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Meter: 7.7.7.7 Appears in 130 hymnals Matching Instances: 126 Composer and/or Arranger: Orlando Gibbons, 1583-1625 Tune Sources: Orlando Gibbons (Setting based on) Tune Key: D Major Incipit: 34562 23567 16653 Used With Text: Holy Spirit, Light Divine

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Holy Spirit, Truth Divine

Author: Samuel Longfellow, 1819-1892 Appears in 272 hymnals Matching Instances: 16 Topics: The Holy Spirit Used With Tune: SONG 13

For Thy mercy and Thy grace

Author: Henry Downton, 1818-1885 Meter: 7.7.7.7 Appears in 218 hymnals Matching Instances: 12 Topics: Times and Occasions Old Year and New Used With Tune: SONG 13

Jesu, grant me this, I pray

Appears in 41 hymnals Matching Instances: 10 Used With Tune: SONG 13 Text Sources: Latin 17th Cent

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Published text-tune combinations (hymns) from specific hymnals

സന്തോഷത്തോടോന്നിക്കാം

Author: Charles Wesley; Simon Zachariah Hymnal: The Cyber Hymnal #15028 Meter: 7.7.7.7 Lyrics: 1 സന്തോഷത്തോടോന്നിക്കാം ക്രിസ്തുവിന്നായ് പാടീടാം താതന്നു സ്തുതിയെന്നു ഒന്നിച്ചൊന്നായ് ആർപ്പിടാം 2 യേശു എന്നും അനന്യൻ ഇന്നലെപ്പോൽ എന്നെന്നും എവിടെയും എപ്പോഴും പൂർണ്ണ കൃപ, സത്യവും 3 ക്രിസ്തു നാഥന്നായ് നില്ക്കാം കൂരിരുട്ടിൽ ദീപം പോൽ സ്വയത്തെ മരിപ്പിച്ചു തൻ സാക്ഷിയായ് ജീവിക്കാം 4 സാക്ഷികൾ നാം ക്രൂശിന്നായ് തന്നോടൊപ്പം മരിച്ചു മരണത്തെ തോല്പിച്ചു ആത്മാവെ പ്രാപിച്ചു നാം 5 സ്നേഹത്താൽ നാം യത്നിക്കാം ആത്മ ജ്വാല കത്തിക്കാം രക്ത സാക്ഷി ആയീടാം ദൈവ ധീരരായിടാം 6 നിന്നിൽ പൂർണ്ണനാക്കെന്നെ മഹത്വം അണിയിക്ക നിൻ മുൻപിൽ ഞാൻ എത്തുമ്പോൾ ശുദ്ധരൊത്തു വാഴുമ്പോൾ 7 സ്നേഹത്തിൽ ജീവിച്ചീടാൻ സന്തോഷം പൂർത്തിയാക്കാൻ ദൈവ കോപം ഒഴിവാൻ വിശ്വാസത്തെ പങ്കിടാൻ 8 ആത്മഫലം കായ്ച്ചീടാൻ കല്പിക്ക നീ ഞങ്ങളിൽ ശാന്തി സ്നേഹം വർദ്ധിപ്പാൻ ഉത്തമരായ് വർത്തിപ്പാൻ 9 വിനയം ധരിപ്പിക്ക ക്ഷമ, ദയ, കാരുണ്യം പഠിപ്പിക്ക താഴ്മയും നിൻ നന്മകൾ വർഷിക്ക 10 ക്രിസ്തു വാഴുന്നുന്നതേ കൂടെ നാമും വാഴേണം ദൈവത്തിൻ വലഭാഗേ സ്നേഹമായ് വാഴും നമ്മൾ 11 വന്നരുൾക നാഥനെ താഴ്മയോടെ ഭൂതലേ കണ്‍പാർക്ക ഈ ഭൂമിയെ കടാക്ഷിക്ക മർത്യരെ 12 കൈ ഉയർത്തി പാടട്ടെ പണ്ടേപോലെ പാടട്ടെ സ്വർലോകത്തിൻ ആനന്ദം ആഘോഷിക്കാം സ്നേഹത്തെ 13 ആഗമിക്ക യേശുവേ അഥിതിയായ് എന്നുള്ളിൽ ശുദ്ധി ചെയ്ക എൻ മനം വന്നു വാഴ്ക വിരുന്നിൽ 14 വാഗ്ദത്തം പോൽ വായെന്നിൽ നിൻ മഹത്വ നാമത്തിൽ സാന്നിധ്യം തന്നീടുക ഞങ്ങൾ മദ്ധ്യേ ഇന്നേരം. 15 ശുദ്ധി ചെയ്ക ഞങ്ങളെ ശാന്താത്മാവെ ചൊരിക ഞങ്ങളിൽ നീ വർത്തിക്ക സദ്യേ സ്നേഹം ചൊരിക 16 കുഞ്ഞാട്ടിൻ കല്ല്യാണത്തിൽ പേർ ചൊല്ലി വിളിക്കെന്നെ തൻ മാർവിൽ അണക്കെന്നെ എന്നും സ്നേഹ വിരുന്നിൽ 17 കല്പന പോൽ ഒന്നിക്കാം ഏകാമാകാം ആത്മാവിൽ അന്യോന്യം സഹായിക്കാം പ്രത്യാശ പകർന്നീടാം 18 ദൈവം നല്കും ആശിഷം പൂർത്തിയാക്കും തൻ വാക്കു തൻ വിധത്തിൽ വർത്തിക്കും തുഷ്ടിയേകും ഏവർക്കും 19 സോദരരെ സ്നേഹിക്കാം വർദ്ധിപ്പിക്കാം തൻ ദാനം യത്നിച്ചീടാം എന്നാളും ശുദ്ധിയായ് ജീവിച്ചീടാം 20 പിമ്പുള്ളതു മറക്കാം പിൻ ചെന്നീടാം ക്രിസ്തുവേ ലക്ഷ്യം നോക്കി മുന്നേറാം പ്രാപിക്കാം കിരീടത്തെ 21 വിശ്വാസം താ ഞങ്ങൾക്കു ഞങ്ങൾ വേല തികയ്പ്പാൻ വിധി കർത്താ ദൈവം താൻ വിശ്വാസം താ കൃപയ്ക്കായ് 22 പൂർണ്ണമായ വിശ്വാസം പൂർണ്ണ ജയം നല്കുന്നു പാപം പോക്കി രക്ഷിക്കും ആത്മാവെ പുതുക്കീടും 23 ഈ വിശ്വാസം പ്രാപിക്കാം രക്ഷയെയും തന്മൂലം സ്വർഗ്ഗം പൂകാം അന്നേരം നിത്യജീവൻ നേടീടാം 24 വിശ്വാസം നാം സൂക്ഷിക്കാം നാഥനെ കാണും വരെ സ്നേഹത്താലെ വിശ്വാസാൽ നില്ക്ക ക്രിസ്തൻ പാറമേൽ 25 പ്രത്യശയിൻ പങ്കാളി, ഉയർത്തീടിൻ ശബ്ദത്തെ അത്യുച്ചത്തിൽ പാടീടാം ക്രിസ്തു നാഥൻ രാജന്നായ് 26 യേശുവിൻ കൃപകളെ ആസ്വദിച്ചു സ്തുതിക്കാം തൻ വഴിയിൽ ജീവിക്കാം വ്യർത്ഥമല്ല വിശ്വാസം 27 തൻ വെളിച്ചെ പോകുമ്പോൾ മനങ്ങളെ ഒന്നാക്കും നൽ കൂട്ടായ്മ പ്രാപിക്കും കർത്തൻ സ്നേഹ കൂട്ടായ്മ 28 സന്തോഷത്തോടൊന്നാകാം തൻ വേലയിൽ ഒന്നിക്കാം യേശുവിന്റെ രക്തത്താൽ ശുദ്ധി നേടാം ദിനവും 29 നല്ക വീണ്ടും വിശ്വാസം അശുദ്ധിയെ അകറ്റാൻ അശുദ്ധിയെ തീണ്ടാത്തോൻ യോഗ്യരാക്ക ഞങ്ങളെ 30 തിന്മയെ ഇല്ലാതാക്ക ദൂരെ നീക്ക വേരോടെ പാപത്തെ നശിപ്പിക്ക ഹൃത്തിൽ സ്നേഹം നിറയ്ക്ക 31 സൽപ്രവർത്തി ചെയ്തീടാൻ ക്രിസ്തൻ സാക്ഷ്യം വഹിപ്പാൻ അന്യോന്യ സ്നേഹത്താലെ നിങ്കൽ ചേർക്ക ഞങ്ങളെ 32 നിന്റെ സ്നേഹം ചൊരിക ഹൃത്തിടെ പതിപ്പിക്ക സ്നേഹം മാത്രം തന്നരുൾ മറ്റൊന്നില്ല സ്നേഹം പോൽ Languages: Malayalam Tune Title: CANTERBURY

Ruler of the Hosts of Light

Author: John Chandler Hymnal: The Cyber Hymnal #5860 Meter: 7.7.7.7 Lyrics: 1. Ruler of the hosts of light, Death hath yielded to Thy might; And Thy blood hath marked a road Which will lead us back to God. 2. From Thy dwelling place above, From Thy Father’s throne of love, With Thy look of mercy bless Those without Thee comfortless. 3. Bitter were Thy throes on earth, Giving to the Church her birth From the spear wound opening wide In Thine own life giving side. 4. Now in glory Thou dost reign Won by all Thy toil and pain; Thence the promised Spirit send While our prayers to Thee ascend. 5. Jesu, praise to Thee be giv’n With the Father high in Heav’n; Holy Spirit, praise to Thee, Now and through eternity. Languages: English Tune Title: CANTERBURY

Jesu, Grant Me This, I Pray

Author: Anonymous; Henry W. Baker Hymnal: The Cyber Hymnal #3318 Meter: 7.7.7.7 Lyrics: 1. Jesu, grant me this, I pray, Ever in Thy heart to stay; Let me evermore abide Hidden in Thy wounded side. 2. If the evil one prepare, Or the world, a tempting snare, I am safe when I abide In Thy heart and wounded side. 3. If the flesh, more dangerous still, Tempt my soul to deeds of ill, Naught I fear when I abide In Thy heart and wounded side. 4. Death will come one day to me; Jesu, cast me not from Thee: Dying let me still abide In Thy heart and wounded side. Languages: English Tune Title: CANTERBURY

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People

Authors, composers, editors, etc.

Orlando Gibbons

1583 - 1625 Person Name: Orlando Gibbons, 1583 - 1625 Composer of "SONG 13 (GIBBONS)" in The Hymnary of the United Church of Canada Orlando Gibbons (baptised 25 December 1583 – 5 June 1625) was an English composer, virginalist and organist of the late Tudor and early Jacobean periods. He was a leading composer in the England of his day. Gibbons was born in Cambridge and christened at Oxford the same year – thus appearing in Oxford church records. Between 1596 and 1598 he sang in the Choir of King's College, Cambridge, where his brother Edward Gibbons (1568–1650), eldest of the four sons of William Gibbons, was master of the choristers. The second brother Ellis Gibbons (1573–1603) was also a promising composer, but died young. Orlando entered the university in 1598 and achieved the degree of Bachelor of Music in 1606. James I appointed him a Gentleman of the Chapel Royal, where he served as an organist from at least 1615 until his death. In 1623 he became senior organist at the Chapel Royal, with Thomas Tomkins as junior organist. He also held positions as keyboard player in the privy chamber of the court of Prince Charles (later King Charles I), and organist at Westminster Abbey. He died at age 41 in Canterbury of apoplexy, and a monument to him was built in Canterbury Cathedral. A suspicion immediately arose that Gibbons had died of the plague, which was rife in England that year. Two physicians who had been present at his death were ordered to make a report, and performed an autopsy, the account of which survives in The National Archives: We whose names are here underwritten: having been called to give our counsels to Mr. Orlando Gibbons; in the time of his late and sudden sickness, which we found in the beginning lethargical, or a profound sleep; out of which, we could never recover him, neither by inward nor outward medicines, & then instantly he fell in most strong, & sharp convulsions; which did wring his mouth up to his ears, & his eyes were distorted, as though they would have been thrust out of his head & then suddenly he lost both speech, sight and hearing, & so grew apoplectical & lost the whole motion of every part of his body, & so died. Then here upon (his death being so sudden) rumours were cast out that he did die of the plague, whereupon we . . . caused his body to be searched by certain women that were sworn to deliver the truth, who did affirm that they never saw a fairer corpse. Yet notwithstanding we to give full satisfaction to all did cause the skull to be opened in our presence & we carefully viewed the body, which we found also to be very clean without any show or spot of any contagious matter. In the brain we found the whole & sole cause of his sickness namely a great admirable blackness & syderation in the outside of the brain. Within the brain (being opened) there did issue out abundance of water intermixed with blood & this we affirm to be the only cause of his sudden death. His death was a shock to peers and the suddenness of his passing drew comment more for the haste of his burial – and of its location at Canterbury rather than the body being returned to London. His wife, Elizabeth, died a little over a year later, aged in her mid-30s, leaving Orlando's eldest brother, Edward, to care for the children left orphans by this event. Of these children only the eldest son, Christopher Gibbons, went on to become a musician. One of the most versatile English composers of his time, Gibbons wrote a quantity of keyboard works, around thirty fantasias for viols, a number of madrigals (the best-known being "The Silver Swan"), and many popular verse anthems. His choral music is distinguished by his complete mastery of counterpoint, combined with his wonderful gift for melody. Perhaps his most well known verse anthem is This is the record of John, which sets an Advent text for solo countertenor or tenor, alternating with full chorus. The soloist is required to demonstrate considerable technical facility at points, and the work at once expresses the rhetorical force of the text, whilst never being demonstrative or bombastic. He also produced two major settings of Evensong, the Short Service and the Second Service. The former includes a beautifully expressive Nunc dimittis, while the latter is an extended composition, combining verse and full sections. Gibbons's full anthems include the expressive O Lord, in thy wrath, and the Ascension Day anthem O clap your hands together for eight voices. He contributed six pieces to the first printed collection of keyboard music in England, Parthenia (to which he was by far the youngest of the three contributors), published in about 1611. Gibbons's surviving keyboard output comprises some 45 pieces. The polyphonic fantasia and dance forms are the best represented genres. Gibbons's writing exhibits full mastery of three- and four-part counterpoint. Most of the fantasias are complex, multisectional pieces, treating multiple subjects imitatively. Gibbons's approach to melody in both fantasias and dances features a capability for almost limitless development of simple musical ideas, on display in works such as Pavane in D minor and Lord Salisbury's Pavan and Galliard. In the 20th century, the Canadian pianist Glenn Gould championed Gibbons's music, and named him as his favorite composer. Gould wrote of Gibbons's hymns and anthems: "ever since my teen-age years this music ... has moved me more deeply than any other sound experience I can think of." In one interview, Gould compared Gibbons to Beethoven and Webern: ...despite the requisite quota of scales and shakes in such half-hearted virtuoso vehicles as the Salisbury Galliard, one is never quite able to counter the impression of music of supreme beauty that lacks its ideal means of reproduction. Like Beethoven in his last quartets, or Webern at almost any time, Gibbons is an artist of such intractable commitment that, in the keyboard field, at least, his works work better in one's memory, or on paper, than they ever can through the intercession of a sounding-board. To this day, Gibbons's obit service is commemorated every year in King's College Chapel, Cambridge. --wikipedia.org

Samuel Longfellow

1819 - 1892 Author of "Holy Spirit, Truth Divine" in Psalter Hymnal (Gray) Longfellow, Samuel, B. A., brother of the Poet, was born at Portland, Maine, June 18, 1819, and educated at Harvard, where he graduated in Arts in 1839, and in Theology in 1846. On receiving ordination as an Unitarian Minister, he became Pastor at Fall River, Massachusetts, 1848; at Brooklyn, 1853; and at Germantown, Pennsylvania, 1860. In 1846 he edited, with the Rev. S. Johnson (q. v.), A Book of Hymns for Public and Private Devotion. This collection was enlarged and revised in 1848. In 1859 his Vespers was published, and in 1864 the Unitarian Hymns of the Spirit , under the joint editorship of the Rev. S. Johnson and himself. His Life of his brother, the Poet Longfellow, was published in 1886. To the works named he contributed the following hymns:— i. To A Book of Hymns , revised ed., 1848. 1. Beneath the shadow of the Cross. Love. 2. 0 God, thy children gathered here. Ordination. ii. To the Vespers 1859. 3. Again as evening's shadow falls. Evening. 4. Now on land and sea descending. Evening. iii. To the Hymns of the Spirit, 1864. 5. A voice by Jordan's shore. Advent. 6. Father, give Thy benediction. Ordination. 7. Go forth to life, 0 child of earth. Life's Mission. 8. God of ages and of nations. Holy Scriptures. 9. Holy Spirit, Truth divine. The Holy Spirit desired. 10. I look to Thee in every need. Trust in God. 11. In the beginning was the Word. The Word. 12. Love for all, and can it be? Lent. The Prodigal Son. 13. 0 God, in Whom we live and move. God's Law and Love. 14. 0 God, Thou Giver of all good. Prayer for Food. 15. O still in accents sweet and strong. Missions. 16. 0 Thou, Whose liberal sun and rain. Anniversary of Church dedication. 17. One holy Church of God appears. The Church Universal. 18. Out of the dark, the circling sphere. The Outlook. 19. Peace, peace on earth! the heart of man for ever. Peace on Earth. 20. The loving Friend to all who bowed. Jesus of Nazareth. 21. ’Tis winter now, the fallen snow. Winter. Of these, hymn No. 2 was written for the Ordination of E. E. Hale (q. v.), at Worcester, 1846. Several are included in Martineau's Hymns, 1873. Died Oct. 3, 1892. [Rev. F. M. Bird, M.A.] --John Julian, Dictionary of Hymnology (1907), p. 685 =============== Longfellow, S., p. 685, i. Since Mr. Longfellow's death on Oct. 3, 1892, his hymns have been collected by his niece, Miss Alice Longfellow, as Hymns and Verses(Houghton, Mifflin & Co., 1904.) From this work we find many of the hymns signed Anon, in the Index to Longfellow and Johnson's Hymns of the Spirit, 1864, were his; several of these, including E. Osier's "O God unseen, yet ever near," were popular English hymns which he rewrote from his own theological standpoint. These re¬written hymns are very widely used by Unitarians and others. During the last ten years the following additional hymns by S. Long¬fellow have come into common use:— 1. Eternal One, Thou living God. Faith in God. 2. God of the earth, the sky, the sea. God in Nature. 3. God's trumpet wakes the slumbering world. Call to duty. 4. Light of ages and of nations. God in and through all time. 5. Lo, the earth is risen again. Spring. (1876.) 6. Now while we sing our closing psalm. Close of Worship. 7. O Life that maketh all things new. Unity. (1874.) 8. O Thou in Whom we live and move. The Divine Law. 9. The summer days are come again. Summer. From his hymn,"The sweet[bright] June days are come again." 10. Thou Lord of lite, our saving health. In Sickness. (1886.) Of these hymns Nos. 2, 3 appeared in the Hymns of the Spirit, 1864, and all with the dates appended in Hymns and Verses, 1904. --John Julian, Dictionary of Hymnology, New Supplement (1907) ================== http://en.wikipedia.org/wiki/Samuel_Longfellow

Charles Wesley

1707 - 1788 Author of "Come, and Let Us Sweetly Join" in The Cyber Hymnal Charles Wesley, M.A. was the great hymn-writer of the Wesley family, perhaps, taking quantity and quality into consideration, the great hymn-writer of all ages. Charles Wesley was the youngest son and 18th child of Samuel and Susanna Wesley, and was born at Epworth Rectory, Dec. 18, 1707. In 1716 he went to Westminster School, being provided with a home and board by his elder brother Samuel, then usher at the school, until 1721, when he was elected King's Scholar, and as such received his board and education free. In 1726 Charles Wesley was elected to a Westminster studentship at Christ Church, Oxford, where he took his degree in 1729, and became a college tutor. In the early part of the same year his religious impressions were much deepened, and he became one of the first band of "Oxford Methodists." In 1735 he went with his brother John to Georgia, as secretary to General Oglethorpe, having before he set out received Deacon's and Priest's Orders on two successive Sundays. His stay in Georgia was very short; he returned to England in 1736, and in 1737 came under the influence of Count Zinzendorf and the Moravians, especially of that remarkable man who had so large a share in moulding John Wesley's career, Peter Bonier, and also of a Mr. Bray, a brazier in Little Britain. On Whitsunday, 1737, [sic. 1738] he "found rest to his soul," and in 1738 he became curate to his friend, Mr. Stonehouse, Vicar of Islington, but the opposition of the churchwardens was so great that the Vicar consented that he "should preach in his church no more." Henceforth his work was identified with that of his brother John, and he became an indefatigable itinerant and field preacher. On April 8, 1749, he married Miss Sarah Gwynne. His marriage, unlike that of his brother John, was a most happy one; his wife was accustomed to accompany him on his evangelistic journeys, which were as frequent as ever until the year 1756," when he ceased to itinerate, and mainly devoted himself to the care of the Societies in London and Bristol. Bristol was his headquarters until 1771, when he removed with his family to London, and, besides attending to the Societies, devoted himself much, as he had done in his youth, to the spiritual care of prisoners in Newgate. He had long been troubled about the relations of Methodism to the Church of England, and strongly disapproved of his brother John's "ordinations." Wesley-like, he expressed his disapproval in the most outspoken fashion, but, as in the case of Samuel at an earlier period, the differences between the brothers never led to a breach of friendship. He died in London, March 29, 1788, and was buried in Marylebone churchyard. His brother John was deeply grieved because he would not consent to be interred in the burial-ground of the City Road Chapel, where he had prepared a grave for himself, but Charles said, "I have lived, and I die, in the Communion of the Church of England, and I will be buried in the yard of my parish church." Eight clergymen of the Church of England bore his pall. He had a large family, four of whom survived him; three sons, who all became distinguished in the musical world, and one daughter, who inherited some of her father's poetical genius. The widow and orphans were treated with the greatest kindness and generosity by John Wesley. As a hymn-writer Charles Wesley was unique. He is said to have written no less than 6500 hymns, and though, of course, in so vast a number some are of unequal merit, it is perfectly marvellous how many there are which rise to the highest degree of excellence. His feelings on every occasion of importance, whether private or public, found their best expression in a hymn. His own conversion, his own marriage, the earthquake panic, the rumours of an invasion from France, the defeat of Prince Charles Edward at Culloden, the Gordon riots, every Festival of the Christian Church, every doctrine of the Christian Faith, striking scenes in Scripture history, striking scenes which came within his own view, the deaths of friends as they passed away, one by one, before him, all furnished occasions for the exercise of his divine gift. Nor must we forget his hymns for little children, a branch of sacred poetry in which the mantle of Dr. Watts seems to have fallen upon him. It would be simply impossible within our space to enumerate even those of the hymns which have become really classical. The saying that a really good hymn is as rare an appearance as that of a comet is falsified by the work of Charles Wesley; for hymns, which are really good in every respect, flowed from his pen in quick succession, and death alone stopped the course of the perennial stream. It has been the common practice, however for a hundred years or more to ascribe all translations from the German to John Wesley, as he only of the two brothers knew that language; and to assign to Charles Wesley all the original hymns except such as are traceable to John Wesley through his Journals and other works. The list of 482 original hymns by John and Charles Wesley listed in this Dictionary of Hymnology have formed an important part of Methodist hymnody and show the enormous influence of the Wesleys on the English hymnody of the nineteenth century. -- Excerpts from John Julian, Dictionary of Hymnology (1907) ================== Charles Wesley, the son of Samuel Wesley, was born at Epworth, Dec. 18, 1707. He was educated at Westminster School and afterwards at Christ Church, Oxford, where he graduated M.A. In 1735, he took Orders and immediately proceeded with his brother John to Georgia, both being employed as missionaries of the S.P.G. He returned to England in 1736. For many years he engaged with his brother in preaching the Gospel. He died March 29, 1788. To Charles Wesley has been justly assigned the appellation of the "Bard of Methodism." His prominence in hymn writing may be judged from the fact that in the "Wesleyan Hymn Book," 623 of the 770 hymns were written by him; and he published more than thirty poetical works, written either by himself alone, or in conjunction with his brother. The number of his separate hymns is at least five thousand. --Annotations of the Hymnal, Charles Hutchins, M.A., 1872.

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Hymnals

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Christian Classics Ethereal Hymnary

Publication Date: 2007 Publisher: Grand Rapids, MI: Christian Classics Ethereal Library

Small Church Music

Description: The SmallChurchMusic site was launched in 2006, growing out of the requests from those struggling to provide suitable music for their services and meetings. Rev. Clyde McLennan was ordained in mid 1960’s and was a pastor in many small Australian country areas, and therefore was acutely aware of this music problem. Having also been trained as a Pipe Organist, recordings on site (which are a subset of the smallchurchmusic.com site) are all actually played by Clyde, and also include piano and piano with organ versions. All recordings are in MP3 format. Churches all around the world use the recordings, with downloads averaging over 60,000 per month. The recordings normally have an introduction, several verses and a slowdown on the last verse. Users are encouraged to use software: Audacity (http://www.audacityteam.org) or Song Surgeon (http://songsurgeon.com) (see http://scm-audacity.weebly.com for more information) to adjust the MP3 number of verses, tempo and pitch to suit their local needs. Copyright notice: Rev. Clyde McLennan, performer in this collection, has assigned his performer rights in this collection to Hymnary.org. Non-commercial use of these recordings is permitted. For permission to use them for any other purposes, please contact manager@hymnary.org. Home/Music(smallchurchmusic.com) List SongsAlphabetically List Songsby Meter List Songs byTune Name About

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