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Texts

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Pass Me Not, O Gentle Savior

Author: Fanny J. Crosby (1820-1915) Appears in 809 hymnals Refrain First Line: Savior, Savior, Hear my humble cry Lyrics: 1 Pass me not, O gentle Savior, Hear my humble cry; ... Topics: Hymns and Songs Baptism and Conversion Used With Tune: [Pass me not, O gentle Savior]

Spirit, Spirit of gentleness

Author: James K. Manley; Andrew Donaldson Meter: Irregular with refrain Appears in 14 hymnals First Line: You moved on the waters (Tu touchas la terre) Refrain First Line: Spirit, Spirit of gentleness (Souffle, vent doux du Saint-Esprit) Lyrics: Spirit, spirit of gentleness, blow through ... Topics: Transformation; Water; Wilderness/Desert; Women; Pentecost Year A; Proper 23 Year A; Proper 27 Year A; Baptism of Jesus Year C; Lent 1 Year C; Pentecost Year C; Pentecost Year C; Proper 26 Year C; Prophets; Proclamation; Men; Holy Spirit Praise and Invocation; Choruses and Refrains; Christian Year Pentecost; God Creator; Holy Spirit; Holy Spirit Power; Holy Spirit Work; Law; Good Friday Year ABC Used With Tune: SPIRIT OF GENTLENESS

Gentle Shepherd

Author: William J. Gaither; Gloria Gaither Appears in 9 hymnals First Line: Gentle Shepherd, come and lead us Lyrics: us find our way. Gentle Shepherd, come and ... Topics: Choir; Christ Shepherd; Choir; Christ Shepherd Scripture: John 10:1-18 Used With Tune: [Gentle Shepherd, come and lead us]

Tunes

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PASS ME NOT

Composer: William H. Doane Meter: 8.5.8.5 with refrain Appears in 218 hymnals Tune Key: A Flat Major Incipit: 32171 65122 12332 Used With Text: Pass Me Not, O Gentle Savior

SPIRIT

Composer: James K. Manley Meter: Irregular Appears in 14 hymnals Tune Key: D Major Incipit: 34234 43312 33216 Used With Text: Spirit, Spirit of Gentleness
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LASST UNS ERFREUEN

Composer: Ralph Vaughan Williams, 1872-1958 Meter: 8.8.4.4.8.8 with refrain Appears in 322 hymnals Tune Key: D Major Incipit: 11231 34511 23134 Used With Text: O praise him, O praise him

Instances

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Published text-tune combinations (hymns) from specific hymnals
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Lead Me Gently Home, Father

Author: W. L. T. Hymnal: Timeless Truths #222 Meter: 7.5.7.5.6.5.8.5 with refrain Lyrics: 1 Lead me gently home, Father, Lead me gently home; When ... Father, Lead me gently home. Refrain: Lead me gently home, Father, Lead ... me gently home, Father, ... gently home. 2 Lead me gently home, Father, Lead me gently ... Scripture: Psalm 17:5 Tune Title: [Lead me gently home, Father]
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Lead Me Gently Home, Father

Author: W. L. T. Hymnal: Revival Praises #74 (1907) Lyrics: 1 Lead me gently home, Father, Lead me gently home, When ... Father, Lead me gently home. Refrain: Lead me gently home, Father Lead ... me gently, Lest I fall ... me gently home. 2 Lead me gently home, Father, Lead me gently ... Tune Title: [Lead me gently home, Father]
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Lead Me Gently Home, Father

Author: W. L. T. Hymnal: The Voice of Praise #127 (1904) Lyrics: 1 Lead me gently home, Father, Lead me gently home, When ... Father, Lead me gently home. Chorus: Lead me gently home, Father, Lead ... me gently; Lead I fall ... me gently home. 2 Lead me gently home, Father, Lead me gently ... Tune Title: [Lead me gently home, Father]

People

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Authors, composers, editors, etc.

Joseph Barnby

1838 - 1896 Person Name: Sir Joseph Barnby Composer of "SOHO" in Trinity Hymnal (Rev. ed.) Barnby was a composer, conductor and (like his father Thomas Barnby) an organist. He entered the choir of York Minster at age seven, and was an organist and choirmaster at twelve. In 1854 he went to London and entered the Royal Academy of Music, where he studied under Cipriani Potter and Charles Lucas. In 1856, he competed for the first Mendelssohn Scholarship. When the examinations were over, of the nineteen applicants, he was tied for first place with Arthur Sullivan. After a second test, Sullivan won. Barnby was organist at Mitcham, St. Michael’s, Queenhithe, and St. James’ the Less, Westminster, before he was appointed to St. Andrew’s, Wells Street, where he remained from 1863 to 1871, establishing the musical reputation of the services. From 1871 to 1886 he was organist of St. Anne’s, Soho, where he instituted the annual performances of Bach’s Passion Music according to St. John, with orchestral accompaniment. In 1867, Messrs. Novello, to whom he had been musical adviser since 1861, established Barnby’s Choir, which gave oratorio concerts from 1869 to 1872, when it was amalgamated with the choir formed and conducted by M. Gounod at the Royal Albert Hall, under the title of the Royal Albert Hall Choral Society (now the Royal Choral Society). The same publishing firm also gave daily concerts in the Albert Hall, 1874-75, which Barnby orchestrated. Barnby conducted the St. Matthew Passion in Westminster Abbey in 1871. He was appointed precentor of Eton in 1875, a post he kept until 1892, when he succeeded Thomas Weist-Hill as principal of the Guildhall School of Music. In 1878, Barnby married Edith Mary Silverthorne. Also that year, he helped found the London Musical Society, becoming its first director and conductor. Under his baton, the Society produced Dvorak’s Stabat Mater for the first time in England. In 1884, Barnby conducted the first performance in England of Wagner’s Parsifal as a concert in the Albert Hall. From 1886-8 he conducted rehearsals and concerts of the Royal Academy of Music, of which he was a fellow. Barnby was knighted in 1892, and in the same year conducted the Cardiff Festival. He conducted the festival again in 1895. Barnby’s compositions include an oratorio (Rebekah, 1870), a psalm (The Lord Is King, Leeds Festival, 1893), an enormous number of services and anthems, part songs and vocal solo, trios, etc. He also wrote a series of Eton Songs, 246 hymn tunes (published in one volume in 1897), and edited five hymnals, the most important of which was The Hymnary (1872). Biography courtesy of Thomas and Mary Barnby Hodges, © The Cyber Hymnal™ (www.hymntime.com/tch)

Lowell Mason

1792 - 1872 Arranger of "DENNIS" in Trinity Hymnal (Rev. ed.) Dr. Lowell Mason (the degree was conferred by the University of New York) is justly called the father of American church music; and by his labors were founded the germinating principles of national musical intelligence and knowledge, which afforded a soil upon which all higher musical culture has been founded. To him we owe some of our best ideas in religious church music, elementary musical education, music in the schools, the popularization of classical chorus singing, and the art of teaching music upon the Inductive or Pestalozzian plan. More than that, we owe him no small share of the respect which the profession of music enjoys at the present time as contrasted with the contempt in which it was held a century or more ago. In fact, the entire art of music, as now understood and practiced in America, has derived advantage from the work of this great man. Lowell Mason was born in Medfield, Mass., January 8, 1792. From childhood he had manifested an intense love for music, and had devoted all his spare time and effort to improving himself according to such opportunities as were available to him. At the age of twenty he found himself filling a clerkship in a banking house in Savannah, Ga. Here he lost no opportunity of gratifying his passion for musical advancement, and was fortunate to meet for the first time a thoroughly qualified instructor, in the person of F. L. Abel. Applying his spare hours assiduously to the cultivation of the pursuit to which his passion inclined him, he soon acquired a proficiency that enabled him to enter the field of original composition, and his first work of this kind was embodied in the compilation of a collection of church music, which contained many of his own compositions. The manuscript was offered unavailingly to publishers in Philadelphia and in Boston. Fortunately for our musical advancement it finally secured the attention of the Boston Handel and Haydn Society, and by its committee was submitted to Dr. G. K. Jackson, the severest critic in Boston. Dr. Jackson approved most heartily of the work, and added a few of his own compositions to it. Thus enlarged, it was finally published in 1822 as The Handel and Haydn Society Collection of Church Music. Mason's name was omitted from the publication at his own request, which he thus explains, "I was then a bank officer in Savannah, and did not wish to be known as a musical man, as I had not the least thought of ever making music a profession." President Winchester, of the Handel and Haydn Society, sold the copyright for the young man. Mr. Mason went back to Savannah with probably $500 in his pocket as the preliminary result of his Boston visit. The book soon sprang into universal popularity, being at once adopted by the singing schools of New England, and through this means entering into the church choirs, to whom it opened up a higher field of harmonic beauty. Its career of success ran through some seventeen editions. On realizing this success, Mason determined to accept an invitation to come to Boston and enter upon a musical career. This was in 1826. He was made an honorary member of the Handel and Haydn Society, but declined to accept this, and entered the ranks as an active member. He had been invited to come to Boston by President Winchester and other musical friends and was guaranteed an income of $2,000 a year. He was also appointed, by the influence of these friends, director of music at the Hanover, Green, and Park Street churches, to alternate six months with each congregation. Finally he made a permanent arrangement with the Bowdoin Street Church, and gave up the guarantee, but again friendly influence stepped in and procured for him the position of teller at the American Bank. In 1827 Lowell Mason became president and conductor of the Handel and Haydn Society. It was the beginning of a career that was to win for him as has been already stated the title of "The Father of American Church Music." Although this may seem rather a bold claim it is not too much under the circumstances. Mr. Mason might have been in the average ranks of musicianship had he lived in Europe; in America he was well in advance of his surroundings. It was not too high praise (in spite of Mason's very simple style) when Dr. Jackson wrote of his song collection: "It is much the best book I have seen published in this country, and I do not hesitate to give it my most decided approbation," or that the great contrapuntist, Hauptmann, should say the harmonies of the tunes were dignified and churchlike and that the counterpoint was good, plain, singable and melodious. Charles C. Perkins gives a few of the reasons why Lowell Mason was the very man to lead American music as it then existed. He says, "First and foremost, he was not so very much superior to the members as to be unreasonably impatient at their shortcomings. Second, he was a born teacher, who, by hard work, had fitted himself to give instruction in singing. Third, he was one of themselves, a plain, self-made man, who could understand them and be understood of them." The personality of Dr. Mason was of great use to the art and appreciation of music in this country. He was of strong mind, dignified manners, sensitive, yet sweet and engaging. Prof. Horace Mann, one of the great educators of that day, said he would walk fifty miles to see and hear Mr. Mason teach if he could not otherwise have that advantage. Dr. Mason visited a number of the music schools in Europe, studied their methods, and incorporated the best things in his own work. He founded the Boston Academy of Music. The aim of this institution was to reach the masses and introduce music into the public schools. Dr. Mason resided in Boston from 1826 to 1851, when he removed to New York. Not only Boston benefited directly by this enthusiastic teacher's instruction, but he was constantly traveling to other societies in distant cities and helping their work. He had a notable class at North Reading, Mass., and he went in his later years as far as Rochester, where he trained a chorus of five hundred voices, many of them teachers, and some of them coming long distances to study under him. Before 1810 he had developed his idea of "Teachers' Conventions," and, as in these he had representatives from different states, he made musical missionaries for almost the entire country. He left behind him no less than fifty volumes of musical collections, instruction books, and manuals. As a composer of solid, enduring church music. Dr. Mason was one of the most successful this country has introduced. He was a deeply pious man, and was a communicant of the Presbyterian Church. Dr. Mason in 1817 married Miss Abigail Gregory, of Leesborough, Mass. The family consisted of four sons, Daniel Gregory, Lowell, William and Henry. The two former founded the publishing house of Mason Bros., dissolved by the death of the former in 19G9. Lowell and Henry were the founders of the great organ manufacturer of Mason & Hamlin. Dr. William Mason was one of the most eminent musicians that America has yet produced. Dr. Lowell Mason died at "Silverspring," a beautiful residence on the side of Orange Mountain, New Jersey, August 11, 1872, bequeathing his great musical library, much of which had been collected abroad, to Yale College. --Hall, J. H. (c1914). Biographies of Gospel Song and Hymn Writers. New York: Fleming H. Revell Company.

William Henry Monk

1823 - 1889 Person Name: William H. Monk Composer of "[Gentle Jesus, meek and mild]" in Alexander's Hymns No. 4

Hymnals

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Published hymn books and other collections

Small Church Music

Editors: Charles Wesley Description: The SmallChurchMusic site was commenced in 2006 grew 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  

Esperanta Himnaro

Publication Date: 1985 Publisher: Leonard Ivor Gentle Publication Place: London, UK Editors: Leonard Ivor Gentle

Christian Classics Ethereal Hymnary

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

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