Author: Barney Elliott Warren Meter: 126.96.36.199 with refrain Appears in 75 hymnals First Line: I have found his grace is all complete Refrain First Line: It is joy unspeakable and full of glory Lyrics: ... , free indeed. Refrain: It is joy unspeakable and full of glory ... , full of glory; It is joy unspeakable and full of glory ... I once craved, It is joy and peace within; What a ... ] 4 I have found the joy no tongue can tell, How ...
Author: Henry Van Dyke, 1852-1933 Meter: 188.8.131.52 D Appears in 223 hymnals Lyrics: 1 Joyful, joyful, we adore thee, God of ... ! 2 All thy works with joy surround thee, earth and heaven ... blest, well-spring of the joy of living, ocean-depth of ... other, lift us to the joy divine. Topics: Joy Scripture: Job 38:7 Used With Tune: HYMN TO JOY
Joyful, Joyful, We Adore Thee
Author: Isaac Watts Appears in 1,664 hymnals First Line: Joy to the world! the Lord is come Lyrics: 1 Joy to the world! the Lord ... 'n and nature sing. 2 Joy to the earth! the Savior ... plains Repeat the sounding joy, Repeat the sounding joy, Repeat, repeat, the ... sounding joy. 3 No more let ... Topics: Scripture Songs Used With Tune: [Joy to the world! the Lord is come]
Joy to the World!
Composer: Ludwig van Beethoven; Edward Hodges Meter: 184.108.40.206 D Appears in 250 hymnals Tune Sources: Timeless Truths (http://library.timelesstruths.org/music/Joyful_Joyful_We_Adore_Thee); The Cyber Hymnal (http://www.hymntime.com/tch/htm/j/o/joyful.htm) Tune Key: G Major Incipit: 33455 43211 23322 Used With Text: Joyful, Joyful, We Adore Thee
HYMN TO JOY
Author: Henry J. van Dyke Hymnal: Timeless Truths #209 Meter: 220.127.116.11 D Lyrics: 1 Joyful, joyful, we adore Thee, God ... 2 All Thy works with joy surround Thee, Earth and heav ... ever blest, Wellspring of the joy of living, Ocean depth of ... other, Lift us to the joy divine. 4 Mortals, join ... the midst of strife, Joyful music leads us Sunward In ... Scripture: Psalm 71:23 Tune Title: HYMN TO JOY
Joyful, Joyful, We Adore Thee
Author: Samuel Medley Hymnal: Gospel Hymns and Songs #254 (1918) Topics: Devotional Languages: English Tune Title: [Awake, my soul, to joyful lays]
Awake, My Soul, to Joyful Lays
Author: Rev. Isaac Watts Hymnal: Crowning Day No. 2 #136 (1896) First Line: Joy to the world! the Lord is come Refrain First Line: Joy, joy, joy, the Lord is come Lyrics: 1 Joy to the world, the ... heaven and nature sing. Refrain: Joy, joy, joy, the Lord is come, ... earth, good will to men, Joy, joy, joy, the Lord is come, ... earth receive her King. 2 Joy to the world, the ... and plains, Repeat the sounding joy. [Refrain] 3 He rules ... Scripture: Isaiah 9:6 Tune Title: [Joy to the world, the Lord is come]
Joy to the World
1901 - 1953 Author of "Lord of all hopelessness, Lord of all joy" in Hymns and Psalms Pseudonym: Jan Struther. Born Joyce Anstruther, also known as Joyce Maxtone Graham Placzek and Mrs. A. K. Placzek. LOC Authority name is Jan Struther
1505 - 1585 Person Name: Thomas Tallis, c. 1515-1585 Composer of "TALLIS'S ORDINAL" in The Hymnary of the United Church of Canada Thomas Tallis (c. 1505 – 23 November 1585) was an English composer. Tallis flourished as a church musician in 16th century Tudor England. He occupies a primary place in anthologies of English church music, and is considered one of England's greatest early composers. He is honoured for his original voice in English musicianship. No contemporary portrait of Tallis survives: the earliest, painted by Gerard van der Gucht, dates from 150 years after Tallis died, and there is no certainty that it is a likeness.
Little is known about Tallis's early life, but there seems to be agreement that he was born in the early 16th century, toward the close of the reign of Henry VII. Little is known about Tallis's childhood and his significance with music at that age. However, there are suggestions that he was a child of the chapel royal St. James's palace, the same singing establishment which he later went to as a man. His first known appointment to a musical position was as organist of Dover Priory in 1530–31, a Benedictine priory at Dover (now Dover College) in 1532. His career took him to London, then (probably in the autumn of 1538) to the Augustinian abbey of Holy Cross at Waltham until the abbey was dissolved in 1540. Tallis acquired a volume at the dissolution of the monastery of Waltham Holy Cross and preserved it; one of the treatises in it was by Leonel Power, and the treatise itself prohibits consecutive unisons, fifths, and octaves.
Tallis's next post was at Canterbury Cathedral. He was next sent to Court as Gentleman of the Chapel Royal in 1543 (which later became a Protestant establishment), where he composed and performed for Henry VIII, Edward VI (1547–1553), Queen Mary (1553–1558), and Queen Elizabeth I (1558 until Tallis died in 1585). Throughout his service to successive monarchs as organist and composer, Tallis avoided the religious controversies that raged around him, though, like William Byrd, he stayed an "unreformed Roman Catholic." Tallis was capable of switching the style of his compositions to suit the different monarchs' vastly different demands. Among other important composers of the time, including Christopher Tye and Robert White, Tallis stood out. Walker observes, "He had more versatility of style than either, and his general handling of his material was more consistently easy and certain." Tallis was also a teacher, not only of William Byrd, but also of Elway Bevin, an organist of Bristol Cathedral and gentleman of the Chapel Royal.
Tallis married around 1552; his wife, Joan, outlived him by four years. They apparently had no children. Late in his life he lived in Greenwich, possibly close to the royal palace: a local tradition holds that he lived on Stockwell Street.
Queen Mary granted Tallis a lease on a manor in Kent that provided a comfortable annual income. In 1575, Queen Elizabeth granted to him and William Byrd a 21-year monopoly for polyphonic music and a patent to print and publish music, which was one of the first arrangements of that type in the country. Tallis's monopoly covered 'set songe or songes in parts', and he composed in English, Latin, French, Italian, or other tongues as long as they served for music in the Church or chamber. Tallis had exclusive rights to print any music, in any language. He and William Byrd were the only ones allowed to use the paper that was used in printing music. Tallis and Byrd used their monopoly to produce Cantiones quae ab argumento sacrae vocantur but the piece did not sell well and they appealed to Queen Elizabeth for her support. People were naturally wary of their new publications, and it certainly did not help their case that they were both avowed Roman Catholics. Not only that, they were strictly forbidden to sell any imported music. "We straightly by the same forbid...to be brought out of any forren Realmes...any songe or songes made and printed in any foreen countrie." Also, Byrd and Tallis were not given "the rights to music type fonts, printing patents were not under their command, and they didn't actually own a printing press."
Tallis retained respect during a succession of opposing religious movements and deflected the violence that claimed Catholics and Protestants alike.
Thomas Tallis died peacefully in his house in Greenwich in November 1585. Most historians agree that he died on the twenty-third. He was buried in the chancel of the parish of St Alfege's Church in Greenwich.
The earliest surviving works by Tallis, Salve intemerata virgo, Ave rosa sine spinis and Ave Dei patris filia are devotional antiphons to the Virgin Mary, which were used outside the liturgy and were cultivated in England until the fall of Cardinal Wolsey. Henry VIII's break with Roman Catholicism in 1534 and the rise of Thomas Cranmer noticeably influenced the style of music written. Texts became largely confined to the liturgy. The writing of Tallis and his contemporaries became less florid. Tallis's Mass for four voices is marked with tendencies toward a syllabic (which is a setting of text where each syllable is sung to one pitch) and chordal (consisting of or emphasising chords) style and a diminished use of melisma. Tallis provides a rhythmic variety and differentiation of moods depending on the meaning of his texts. Tallis helped found a relationship that was specific to the combining of words and music. He also wrote several excellent Lutheran chorales.
The reformed Anglican liturgy was inaugurated during the short reign of Edward VI (1547–53), and Tallis was one of the first church musicians to write anthems set to English words, although Latin continued to be used. The Catholic Mary Tudor set about undoing the religious reforms of the preceding decades. Following her accession in 1553, the Roman Rite was restored and compositional style reverted to the elaborate writing prevalent early in the century. Two of Tallis's major works, Gaude gloriosa Dei Mater and the Christmas Mass Puer natus est nobis are believed to be from this period. Only Puer natus est nobis can be accurately dated to 1554. As was the prevailing practice, these pieces were intended to exalt the image of the Queen as well as to praise the Mother of God.
Some of Tallis's works were compiled and printed in the Mulliner Book by Thomas Mulliner before Queen Elizabeth's reign, and may have been used by the Queen herself when she was younger. Elizabeth succeeded her half-sister in 1558, and the Act of Settlement in the following year abolished the Roman Liturgy and firmly established the Book of Common Prayer. Composers at court resumed writing English anthems, although the practice of setting Latin texts continued, growing more peripheral over time.
The mood of the country in the beginning of Elizabeth's reign leant toward the puritan, which discouraged the liturgical polyphony. Tallis wrote nine psalm chant tunes for four voices for Archbishop Parker's Psalter, published in 1567. One of the nine tunes, the "Third Mode Melody", inspired the composition of Fantasia on a Theme of Thomas Tallis by Ralph Vaughan Williams in 1910. Tallis's better-known works from the Elizabethan years include his settings of the Lamentations (of Jeremiah the Prophet)for the Holy Week services and the unique motet Spem in alium written for eight five-voice choirs. Tallis is mostly remembered for his role in composing office hymns and this motet, Spem in alium. Too often we forget to look at his compositions for other monarchs; several of Tallis's anthems written in Edward's reign such as his "If ye love me," ought to be considered on the same level as his Elizabethan works. This is partially because we do not have all of his works from previous periods; eleven of eighteen Latin-texted pieces by Tallis from Elizabeth's reign were published, "which ensured their survival in a way not available to the earlier material."
Toward the end of his life, Tallis resisted the musical development seen in his younger contemporaries such as William Byrd, who embraced compositional complexity and adopted texts built by combining disparate biblical extracts. Tallis's experiments during this time period were considered rather unusual. Tallis was content to draw his texts from the Liturgy and wrote for the worship services in the Chapel Royal. Tallis composed during a difficult period during the conflict between Catholicism and Protestantism, and his music often displays characteristics of the turmoil.
1810 - 1876 Person Name: Samuel Sebastian Wesley, 1810-1876 Composer of "WINSCOTT" in The Hymnary of the United Church of Canada Son of composer Samuel Wesley, and grandson of Methodist hymnwriter Charles Wesley.
Samuel Sebastian Wesley
Editors: Edward H. Joy 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
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 email@example.com.
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Small Church Music
Publication Date: 1989 Publisher: Tabernacle Pub. Co. Publication Place: Carol Stream, Ill. Editors: Jack Schrader
Publication Date: 1989 Publisher: Sword of the Lord Publishers Publication Place: Murfreesboro, Tn Editors: Dr. Curtis Hutson; Dr. John Reynolds; Dr. John R. Rice; Joy Rice Martin
Soul-stirring Songs & Hymns (Rev. ed.)