Hymnary Friends,

We don't often ask for money.

But, before you hit the "close" button on this box, please consider a donation to keep Hymnary.org going.

You are one of more than half a million people who come here every month: worship leaders, hymnologists, hymn lovers and many more. Here at Hymnary.org, you have free access to the most complete database of North American hymnody on the planet. But this project does not come without a cost, and we have limited sources of revenue.

So if you benefit from Hymnary.org, would you please consider a donation today? Even small amounts help, and they also let us know you're behind us and support what we do.

You can make your tax-deductible contribution by sending a check to Hymnary.org at 3201 Burton SE, Grand Rapids, MI 49546, or you can click the Donate button below to be taken to a secure site.

On behalf of the entire Hymnary.org team,
Harry Plantinga

30D. O choro pode durar (Though Weeping and Deepest Sorrow)

Text Information
First Line: I will praise you, O my God (Eu te exaltarei ó Deus)
Title: O choro pode durar (Though Weeping and Deepest Sorrow)
Author: Simei Monteiro
Publication Date: 2012
Scripture:
Topic: Church Year: Baptism of the Lord; Elements of Worship: Testimony; Emmaus Road (17 more...)
Language: Portuguese; English
Refrain First Line: O chor pode durar (Though weeping and deepest sorrow)
Copyright: © 2000 Simei Monteiro, admin. General Board of Global Missions t/a GBGMusik
Tune Information
Name: [I will praise you, O my God]
Composer: Simei Monteiro
Key: E Major
Copyright: © 2000 Simei Monteiro, admin. General Board of Global Missions t/a GBGMusik
Notes: While this song may appear intimidating, a well planned introduction will make it immediately accessible. Introduce the refrain with a solo voice or an ensemble. Have the congregation join in singing this several times, adding percussion instruments, until all is firmly established. The rhythm comes to a halt at the singing of the stanzas. Introduce each phrase with a rolled chord on the keyboard, and accompany with improvisation on shakers and cymbals. A solo voice could sing all of the stanzas, or the congregation may be invited to join beginning on st. 2. It is not necessary that the syllables move precisely together for the stanzas. At the final measure of the stanzas, the percussion should fall into place, establishing the pulsing rhythm of the refrain.



Suggestions or corrections? Contact us



Advertisements