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It Took a Miracle

Author: John W. Peterson, b. 1921 Meter: D Appears in 36 hymnals First Line: My Father is omnipotent Refrain First Line: It took a miracle to put the stars in place Lyrics: A God of might and miracles - 'Tis written ... Topics: Bible--Word of God; Everlasting Life; God's Hand in Nature; God Love and Mercy Scripture: 1 Chronicles 16:14 Used With Tune: IT TOOK A MIRACLE

I Believe in Miracles

Author: Carlton C. Buck, 1907-1999 Meter: with refrain Appears in 8 hymnals First Line: Creation shows the pow'r of God Refrain First Line: I believe in miracles - I've seen the soul set free Topics: Creation; Testimony Used With Tune: MIRACLES

Love's miracle

Author: H. P. Kimball Appears in 1 hymnal First Line: Love, work thy wonted miracle today


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Tune authorities
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Composer: Richard Redhead Meter: Appears in 268 hymnals Tune Key: E Flat Major Incipit: 11234 43112 32211 Used With Text: Go to Dark Gethsemane
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Composer: Christian Ignatius Latrobe Meter: Appears in 7 hymnals Tune Key: c minor Incipit: 55112 23317 5465 Used With Text: Go to Dark Gethsemane


Meter: Appears in 149 hymnals Tune Sources: Geistliche Lieder (Wittenberg, Germany, 1543) Tune Key: e minor Incipit: 13171 32134 45344 Used With Text: When Christ's Appearing Was Made Known


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Published text-tune combinations (hymns) from specific hymnals

We Need a Miracle

Author: B. L. Hymnal: Sing 'N' Praise Hymnal Vol. 1 #107 (1976) First Line: O how we need a miracle so all of the world would believe Lyrics: how we need a miracle so all of the ... Languages: English Tune Title: [O how we need a miracle so all of the world would believe]

Miracle of Grace (Bread of Life)

Author: Curtis Stephan, b. 1973 Hymnal: Glory and Praise (3rd. ed.) #497 (2015) First Line: Miracle of grace Refrain First Line: Bread of life, bread of life Lyrics: Miracle of grace, mystery ... Topics: Eucharist; Service Music for Mass Communion Song; Sunday Celebrations in the Absence of a Priest Communion Song Languages: English Tune Title: [Miracle of grace]

O Miracle of Love And Might!

Author: Georg Weissel; Benjamin H. Kennedy Hymnal: The Cyber Hymnal #11324 Meter: Lyrics: 1 O miracle of love and might! The ... Languages: English Tune Title: MIRACLE FROM HEAVEN


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Authors, composers, editors, etc.

Ralph Carmichael

b. 1927 Person Name: R. C. Author of "The God of Miracles" in The New Church Hymnal Ralph Carmichael (born 28 May 1927, Quincy, Illinois) is a composer and arranger of both secular pop music and contemporary Christian music, being regarded as one of the pioneers of the latter genre. Married to Marvella and father to composer and artist Carol Parks. His big break came at the end of the 1950s, when his work came to the attention of Capitol Records, who asked him to provide the arrangements for an album of mainly sacred Christmas songs by one of the label's biggest stars, Nat King Cole. The result, The Magic of Christmas, was released for the 1960 festive season, by which time Capitol had already set Carmichael to work with Cole on more secular albums. Carmichael duly became Cole's most regularly utilised arranger from then until the singer's death in early 1965, their first mainstream pop collaboration being The Touch Of Your Lips (also 1960), an album of romantic ballads backed by lush strings, and their final team-up being Cole's last album, L-O-V-E, with jazzy big band arrangements, recorded in December 1964, only two months before Cole succumbed to the lung cancer which was already in its advanced stages, although that is little evident from the recordings. In between these two very different albums were Cole projects which demonstrated Carmichael's versatility even more, from the Latin arrangements of More Cole Espanol (1962), through the old-time music hall style of 1963's Those Lazy-Hazy-Crazy Days of Summer (album), to the plaintive, country and western charts for I Don't Want to Be Hurt Anymore (1964). The twin highlights of Carmichael's stint with Cole, however, were the critically acclaimed Nat King Cole Sings/George Shearing Plays (1962) and the ambitious Nat King Cole Sings My Fair Lady (1964). Carmichael wrote arrangements for many other top performers, including Ella Fitzgerald, Bing Crosby, Stan Kenton, Jack Jones, Peggy Lee, Julie London, Al Martino and Roger Williams. Worthy of particular note are his charts for Sue Raney's comeback album All By Myself, recorded in 1963 and released in early 1964. Capitol Records had wanted Stan Kenton to back Raney on the project, but when the celebrated bandleader proved to be unavailable, they turned to Carmichael, who wrote hip, bluesy, big band arrangements in the Kenton style, which were considered to be accomplished substitutes. When Capitol promptly dropped Raney after she was knocked down by a car and left largely unable to promote the album during a long convalescence, the singer stuck with Carmichael to provide the arrangements for her next album on Philips Records. Carmichael was also Musical Director for I Love Lucy during the later years of the show. He arranged most of the carols on the Stan Kenton album "A Merry Christmas" It is in the field of Christian music that Carmichael has been most prolific. In particular, his experiments in pop-rock style in the 1960s and 1970s have brought him recognition as the "Father of Contemporary Christian Music". He founded Light Records in order to widen the audience for the music of the Jesus People. He was subject to controversy from within the church, being called a heretic for his use of guitars in worship and his adaptations of Gospel songs to big band stylings. Carmichael also provided the backing for a number of RCA albums by Gospel singer George Beverly Shea, including The Love of God in 1958, and How Great Thou Art in 1969. In 1969, Carmichael and Kurt Kaiser collaborated on Tell It Like It Is, a folk musical about God. The record album of the musical, which included the song "Pass It On", sold 2,500 copies, completely selling out the first run; it then completely sold out its second run of 100,000 copies. In 1970, he made the funky urban soundtrack for The Cross and the Switchblade. One of Carmichael's contemporary hymns, "Reach Out to Jesus", was recorded by Elvis Presley, on the singer's 1972 Grammy Award-winning album of sacred songs, He Touched Me. His album Strike Up the Band won a Dove Award for "Instrumental Album of the Year" at the 25th GMA Dove Awards in 1994. Carmichael was inducted into the GMA Gospel Music Hall of Fame in 1985 and into the National Religious Broadcasters' Hall of Fame in 2001. His autobiography, He's Everything To Me, was published by Word Books in 1986.

Charles Wesley

1707 - 1788 Person Name: Charles Wesley Author of "Behold The Miracle Renewed!" 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.


Composer of "I SEE THEE STANDING" in The Cyber Hymnal In some hymnals, the editors noted that a hymn's author is unknown to them, and so this artificial "person" entry is used to reflect that fact. Obviously, the hymns attributed to "Author Unknown" "Unknown" or "Anonymous" could have been written by many people over a span of many centuries.


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Published hymn books and other collections

All New Sacred Songs

Publication Date: 1964 Publisher: Byrd's Miracle Music Co. Publication Place: Concord, Tenn. Editors: Byrd's Miracle Music Co.

Miracle Melodies

Publication Date: 1967 Publisher: Singspiration / Zondervan Publication Place: Grand Rapids, Mich. Editors: J. W. Peterson; Singspiration; Zondervan
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Miracle Melodies

Publication Date: 1953 Publisher: Zondervan Publishing House Editors: John W. Peterson


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