Let Us Break Bread Together: The Music and Celebration of the Lord’s Supper, Part 5

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.

Refrain:
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.

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.

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!

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.