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All:trust

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Texts

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Trust and Obey

Author: John H. Sammis Meter: 6.6.9 D with refrain Appears in 406 hymnals First Line: When we walk with the Lord Refrain First Line: Trust and obey, for there's no other way Lyrics: ... all who will trust and obey. Refrain: Trust and obey, for ... happy in Jesus, but to trust and obey. 2 Not ... tear, can abide while we trust and obey. (Refrain) 3 ... , but is blest if we trust and obey. [Refrain] 4 ... , are for them who will trust and obey. [Refrain] 5 ... Topics: The Christian Life Trust in God Scripture: Exodus 19:5 Used With Tune: TRUST AND OBEY
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'Tis So Sweet to Trust in Jesus

Author: Louisa M. R. Stead Meter: 8.7.8.7 with refrain Appears in 380 hymnals Refrain First Line: Jesus, Jesus, how I trust him Lyrics: ... 'Tis so sweet to trust in Jesus, and to ... : Jesus, Jesus, how I trust him! How I've proved ... how sweet to trust in Jesus, just to trust his cleansing ... Yes, 'tis sweet to trust in Jesus, just from sin ... so glad I learned to trust thee, precious Jesus, Savior, ... Topics: Sanctifiying and Perfecting Grace Prayer, Trust, Hope Used With Tune: TRUST IN JESUS
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If Thou But Trust in God to Guide Thee

Author: Georg Neumark, 1621-81; Catherine Winkworth, 1827-78 Meter: 9.8.9.8.8.8 Appears in 163 hymnals Lyrics: 1 If thou but trust in God to guide thee ... through the evil days. Who trusts in God's unchanging love ... , Perform thy duties faithfully, And trust His Word; though undeserving, Thou ... in need The soul that trusted Him indeed. Scripture: Psalm 55:22 Used With Tune: WER NUR DEN LIEBEN GOTT

Tunes

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[When we walk with the Lord in the light of His Word]

Composer: Daniel B. Towner Appears in 220 hymnals Tune Key: F Major Incipit: 12332 11355 43334 Used With Text: Trust and Obey
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TRUST IN JESUS

Composer: William J. Kirkpatrick, 1838-1921 Meter: 8.7.8.7 with refrain Appears in 187 hymnals Tune Key: G Major Incipit: 32176 16513 53212 Used With Text: ‘Tis So Sweet to Trust in Jesus
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TRUST

Composer: Wesley J. Ohl Appears in 3 hymnals Tune Key: G Major Incipit: 32156 5 Used With Text: Nearer my God, to Thee

Instances

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Published text-tune combinations (hymns) from specific hymnals
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'Tis So Sweet to Trust in Jesus

Author: Louisa M. R. Stead Hymnal: Timeless Truths #238 Meter: 8.7.8.7 D Refrain First Line: Jesus, Jesus, how I trust Him! Lyrics: ... : Jesus, Jesus, how I trust Him! How I’ve proved ... ! Oh, for grace to trust Him more! 2 Oh, ... how sweet to trust in Jesus, Just to trust His cleansing blood ... Yes, ’tis sweet to trust in Jesus, Just from sin ... so glad I learned to trust Thee, Precious Jesus, Savior, ... Scripture: Proverbs 30:5 Tune Title: ['Tis so sweet to trust in Jesus]
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Trusting Jesus

Author: Edgar P. Stites Hymnal: Timeless Truths #915 Meter: 7.7.7.7 D First Line: Simply trusting every day Refrain First Line: Trusting as the moments fly Lyrics: ... is all. Refrain: Trusting as the moments fly, Trusting as the days ... go by; Trusting Him whate’er befall, Trusting Jesus, that is ... He leads I cannot fall; Trusting Jesus, that is all. [ ... ; Till within the jasper wall, Trusting Jesus, that is all. [Refrain ... Scripture: John 14:1 Tune Title: [Simply trusting every day]
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I Will Trust Him

Author: Mrs. H. F. Thomas Hymnal: Gospel Herald in Song #110 (1899) First Line: Tho' He slay me, I will trust Him Refrain First Line: I will trust Him, I will trust Him Lyrics: ... me, I will trust Him, Trust Him in the darkest ... I cannot see Him, Trust Him, trust Him all the way. ... will trust Him, I will trust Him I will trust Him ... will trust Him, I will trust Him, I will trust Him ... He slay me, I will trust Him, Clinging closer, closer ... Topics: Trust Scripture: Psalm 110:3 Languages: English Tune Title: [Tho' He slay me, I will trust Him]

People

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Authors, composers, editors, etc.

John Wesley

1703 - 1791 Person Name: John Wesley (1703-1791) Translator of "Put thou thy trust in God" in Ancient and Modern John Wesley, the son of Samuel, and brother of Charles Wesley, was born at Epworth, June 17, 1703. He was educated at the Charterhouse, London, and at Christ Church, Oxford. He became a Fellow of Lincoln College, Oxford, and graduated M.A. in 1726. At Oxford, he was one of the small band consisting of George Whitefield, Hames Hervey, Charles Wesley, and a few others, who were even then known for their piety; they were deridingly called "Methodists." After his ordination he went, in 1735, on a mission to Georgia. The mission was not successful, and he returned to England in 1738. From that time, his life was one of great labour, preaching the Gospel, and publishing his commentaries and other theological works. He died in London, in 1791, in his eighty-eighth year. His prose works are very numerous, but he did not write many useful hymns. It is to him, however, and not to his brother Charles, that we are indebted for the translations from the German. --Annotations of the Hymnal, Charles Hutchins, M.A., 1872 ====================== John Wesley, M.A., was born at Epworth Rectory in 1703, and, like the rest of the family, received his early education from his mother. He narrowly escaped perishing in the fire which destroyed the rectory house in 1709, and his deliverance made a life-long impression upon him. In 1714 he was nominated on the foundation of Charterhouse by his father's patron, the Duke of Buckingham, and remained at that school until 1720, when he went up, with a scholarship, from Charterhouse to Christ Church, Oxford. Having taken his degree, he received Holy Orders from the Bishop of Oxford (Dr. Potter) in 1725. In 1726 he was elected Fellow of Lincoln College, and remained at Oxford until 1727, when he returned into Lincolnshire to assist his father as curate at Epworth and Wroot. In 1729 he was summoned back to Oxford by his firm friend, Dr. Morley, Rector of Lincoln, to assist in the College tuition. There he found already established the little band of "Oxford Methodists" who immediately placed themselves under his direction. In 1735 he went, as a Missionary of the Society for the Propagation of the Gospel, to Georgia, where a new colony had been founded under the governorship of General Oglethorpe. On his voyage out he was deeply impressed with the piety and Christian courage of some German fellow travellers, Moravians. During his short ministry in Georgia he met with many discouragements, and returned home saddened and dissatisfied both with himself and his work; but in London he again fell in with the Moravians, especially with Peter Bohler; and one memorable night (May 24, 1738) he went to a meeting in Aldersgate Street, where some one was reading Luther's preface to the Epistle to the Romans. There, "About a quarter before nine, while he was describing the change which God works in the heart through faith in Christ, I felt my heart strangely warmed. I felt I did trust in Christ, Christ alone, for salvation; and an assurance was given me, that He had taken away my sins, even mine, and saved me from the law of sin and death." From that moment his future course was sealed; and for more than half a century he laboured, through evil report and good report, to spread what he believed to be the everlasting Gospel, travelling more miles, preaching more sermons, publishing more books of a practical sort, and making more converts than any man of his day, or perhaps of any day, and dying at last, March 2, 1791, in harness, at the patriarchal age of 88. The popular conception of the division of labour between the two brothers in the Revival, is that John was the preacher, and Charles the hymnwriter. But this is not strictly accurate. On the one hand Charles was also a great preacher, second only to his brother and George Whitefield in the effects which he produced. On the other hand, John by no means relegated to Charles the exclusive task of supplying the people with their hymns. John Wesley was not the sort of man to depute any part of his work entirely to another: and this part was, in his opinion, one of vital importance. With that wonderful instinct for gauging the popular mind, which was one element in his success, he saw at once that hymns might be utilized, not only for raising the devotion, but also for instructing, and establishing the faith of his disciples. He intended the hymns to be not merely a constituent part of public worship, but also a kind of creed in verse. They were to be "a body of experimental and practical divinity." "In what other publication," he asks in his Preface to the Wesleyan Hymn Book, 1780 (Preface, Oct. 20,1779), "have you so distinct and full an account of Scriptural Christianity; such a declaration of the heights and depths of religion, speculative and practical; so strong cautions against the most plausible errors, particularly those now most prevalent; and so clear directions for making your calling and election sure; for perfecting holiness in the fear of God?" The part which he actually took in writing the hymns, it is not easy to ascertain; but it is certain that more than thirty translations from the German, French and Spanish (chiefly from the German) were exclusively his; and there are some original hymns, admittedly his composition, which are not unworthy to stand by the side of his brother's. His translations from the German especially have had a wide circulation. Although somewhat free as translations they embody the fire and energy of the originals. 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) =================== See also in: Hymn Writers of the Church

Anonymous

Person Name: Anon. Author of "Trusting Jesus, that is all" in Gospel Hymns No. 2 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.

Ralph Vaughan Williams

1872 - 1958 Harmonizer of "FOREST GREEN" in Voices United Through his composing, conducting, collecting, editing, and teaching, Ralph Vaughan Williams (b. Down Ampney, Gloucestershire, England, October 12, 1872; d. Westminster, London, England, August 26, 1958) became the chief figure in the realm of English music and church music in the first half of the twentieth century. His education included instruction at the Royal College of Music in London and Trinity College, Cambridge, as well as additional studies in Berlin and Paris. During World War I he served in the army medical corps in France. Vaughan Williams taught music at the Royal College of Music (1920-1940), conducted the Bach Choir in London (1920-1927), and directed the Leith Hill Music Festival in Dorking (1905-1953). A major influence in his life was the English folk song. A knowledgeable collector of folk songs, he was also a member of the Folksong Society and a supporter of the English Folk Dance Society. Vaughan Williams wrote various articles and books, including National Music (1935), and composed numerous arrange­ments of folk songs; many of his compositions show the impact of folk rhythms and melodic modes. His original compositions cover nearly all musical genres, from orchestral symphonies and concertos to choral works, from songs to operas, and from chamber music to music for films. Vaughan Williams's church music includes anthems; choral-orchestral works, such as Magnificat (1932), Dona Nobis Pacem (1936), and Hodie (1953); and hymn tune settings for organ. But most important to the history of hymnody, he was music editor of the most influential British hymnal at the beginning of the twentieth century, The English Hymnal (1906), and coeditor (with Martin Shaw) of Songs of Praise (1925, 1931) and the Oxford Book of Carols (1928). Bert Polman

Hymnals

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Published hymn books and other collections

Small Church Music

Editors: James Montgomery 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  

Christian Classics Ethereal Hymnary

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

Sing a New Song

Publication Date: 1968 Publisher: Baha'i Publication Trust Publication Place: Wilmete, Ill. Editors: Baha'i Commission on Music; Baha'i Publication Trust

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"I would be true, for there are those who trust me." Tenderly expressive melodic lines, sensitive ch…
Set in G major throughout, this favorite Palm Sunday hymn tune musically brings to life all of the s…
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