZART
Lord of All
Hopefulness SLANE
Love Divine, All
Loves Excelling BEECHER, HYFRYDOL [BLAENWERN]
This hymn may also be sung to BLAENWERN. The tempo of BLAENWERN,
however, may be too slow for its use at the beginning of the service. It is
better used with the words of “Love Divine, All Loves Excelling” elsewhere in
the service.
May Jesus Christ Be
Praised LAUDES DOMINI
A Mighty Fortress Is
Our God EIN FESTE BURG
Morning Has Broken
BUNESSAN
This hymn was first published in Songs of Praise Expanded Edition (1931).
If this hymn is used as an introit hymn, the ministers
should enter during the prelude and take their places before the beginning of
the hymn.
According to the Psalter
Hymnal Handbook—
BUNESSAN is intended for unison singing; use a light
accompaniment on the organ (or organ trio style) or folk instruments.
My God, How Wonderful
Thou Art PYE, DUNDEE, WINDSOR
My Soul Gives Glory
to My God MORNING SONG
This hymn and the following hymns are metrical versions of
the Magnificat. They may be used as
introit hymns at a celebration of Holy Communion on the Feast of Annunciation and
other occasions or in place of the Magnificat in a service of Evening Prayer.
MORNING SONG may be sung as a round or a canon, normally at
a distance of one or two measures and a space of one octave.
My Soul Now Magnifies
the Lord ICH HEB MEIN AUGEN SEHNLICH AUF, WO GOTT ZUM HAUS
If this hymn is used as an introit hymn, should be sung to ICH
HEB MEIN AUGEN SEHNLICH AUF and should be begun after the ministers have
entered and taken their places. It should be sung at a moderate tempo and
should not be allowed to drag. The tempo of WO GOTT ZUM HAUS is too slow for an
introit hymn.
Name of All Majesty
MAJESTAS
New songs of
celebration render RENDEZ A DIEU
This hymn is a metrical version of Psalm 98. It may be sung
in a number of places at a celebration of Holy Communion. It may also be sung
as an office hymn after the Venite
and before the psalms in a service of Morning Prayer in which the psalms
appointed come from the section of the Psalter following Psalm 98. It is
customary to sing or recite the psalms in a service of Morning Prayer or
Evening Prayer in the order that they are printed in the Psalter. “New songs of
celebration render” may be sung in place of the Cantate Domino in a service of Evening Prayer.
RENDEZ A DIEU was composed by Louis Bourgeois and first
published in the Geneva Psalter (1551). It is also known as GENEVEN 98 and
GENEVAN 118. According to the Psalter
Hymnal Handbook (1987)—
This beloved tune is one of the finest and most widely sung
of the Genevan psalm tunes (next to GENEVAN 134). Its clear melodic structure
and vibrant rhythm call for firm accompaniment with bright organ registration,
though some congregations may want to try unaccompanied singing on a stanza or
two in the tradition of the sixteenth-century Reformers.
RENDEZ A DIEU was one of the tunes that Queen Elizabeth
dismissively referred to as “Geneva jigs.” A large number of the tunes were
adapted from popular ballad tunes.
Bourgeois also composed a setting for the Amen that is
published in 5 of the hymnals listed in the Gulbransen Digital Hymnal DH-100 CP’s
Manual and which is in all likelihood in its Master Index. Unfortunately the
Master Index does not identity the composers of its service music selections.
One must first determine the hymn number of the setting in a particular hymnal,
enter it into the digital hymnal player, and if it plays, make a note of the
code used to play that setting.
Now let us all with
one accord BOURBON
BOURBON may be sung as a round or a canon, normally at a
distance of one or two measures and a space of one octave.
Now Thank We All Our
God NUN DANKET ALLE GOTT
Now the Green Blade
Rises NOEL NOUVELET
When this Easter carol is sung as an introit hymn at a
celebration of Holy Communion during the fifty great days of Easter, the
ministers should enter during the prelude and take their places before the
start of the hymn. Or they should at least be well into the sanctuary before
the hymn is begun. The congregation’s attention should be focused on the words
of the hymn and not the ceremonial entrance of the ministers. A soloist or a
vocal ensemble may sing “Now the Green Blade Rises” as a musical offering in
place of the prelude, between the Epistle and the Gospel, at the Offertory, or
before the Communion. It may also be sung as a congregational hymn at the last
three places in the service.
The Easter carol, “This joyful Eastertide,” and its tune VRUECHTEN
are also in the Gulbransen Digital Hymnal DH-100 CP’s Master Index. A soloist
or a vocal ensemble may sing “This joyful Eastertide” as a musical offering in
place of the prelude, between the Epistle and the Gospel, at the Offertory, or
before the Communion. The congregation may initially be taught to sing the hymn
responsorially, a soloist or small ensemble singing the verses and the
congregation the refrain. The hymn may then be used as a sequence hymn,
offertory hymn, or communion hymn. If the hymn is used with enough frequency,
the congregation will also learn the verses and the entire hymn may be sung in
unison.
O all ye works of
God, now come IRISH
This hymn is a metrical version of the Benedicite. “O all ye works
of God now come” is a longish hymn—five stanzas. If it is used as an introit
hymn, it needs a tune that moves it along at a brisk pace. IRISH played on the
organ is a trifle slow. When played on the piano, it does not sound as slow as
it sounds when played on the organ. At a number of places in the melody a word
or syllable is sung to two or three notes. If the congregation is learning the
tune, it should be played on the piano or piano setting of the digital hymnal player
so the congregation can follow the melody. The notes are sharper on the piano
than on the organ. IRISH would be a good addition to a small congregation’s
repertoire of hymn tunes. “O Come and sing unto the Lord,” a metrical version
of the Venite, is also set to IRISH.
The tempo setting for a hymn tune may be adjusted on the
digital hymnal player. When the congregation transitions to an organ
accompaniment, an adjustment to the tempo of IRISH may be necessary.
O bless the Lord, my
soul! ST. THOMAS, FESTAL SONG
O Christ, the Word
Incarnate MUNICH
O Come and Sing Unto
the Lord IRISH, [DUNDEE/FRENCH]
This hymn is a metrical version of the Venite. For how this hymn should be sung, see my notes on “All ye
works of God now come.” Once the congregation has mastered the hymn, the organ
accompaniment may be used.
It deserves mention at this point that the organ is not the
only instrument suitable for Christian worship. With a small church
congregation the piano is the better instrument.
The organ has a checkered past. A primitive form of the
organ was known in the first three centuries of Christianity but its music was
not considered suitable for Christian worship. Organ music was played at pagan
sacrifices and brothels along with wind and stringed instruments.
Only unaccompanied singing was consider proper for Christian
worship. A cantor sang the verses and the congregation a refrain or the
congregation sung in unison. Antiphonal singing was not unknown at the time but
it was associated with pagan worship.
The organ would eventually gain acceptance, only to fall
into disfavor again at English Reformation. In the eighteenth century the most
common form of organ found in English churches was the barrel organ. Except in
cathedrals and college chapels the choir wore no vestments, consisted of
volunteers from the parish, and led the congregational singing from a gallery
at the west end of the church. The gallery choirs sang unaccompanied but later instruments such as the
violin cello (also known as the base viol), clarinet, flute, and bassoons were
added to the singers. These instruments helped to maintain the pitch of the
singers who gathered by voice type around the appropriate instrument.
The Oxford Movement suppressed the gallery choirs and tore
down the galleries, ostensibly because West Gallery Music, as it is now called,
was not solemn enough. Its adherents introduced organs and vested boys choirs
in parish churches. They viewed the hymnody, choral music, and organ music of
the late medieval period as the epitome of church music. An underlying motive
was that paid organists and choirmasters were easier to control than the
all-volunteer gallery choir. They were also more amenable to the Oxford
Movement’s “reform” of the music of the English church along the lines of that
of the medieval Church.
Interestingly Percy Dearmer who edited The English Hymnal (1906), Songs
of Praise (1925) and The Oxford Book
of Carols (1931) and wrote a number of hymns advocates a ten-year
moratorium on organ playing or, at a minimum, its temporary suspension during
Lent, in The Art of Public Worship
(1919). This he points out would throw the singers upon their own resources. He
asks rhetorically, “Shall we ever recover church music until we have a
music-gallery, and shall we ever recover village fellowship until we have a
village band?” He is, of course, referring to the gallery choirs of the
eighteenth and nineteenth century.
Dearmer goes on to commend the merits of accompanying
singing on the piano and using what he calls “sing-songs” to learn new hymn
tunes. He recalls how men would gather around a piano and sing hymns for a
half-hour before services during the First World War. He champions the
introduction of a similar practice in English parishes. He believed that it
would, along with the selection of accessible, musically-appealing hymns, make
congregational singing a more satisfying experience and that experience would
encourage and strengthen church attendance.
Dearmer further points out that the practice of singing
everything and not just the hymns and the service music, abysmal organ playing,
and third and even fourth rate choral music was driving people away from the
church. He maintains that at a celebration of Holy Communion a church only
needs to sing four or five bright hymns and simple service music settings like
Merbecke’s Communion Service or Martin Shaw’s Anglican Folk Mass.
West Gallery Music enjoyed a revival in the 1980s. It has a
lot in common with the shape-note hymnody of the Southern Harmony and Sacred
Harp traditions. It is a genre of music that made use of what resources
were available to a parish church—local singers, instrumentalists, and
composers. It included anthems, metrical psalms, and hymns. What small churches
may learn from West Gallery Music is the importance of making the most of the
resources at the disposal of the church and using a variety of musical
instruments in worship—the piano and local folk instruments like the dulcimer,
fiddle, flute, acoustical guitar, mandolin, penny whistle, and recorder.
“O come and sing unto the Lord” may also be sung to DUNDEE,
which is also known as FRENCH.
O Come and Sing to
God, the Lord ST. PETER, [MORNING SONG, DUNDEE, IRISH]
This hymn is a metrical version of the Venite. Its author is unknown. The hymn is in the public domain.
MORNING SONG, also known as CONSOLATION, is listed in the
digital hymnal’s Master Index as the tune for “My soul gives glory to my God,”
“O holy city seen of John,” and “The King shall come when morning dawns.” It is
also a good choice for “O come and sing to God the Lord.” It conveys the mood
of the hymn. Its name is particular appropriate for a hymn sung in the morning,
at a celebration of Holy Communion or in a service of Morning Prayer. As the
tune for a metrical version of the Venite,
its use would be fairly regular. MORNING SONG may be sung as a round or a
canon, normally at a distance of one or two measures and a space of one octave.
Michael Joncas has made alterations in the third and fifth
stanzas of the hymn, set the altered text to CLEARWATER, and copyrighted the
text and the tune. He composed CLEARWATER for the hymn. CLEARWATER is a very
singable tune. Oregon Catholic Press administers the copyright.
O Come, O Come,
Emmanuel VENI EMMANUEL
O Day of God, Draw
Nigh ST. MICHAEL/OLD 134TH
O Day of Radiant
Gladness ES FLOG EIN KLEINS WALDVOGEL/WOOD BIRD
O for a Thousand
Tongues to Sing AZMON, [ARLINGTON]
ARLINGTON is one of the tunes to which this hymn is set in The Hymnal, 1940. Only AZMON is listed
with the hymn in the Gulbransen Digital Hymnal DH-100 CP’s Master Index. ARLINGTON is listed in the
Master Index as a hymn tune that may be played on the digital hymnal player.
O My Soul, Bless God
the Father STUTTGART
On Christmas Night
All Christians Sing SUSSEX CAROL
On Jordan's bank the
Baptist's cry WINCHESTER NEW, PUER NOBIS
On This Day Earth
Shall Ring PERSONENT HODIE
See my notes on “Down to Earth, as a Dove.”
Open Now Thy Gates of
Beauty UNSER HERRSCHER/NEANDER
O praise ye the Lord!
Praise him in the height LAUDATE DOMINUM
O Sing a New Song to
the Lord GONFALON ROYAL
O Sons and Daughters,
Let Us Sing O FILII ET FILIAE
O Spirit of the
Living God FOREST GREEN, MELCOMBE (Webbe), [KINGSFOLD]
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.
O Word of God
Incarnate MUNICH
O worship the King,
all glorious above! HANOVER, LYONS
Peoples, Clap Your
Hands! GENEVAN 47
Praise and
Thanksgiving BUNESSAN
Praise God for the
Harvest ST. DENIO
Praise, My Soul, the
King of Heaven LAUDA ANIMA
Praise the Lord, His
Glories Show LLANFAIR
Praise The Lord! Ye
Heavens, Adore Him AUSTRIAN HYMN, HYFRYDOL, FABEN
Praise The Lord, The
Almighty LOBE DEN HERREN
Praise to God,
immortal praise 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.
Praise to the Holiest
in the height NEWMAN, GERONTIUS
Praise to the Lord,
the Almighty LOBE DEN HERREN
Praise to the living
God! LEONI
Praise we the Lord
this day ST. GEORGE, SWABIA
Praise Ye the Lord,
the Almighty LOBE DEN HERREN
Rejoice, Angelic
Choirs, Rejoice! MIT FREUDEN ZART, WACHTERLIED
Rejoice, O Pilgrim
Throng! MARION
Rejoice! Rejoice,
Believers LLANGLOFFAN,HAF TRONES LAMPA FARDIG
Rejoice, the Lord Is
King! LAUS REGIS, DARWALL'S 148TH/DARWALL, GOPSAL, JUBILATE
Rejoice, ye pure in
heart! MARION
Ride On! Ride on in
Majesty! ST. DROSTANE, TRURO
Rise, O Church, and
Lift Your Voices REGENT SQUARE
Round the Lord in
glory seated RUSTINGTON
Shout for Joy, Loud
and Long PERSONENT HODIE
This hymn, like “God is Love – His the care,” may be used on
most Sundays. The other hymns listed in the digital hymnal’s Master Index with
PERSONET HODIE as their tune are seasonal. “Shout for joy, loud and long” works
well as an introit hymn at a celebration of Holy Communion and as an office
hymn in a service of Morning Prayer.
1 Shout for joy, loud and long,
God be praised with a song!
To the Lord we belong--
children of our Maker,
God the great life giver.
God be praised with a song!
To the Lord we belong--
children of our Maker,
God the great life giver.
Refrain:
Shout for joy, joy, joy!
Shout for joy, joy, joy!
God is love, God is light,
God is everlasting!
Shout for joy, joy, joy!
Shout for joy, joy, joy!
God is love, God is light,
God is everlasting!
2 By God's Word all was made,
heaven and earth, light and shade,
nature's wonders displayed,
we to rule creation
from its first foundation.
heaven and earth, light and shade,
nature's wonders displayed,
we to rule creation
from its first foundation.
Refrain
3 Yet our pride makes us fall!
so Christ came for us all--
not the righteous to call--
by his cross and passion,
bringing us salvation.
so Christ came for us all--
not the righteous to call--
by his cross and passion,
bringing us salvation.
Refrain
4 Now has Christ truly risen
and his Spirit is given
to all those under heaven
who now walk beside him,
though they once denied him!
and his Spirit is given
to all those under heaven
who now walk beside him,
though they once denied him!
Refrain
Sing a New Song to
the Lord CANTATE DOMINO, ONSLOW SQUARE
This hymn is a metrical version of Psalm 98. It may be sung
as an introit hymn, sequence hymn, or offertory hymn at a celebration of Holy
Communion. “Sing a New Song to the Lord” may be sung as an office hymn after
the Venite and before the psalms in a
service of Morning Prayer on a Sunday when the psalm or psalms appointed for
Morning Prayer come from the section of the Psalter following Psalm 98. It is
customary to sing or recite the psalms in a service of Morning Prayer or
Evening Prayer in the order that they are printed in the Psalter. “Sing a New
Song to the Lord” may be sung in place of the Cantate Domino in a service of Evening Prayer.
Sing, O sing, this
blessed morn ENGLAND'S LANE
Sing Praise to God
Who Reigns Above MIT FREUDEN ZART
Sing Praise to the
Lord LAUDATE DOMINUM, HANOVER
Sing to the Lord a
Joyful Song GONFALON ROYAL
Sing To the Lord a
New Song SING TO THE LORD A NEW SONG (Hopson)
While I have included this song in the list of introit hymns
in the Gulbransen Digital Hymnal DH-100 CP’s Master Index, the song is call to worship and ideally
should be sung by a vocal ensemble in place of a prelude.
Sing We Now of
Christmas FRENCH CAROL/NOEL NOUVELET
The Christmas carol tune NOEL NOUVELET is sometimes called
FRENCH CAROL. The Gulbransen Digital Hymnal DH-100 CP’s Master Index uses both
names for this tune. Presumably one or more hymnals listed in its Manual use
NOEL NOUVELET for the tune while one or more them use FRENCH CAROL. This may be
confusing for anyone who is not familiar with the tune and its two different
names.
Sing with All the Saints
in Glory HYMN TO JOY
Song of Mary
MORNING SONG
“Song of Mary” is an alternate title for “My Soul Gives
Glory to My God,” a metrical version of the Magnificat.
See my notes for “My Soul Gives Glory to My God.”
MORNING SONG may be sung as a round or a canon, normally at
a distance of one or two measures and a space of one octave.
Song of Zechariah
KINGSFOLD
“Song of Zechariah” is an alternate title for Carl P. Daw’s
Jr.’s metrical version of the Benedictus
Dominus Deus, “Blessed be the God of Israel.” It may be sung to the tune
KINGSFOLD. “Song of Zechariah” is also an alternate title of Ruth Duck’s
metrical version of the Benedictus, “Now bless the God of Israel.” It may also
be sung to KINGSFOLD. The meter of both hymns is 87.87.D.
In addition James Quinn’s paraphrase of the Benedictus Dominus Deus, “Blessed be the
God of Israel (the ever-living Lord)” is known by this alternate title. Like
Daw and Duck’s paraphrases, its meter is 87.87.D. and it may be sung to
KINGSFOLD.
Songs of Praise the
Angels Sang MONKLAND
Songs of thankfulness
and praise SALZBURG, ST. GEORGE'S WINDSOR
Stand Up and Bless
the Lord ST. MICHAEL, CARLISLE, ST. THOMAS
Surely It Is God Who
Saves Me THOMAS MERTON, [LORD, REVIVE US, BEACH SPRING, IN BABILONE,
NETTLETON]
This hymn is a metrical version of Ecce Deus, the First Song
of Isaiah. Carl P. Daw Jr. wrote it for The
Hymnal 1982.
“Surely it is God who saves me” is set to two tunes in The
Hymnal 1982—COLLEGE OF PREACHERS and THOMAS MERTON. In the Psalter Hymnal it is set to LORD, REVIVE US. In With One Voice, it is set to RAQUEL with
BEACH SPRING as the suggested alternative tune. RAQUEL is a strikingly
beautiful hymn tune that is also used as a setting for “Sing of Mary, pure and
lowly.”
COLLEGE OF PREACHERS and RAQUEL
are not in the Gulbransen Digital Hymnal DH-100 CP’s Master Index, an omission that is regrettable.
In A Year of Grace: Hymns for the Church
Year, Daw notes that the hymn may be sung effectively to IN BABILONE or
NETTLETON. In Worship and Rejoice it
is set to IN BABILONE. At St. Michael’s we sung it to IN BABILONE.
“Surely it is God who saves me” may be sung as an introit
hymn, a sequence hymn, an offertory hymn, a communion hymn, and a
post-communion hymn (in place of the Gloria
in excelsis) at a celebration of Holy Communion. If it is sung as an introit hymn, the
minister should enter during the prelude and take their places before the
beginning of the hymn.
The size of the congregation and the length of the offertory
are factors that should be considered in deciding to use it as an offertory
hymn due to its length—two stanzas. The meter is 87.87.D, which means the each
stanza in eight lines in length. For a modest sized congregation its use at the
offertory may not be a problem. It is preferable that the Alms and Oblations
should be presented during the conclusion of the hymn or in silence if the hymn
has ended. No hymn should be sung twice at the offertory or any other part of
the service.
Take Up Your
Cross," the Savior Said NUN LASST UNS DEN LEIB, BOURBON, QUEBEC, O
JESU, MI DULCISSIME
BOURBON may be sung as a round or a canon, normally at a
distance of one or two measures and a space of one octave.
Tell out, my soul,
the greatness of the Lord! BIRMINGHAM, WOODLANDS
This hymn is a metrical version of the Magnificat. It is a pretty versatile hymn and may be used in a
number of places at a celebration of Holy Communion. It may also be sung in
place of the Magnificat in a service
of Evening Prayer.
BIRMINGHAM is the easiest-to-sing of the two tunes listed
with the hymn in the Gulbransen Digital Hymnal DH-100 CP’s Master Index.
This Day God Gives Me
BUNESSAN
James Quinn set two hymns to BUNESSAN. Both hymns are taken
from St. Patrick’s Lorica (or Breast Plate)—an ancient Irish hymn attributed to
St. Patrick. It is also known as “The Deer’s Cry.” The second hymn is “Christ
[be] beside me.” If “This Day God Gives Me” is used as an introit hymn, the
ministers should enter during the postlude and take their places before the
hymn is begun.
This Is the Day the
Lord Hath Made TWENTY-FOURTH, ARLINGTON, LONDON NEW, NUN DANKET ALL' UND
BRINGET
Thou, whose almighty
word MOSCOW
We Come, O Christ, to
You DARWALL
We Gather Together
KREMSER
Welcome, Happy
Morning! FORTUNATUS
Welcome, Happy
Morning NOEL NOUVELET
We Praise Thee, O
God! KREMSER, REVIVE US AGAIN
We Sing the Greatness
of Our God ELLACOMBE
We Three Kings of
Orient Are KINGS OF ORIENT
A cantor may sing the verses and the congregation the
refrain.
We, Thy People,
Praise Thee ST. ANTHONY'S CHORALE
At North Cross United Methodist Church we sung this hymn as
a call to worship or choral prelude at our weekly celebration of Holy
Communion. It may be sung as an introit hymn. Due to its length the ministers
should enter during the prelude and take their places before the beginning of
the hymn. It may also be sung between the Epistle and the Gospel and elsewhere
in the service. It may be used as an office hymn between the Venite and the psalms in a service of
Morning Prayer or as a simple anthem, sung by a vocal ensemble, in a service of
Evening Prayer.
We Welcome Glad
Easter ST. DENIO
We Will Extol You
OLD 124TH
We will glorify WE
WILL GLORIFY
When Morning Gilds
the Skies LAUDES DOMINI, O SEIGNEUR
O SEIGNEUR is a metrical psalm tune from the Geneva Psalter
(1551). It is also known as GENEVAN 3 and OLD 122ND. It was composed by Louis
Bourgeois who composed OLD HUNDRETHand RENDEZ A DIEU. It has a long history of
use in the Anglican Church. It was one of the tunes to which the metrical
psalms in Thomas Sternhold and John Hopkins’ The Whole Booke of Psalmes: collected in English Meteer (1640),
also known as the Old Version, were
set. The Old Version served as the
hymn book of the Church of England until Nahum Tate and Nicholas Brady’s New Version of the Psalms of David (1696)
largely took its place. Tate and Brady’s metrical psalter was also known as the
New Version and included metrical
versions of the Lord’s Prayer and the Apostles’ Creed. In later editions
metrical versions of the Ten Commandments and the Prayer Book canticles were
included.
O SEIGNEUR is a fairly accessible tune. A vocal ensemble
might sing “When morning gilds the skies” without accompaniment as a music
offering during the ceremonial entrance of the ministers at a celebration of
Holy Communion. The congregation might also learn this tune and sing it as an
alternative setting for “When morning gilds the skies.”
When the King Shall
Come Again TEMPUS ADEST FLORIDUM, GAUDEAMUS PARITER
When the Lord in
Glory Comes GLORIOUS COMING
Who Can measure
Heaven and Earth LUCERNA LAUDONIAE
With Joy I Heard My
Friends Exclaim GONFALON ROYAL
The Works of the Lord
Are Created in Wisdom KREMSER
Worship Christ the
Risen King REGENT SQUARE
As one may see from this list, the Gulbransen Digital Hymnal
DH-100 CP’s Master Index does not suffer from a shortage of hymns suitable for
use as introit hymns.
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