Search Results

Meter:7.6.7.6 d

Planning worship? Check out our sister site, ZeteoSearch.org, for 20+ additional resources related to your search.

Texts

text icon
Text authorities
TextPage scansFlexScoreFlexPresentAudio

Lead On, O King Eternal

Author: Ernest W. Shurtleff Meter: 7.6.7.6 D Appears in 400 hymnals Lyrics: 1. Lead on, O King eternal, the day of march has come; henceforth in fields of conquest thy tents shall be our home. Through days of preparation thy grace has made us strong; and now, O King eternal, we lift our battle song. 2. Lead on, O King eternal, till sin's fierce war shall cease, and holiness shall whisper the sweet amen of peace. For not with swords loud clashing, nor roll of stirring drums; with deeds of love and mercy the heavenly kingdom comes. 3. Lead on, O King eternal, we follow, not with fears, for gladness breaks like morning where'er thy face appears. Thy cross is lifted o'er us, we journey in its light; the crown awaits the conquest; lead on, O God of might. Topics: The Nature of the Church Called to God's Mission; Church Education; Closing Hymns; Guidance; Installation Services; Kingdom of God; Mission and Outreach; Ordination; Peace, World; Pilgrimage; Zeal Used With Tune: LANCASHIRE
TextFlexScoreFlexPresent

Hail to the Lord's Anointed

Author: James Montgomery Meter: 7.6.7.6 D Appears in 846 hymnals Lyrics: 1. Hail to the Lord's Anointed, great David's greater Son! Hail in the time appointed, his reign on earth begun! He comes to break oppression, to set the captive free; to take away transgression, and rule in equity. 2. He comes with succor speedy to those who suffer wrong; to help the poor and needy, and bid the weak be strong; to give them songs for sighing, their darkness turn to light, whose souls, condemned and dying, are precious in his sight. 3. He shall come down like showers upon the fruitful earth; love, joy, and hope, like flowers, spring in his path to birth. Before him on the mountains, shall peace, the herald, go, and righteousness, in fountains, from hill to valley flow. 4. To him shall prayer unceasing and daily vows ascend; his kingdom still increasing, a kingdom without end. The tide of time shall never his covenant remove; his name shall stand forever; that name to us is love. The United Methodist Hymnal Topics: liturgical Scripture Songs
FlexScoreFlexPresent

O Jesus, I have promised

Author: John Ernest Bode Meter: 7.6.7.6 D Appears in 628 hymnals Topics: Faithfulness of the believer; Fellowship with God

Tunes

tune icon
Tune authorities
Page scansFlexScoreAudio

LANCASHIRE

Meter: 7.6.7.6 D Appears in 625 hymnals Composer and/or Arranger: Henry Thomas Smart, 1813-1879 Tune Key: C Major Incipit: 55346 53114 56255 Used With Text: Lead on, O King eternal
FlexScoreAudio

ST. THEODULPH

Meter: 7.6.7.6 D Appears in 602 hymnals Composer and/or Arranger: M. Teschner Tune Key: B Flat Major Incipit: 15567 11321 17151 Used With Text: All Glory, Laud, and Honor
Audio

SALLEY GARDENS

Meter: 7.6.7.6 D Appears in 18 hymnals Composer and/or Arranger: Alfred V. Fedak Tune Sources: Irish folk melody Tune Key: C Major Incipit: 13223 65165 21113 Used With Text: Sometimes a Light Surprises

Instances

instance icon
Published text-tune combinations (hymns) from specific hymnals

There Where the Judges Gather

Author: Henry Zylstra Hymnal: Psalms for All Seasons #82A (2012) Meter: 7.6.7.6 D Refrain First Line: 7.6.7.6 D Topics: Darkness; Fear; God as Judge; God as King; God's Wisdom; God's Power; Justice; Occasional Services Civic / National Occasions; People of God / Church Leadership; People of God / Church Serving; Poverty; Rulers; Social Justice; The Needy; Year C, Ordinary Time after Pentecost, August 14-20; Year C, Ordinary Time after Pentecost, July 10-16 Scripture: Psalm 82 Tune Title: MEIRIONYDD
TextAudio

ദാവീദിലും വൻ പുത്രൻ

Author: James Montgomery; Simon Zachariah Hymnal: The Cyber Hymnal #14695 Meter: 7.6.7.6 D First Line: ദാവീദിലും വൻ പു-ത്രൻ ദൈവാഭിഷിക്തനെ Lyrics: 1 ദാവീദിലും വൻ പു-ത്രൻ ദൈവാഭിഷിക്തനെ വന്ദിപ്പിൻ, തൻ ഭര-ണം വന്നിതാജ്ഞാകാലം ബാധ നീക്കി ബദ്ധ-ർക്കു സ്വാധീനം കൊടുത്തു നീതി ഭരണം ചെയ്‍-വാൻ താനിതാ വരുന്നു! 2 പീഡിതരെ മോചി-പ്പാൻ വേഗം വരുന്നു താൻ ബലഹീനനു ശ-ക്തി സഹായം താൻ മാത്രം നൽകുമവർക്കു ഗാ-നം രാത്രിയിൽ ദീപവും നശിച്ചിടുമാത്മാ-ക്കൾ തൻ കണ്ണിൽ പ്രിയരാം! 3 ഭക്തർ തന്നെ വണ-ങ്ങും ലോകാന്ത്യം വരെയും താൻ വിധിയോതും ന്യാ-യാൽ തൻ പ്രിയർ വാഴ്ത്തീടും നീതി, കരുണ സ-ത്യം തലമുറക്കേകും താര ചന്ദ്രാദിയെ-ല്ലാം വാനിൽ വാഴുവോളം! 4 പുഷ്ടി ഭൂമിക്കു നൽ-കും വൃഷ്ടിപോൽ താൻ വരും തോഷ സ്നേഹാദി തൻ-മുൻ പുഷ്പം പോൽ മുളെക്കും അഗ്രദൂതനായ് ശാ-ന്തി അദ്രിമേൽ മുൻ പോകും ഗിരി പിളർന്നു-റവായ് വരും നീതി താഴെ! 5 പരദേശികളാ-യോർ മുട്ടു മടക്കീടും തൻ മഹത്വത്തെ കാ-ണാൻ ചുറ്റും കൂടുമവർ ദ്വീപുകളിൽ വസി-പ്പോർ കാഴ്ചകളർപ്പിക്കും ആഴിയിൻ നൽ പവി-ഴം തൻ കാൽക്കൽ അർപ്പിക്കും! 6 മന്നർ വണങ്ങി തൻ-മുൻ പൊൻ ധൂപം അർപ്പിക്കും സർവ്വ ജാതി വന്ദി-ക്കും സർവ്വരും സ്തുതിക്കും തപോ ദാനങ്ങളു-മായ് ദ്വീപക്കപ്പൽക്കൂട്ടം കടൽ ധനമർപ്പി-പ്പാൻ കൂടീടും തൻ പാദെ! 7 നിത്യവൃതജപ-ങ്ങൾ, ഉദ്ധരിക്കും തൻ മുൻ വർദ്ധിച്ചീടും തൻ രാ-ജ്യം അന്തമില്ലാ രാജ്യം ക്ഷീണ നാൾ നട്ട വി-ത്തെ പോണും ഗിരി ഹിമം ഉലയും ലബനോ-ൻ പോൽ വളർന്നു തൻ കായ്കൾ! 8 സർവ്വ ശത്രുവെ വെ-ന്നു സിംഹാസനെ വാഴും സർവ്വർക്കും ആശിസ്സ് നൽ-കി സർവ്വകാലം വാഴും മാറ്റുവാൻ തൻ നിയ-മം മറ്റാർക്കും സാധിക്കാ നിത്യം നിൽക്കും തൻ നാ-മം നിത്യസ്നേഹനാമം! Languages: Malayalam Tune Title: ELLACOMBE
TextAudio

നിന്ദ ദുഖം നിറഞ്ഞു മുറിഞ്ഞ ശിരസ്സേ!

Author: Bernard of Clairvaux; James W. Alexander; Simon Zachariah Hymnal: The Cyber Hymnal #14793 Meter: 7.6.7.6 D Lyrics: 1 നിന്ദ ദുഖം നിറഞ്ഞു മുറിഞ്ഞ ശിരസ്സേ! പരിഹാസം നിൻ ചുറ്റും മുള്ളിൻ കിരീടമായ്, വൻ മഹത്വത്തിൽ വാണ നീ നിന്ദിതനായോ? ആനന്ദിക്കും ഞാൻ എന്നും നീ സ്വന്തം ആകയാൽ. 2 മഹത്വം നിൻ വദനേ സുന്ദരം പ്രിയനേ! നിൻ പ്രത്യക്ഷത-യിങ്കൽ ഭയന്നെല്ലാവരും. എന്നാലതിന്നോ മുറ്റും മ്ലാനമായ് തീർന്നില്ലേ? പ്രഭാതം പോലിരുന്ന അതെത്ര വാടിപ്പോയ്! 3 വിശുദ്ധമാം കവിളിൽ അടികൾ ഏറ്റല്ലോ! പൂമൊട്ടാം നിൻ അധരം എളിമപ്പെട്ടല്ലോ! കാണ്മൂ അവ പിളർന്നു മരണം മൂലമായ്, ഹൃദയം തകർന്നോനായ് നിൻ ദേഹം വീണല്ലോ! 4 എത്ര സഹിച്ചു നാഥാ എല്ലാം ഈ പാപിക്കായ്! എന്റേതു എല്ലാം ലാഭം, നിന്റേതു വേദന. നിൻ പദവി തന്നതാൽ ഞാൻ വന്ദിച്ചീടുന്നു, കടാക്ഷിക്ക കൃപയാൽ കരുണ തോന്നി നീ. 5 രക്ഷകാ സ്വീകരിച്ചു നിൻ സ്വന്തമാക്കെന്നെ. നന്മകളിൻ ഉറവേ നീ എന്റെ സ്വന്തമേ. സത്യം, സ്നേഹം, പൊഴിയും അധരം നിന്റേതാം, വിറയ്ക്കുമെന്നാത്മാവിൽ നിറയ്ക്കും സ്വർ ശാന്തി. 6 നിൻ ചാരെ എന്നഭയം തള്ളല്ലേ എന്നെ നീ. കുലുങ്ങീടാ ഞാൻ തെല്ലും മരണ നാളിലും. വേദനയാൽ വിളറി ദുഖത്താൽ വീഴുമ്പോൾ, നിൻ വൻ കരത്താൽ ചുറ്റി മാർവ്വോടു ചേർക്കെന്നെ. 7 വർണ്ണിക്കാനേതുമാക അതുല്ല്യമാനന്ദം. മുറിവേറ്റ നിൻ ദേഹം എൻ അഭയസ്ഥാനം. നിൻ മഹത്വം ദർശ്ശിക്കാൻ വാഞ്ചിക്കുന്നെന്നും ഞാൻ. നിൻ ക്രൂശ്ശിൻ ചാരെ വന്നു വിശ്രാമം കണ്ടെത്തും. 8 അറുതിയില്ലാ ദുഖം, മൃത്യുവിൻ വേദന, നന്ദി കരേറ്റുവാനായ് എനിയ്ക്കു വാക്കില്ലേ! എൻ ഇഷ്ടം മുറ്റും മാറ്റി നിന്റേതായ് തീർക്കെന്നെ. നിൻ സ്നേഹം വിട്ടകന്നു എനിക്കു ജീവിക്കാ. 9 ഞാൻ പിന്തിരിഞ്ഞു പോയാൽ പിരിയല്ലെന്നെ നീ. മൃത്യുവിൻ മുൾതകർത്തു സ്വതന്ത്രമാക്കെന്നെ. അന്ത്യമടുത്ത നാളിൽ ഹൃദയം നോവുമ്പോൾ, നീ ഏറ്റ പങ്കപ്പാടാൽ എൻ ഖേദം നീക്കുകേ. 10 മരണനേരത്തെന്നെ നിൻ ക്രൂശു കാണിക്ക. ദേഹി ദേഹം വിടുമ്പോൾ സ്വതന്ത്രമാക്കെന്നെ. പുതുവിശ്വാസക്കണ്ണാൽ യേശുവിൽ നമ്പുവാൻ, വിശ്വാസത്താൽ മരിച്ചു നിൻ സ്നേഹം പ്രാപിപ്പാൻ Languages: Malayalam Tune Title: PASSION CHORALE

People

person icon
Authors, composers, editors, etc.

Johann Franck

1618 - 1677 Meter: 7.6.7.6 D Author of "Thou Light of Gentile Nations" in The Lutheran Hymnal Johann Franck (b. Guben, Brandenburg, Germany, 1618; d. Guben, 1677) was a law student at the University of Köningsberg and practiced law during the Thirty Years' War. He held several positions in civil service, including councillor and mayor of Guben. A significant poet, second only to Paul Gerhardt in his day, Franck wrote some 110 hymns, many of which were published by his friend Johann Crüger in various editions of the Praxis Pietatis melica. All were included in the first part of Franck’s Teutsche Gedichte bestehend im geistliche Sion (1672). Bert Polman ============= Franck, Johann, son of Johann Franck, advocate and councillor at Guben, Brandenburg, was born at Guben, June 1, 1618. After his father's death, in 1620, his uncle by marriage, the Town Judge, Adam Tielckau, adopted him and sent him for his education to the schools at Guben, Cottbus, Stettin and Thorn. On June 28, 1638, he matriculated as a student of law at the University of Königsberg, the only German university left undisturbed by the Thirty Years' War. Here his religious spirit, his love of nature, and his friendship with such men as Simon Dach and Heinrich Held, preserved him from sharing in the excesses of his fellow students. He returned to Guben at Easter, 1640, at the urgent request of his mother, who wished to have him near her in those times of war during which Guben frequently suffered from the presence of both Swedish and Saxon troops. After his return from Prague, May, 1645, he commenced practice as a lawyer. In 1648 he became a burgess and councillor, in 1661 burgomaster, and in 1671 was appointed the deputy from Guben to the Landtag (Diet) of Lower Lusatia. He died at Guben, June 18, 1677; and on the bicentenary of his death, June 18, 1877, a monumental tablet to his memory was affixed to the outer wall of the Stadtkirche at Guben (Koch, iii. 378-385; Allgemeine Deutsche Biographie, vii. 211-212; the two works by Dr. Hugo Jentsch of Guben, Johann Franck, 1877, and Die Abfassungszeit der geistlichen Lieder Johann Franck's, 1876). Of Franck's secular poems those before 1649 are much the best; his later productions becoming more and more affected and artificial, long-winded and full of classical allusions, and much inferior to those of Dach or Opitz. As a hymn writer he holds a high rank and is distinguished for unfeigned and firm faith, deep earnestness, finished form, and noble, pithy, simplicity of expression. In his hymns we miss the objectivity and congregational character of the older German hymns, and notice a more personal, individual tone; especially the longing for the inward and mystical union of Christ with the soul as in his "Jesus, meine Freude." He stands in close relationship with Gerhardt, sometimes more soaring and occasionally more profound, but neither on the whole so natural nor so suited for popular comprehension or Church use. His hymns appeared mostly in the works of his friends Weichmann, Crüger and Peter. They were collected in his Geistliches Sion, Guben, 1674, to the number of 110; and of these the 57 hymns (the other 53 being psalm versions of no great merit) were reprinted with a biographical preface by Dr. J. L. Pasig as Johann Franck's Geistliche Lieder, Grimma, 1846. Two of those translated into English are from the Latin of J. Campanus (q. v.). Four other hymns are annotated under their own first lines:—"Brunquell aller Güter"; "Dreieinigkeit der Gottheit wahrer Spiegel"; "Jesu, meine Freude"; "Schmücke dich, o liebe Secle." The rest are:— i. Hymns in English common use: -- i. Erweitert eure Pforten . [Advent]. Founded on Psalm xxiv. 7-10. First published in C. Peter's Andachts-Zymbeln, Freiberg, 1655, p. 25, in 7 stanzas of 8 lines; repeated 1674, p. 3, and 1846, p. 3, as above. Included in the 1688 and later editions of Crüger's Praxis pietatis, in Bollhagen's Gesang-Buch, 1736, &c. The only translation in common use is:—- Unfold your gates and open, a translation of st. 1, 3, 6, by A. T. Russell, as No. 30 in his Hymns & Psalms, 1851; repeated altered as No. 30 in Kennedy, 1863, and thus as No. 102 in Holy Song, 1869. ii. Herr Gott dich loben wir, Regier. Thanksgiving for Peace. Evidently written as a thanksgiving for the conclusion of the Thirty Years' War, by the Peace of Westphalia, Oct. 24, 1648. First published in the Crüger-Runge Gesang-Buch, Berlin, 1653, No. 306, in 9 st. of 8 l., as the first of the "Hymns of Thanksgiving for Peace attained"; and repeated 1674, p. 182, and 1846, p. 77, as above. Included in Crüger's Praxis, 1653, and many later collections, and, as No. 591, in the Unverfälschter Liedersegen, 1851. The only translation in common use is:— Lord God, we worship Thee, a very good version of st. 2, 3, 6, 8, by Miss Winkworth in her Chorale Book for England, 1863, No. 183. Repeated in full in the Society for Promoting Christian Knowledge Church Hymns, 1871; the Hymnary, 1872; the Psalmist, 1878; and in America in the Pennsylvania Lutheran Church Book, 1868. In the American Protestant Episcopal Collection, 1871; the Hymns & Songs of Praise, N. Y. 1874; and the Ohio Lutheran Hymnal, 1880, the translation of stanza 8 is omitted. iii. Herr ich habe missgehandelt. Lent. Of this fine hymn of penitence stanza i. appeared as No. 19 in Cruger's Geistliche Kirchenmelodien , Leipzig, 1649. The full form in 8 stanzas of 6 lines is No. 41 in the Crüger-Runge Gesang-Buch, Berlin, 1653, entitled "For the forgiveness of sins," repeated 1674, p. 39, and 1846, p. 37, as above. Included in Crüger's Praxis, 1653, and others, and in the Unverfälschter Liedersegen, 1851. The only translation in common use is:— Lord, to Thee I make confession, a very good translation, omitting st. 4, 5, 6, by Miss Winkworth in her Chorale Book for England, 1863, No. 44, repeated in the Appendix to the Hymnal for St. John's, Aberdeen, 1865-1870; and in the Pennsylvania Lutheran Ch. Book, 1868; Evangelical Hymnal, N. Y., 1880; Ohio Lutheran Hymnal, 1880. Another translation is: "Lord, how oft I have offended," by N. L. Frothingham, 1870, p. 177. iv. Herr Jesu, Licht der Heiden. Presentation in the Temple. Founded on the account in St. Luke ii., and probably the finest hymn on the subject. Dr. Jentsch, 1876, p. 9, thinks it was written before Dec. 8, 1669, as C. Peter, who died then, left a melody for it. We have not found the full text earlier than 1674, as above, p. 10, in 6 stanzas of 8 lines, entitled "On the Festival of the Purification of Mary" (1846, p. 10). Included in the 1688 and later editions of Crüger's Praxis, and in the Unverfälschter Liedersegen, 1851, No. 197. The translations in common use are:— 1. Light of the Gentile world , a translation, omitting st. 6, by Miss Winkworth in the first service of her Lyra Germanica, 1855, p. 193 (ed. 1876, p. 195), and thence as No. 147 in the Pennsylvania Lutheran Hymn Book, 1865. This version is in S.M. Double. 2. Light of the Gentile Nations, a good translation, omitting st. 6, by Miss Winkworth in her Chorale Book for England, 1863, No. 80. Repeated in Dr. Thomas's Augustine Hymn Book, 1866, and in America in the Pennsylvania Lutheran Church Book, 1868, and the Ohio Lutheran Hymnal, 1880. ii. Hymns not in English common use: v. Du geballtes Weltgebäude. Christ above all earthly things. Stanza i. in Cruger's Kirchenmelodien, 1649, No. 116. The full text (beginning "Du o schönes) is No. 239 in the Crüger-Runge Gesang-Buch, 1653, in 8 stanzas, entitled "Longing after Eternal Life." Repeated, 1674, p. 194, and 1846, p. 60, as above. The translations are: (1) "Let who will in thee rejoice," by Miss Winkworth, 1855, p. 180 (1876, p. 182). (2) "O beautiful abode of earth," by Miss Warner, 1858 (1861, p. 233). (3) "Thou, O fair Creation-building," by N. L. Frothingham, 1870, p. 232. vi. Unsre müden Augenlieder. Evening. Probably written while a student at Königsberg. First published in J. Weichmann's Sorgen-lägerin, Königsberg, 1648, Pt. iii., No. 4, in 7 st.; repeated 1674, p. 213, and 1846, p. 91, as above. The only translation is by H. J. Buckoll, 1842, p. 79, beginning with st. vi., "Ever, Lord, on Thee relying." [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology (1907)

George F. Root

1820 - 1895 Person Name: G. F. Root Meter: 7.6.7.6 D Composer of "ELLON" in The Presbyterian Book of Praise Root, George F., MUS. DOC, born in Sheffield, Berkshire County, Mass., Aug. 30, 1820. He is much more widely known as a composer of popular music than as a hymn writer. Four of his hymns are in I. D. Sankey's Sacred Songs & Solos, 1878. Nos. 16, 100, 293, and 297. A sympathetic biographical sketch, with portrait, is in The Tonic Sol-Fa Reporter, Sep. 1886. He died Aug. 6, 1895. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) ===================== George Frederick Root was born in Sheffield, Mass., August 30, 1820. His father moved to North Reading, near Boston, when the boy was six years old, and there his youth was spent. He was always fond of music— not singing at all as a boy, but played upon every kind of instrument that came in his way. At thirteen it was his pride that he could "play a tune" on as many instruments as he was years old. His dream of life was to be a musician, although such an ambition was looked down upon by all his relatives and friends, excepting a fond mother. In the fall of 1838 he went to Boston and made an engagement to work for Mr. A. N. Johnson and take lessons on the piano. His father and one of the brothers were at the time in South America, and the mother, with six younger children, was at home on the farm. When he secured the engagement with Mr. Johnson to receive three dollars a week and board and lessons, the neighbors became interested and encouraged him to go ahead, they promising to help look after the farm and see that the family got along. The young man's happiness over these events can better be imagined than described. On the second day of October, 1838, he entered upon his duties in his new heaven on earth located at Harmony Hall, Mr. Johnson's music-room, in Boston. His duties were to see to the fires, care for the room, answer callers, give information about Mr. Johnson when he was out, and practice his lessons when not otherwise engaged. He worked industriously and made steady progress. It was but a few weeks till Mr. Johnson had him playing for the prayer-meeting, and but a few more till he began turning over pupils to him. In about seven weeks' time Mr. Johnson encouraged him by a considerable increase of salary. A most important event to him was meeting Dr. Lowell Mason and being accepted as a bass singer in the celebrated Bowdoin Street choir. Also, on Mr. Johnson's recommendation, he began taking private voice lessons of Mr. Geo. Jas. Webb, the then celebrated voice teacher of Boston. He continued at least a year with Mr. Webb. His first real singing class was taught the following fall, 1839, at the North End. It lasted nearly through the winter, and on the closing night his class made him a present of a silver goblet, suitably engraved, which he kept among his treasures. Before the first year was up Mr. Johnson proposed a five year partnership, by which Mr. Root was to receive one-third of their earnings, and the former was to have the privilege of visiting Germany part of the time if he chose. They then changed their quarters to three rooms in the basement of Park Street Church. The annual rental was six hundred dollars. They were kept quite busy. At this time Dr. Mason's music teaching in the public schools was a growing success, and Messrs. Johnson and Root were employed to assist him. Drs. Mason and Webb had introduced what is now called Musical Conventions a year or two previous to this. They called them "The Teachers' Class." Teachers and singers were called to Boston from surrounding territory to study and practice pretty much as they do now at normals. In 1841 Mr. Root became one of the teachers in this class. He taught vocal training and continued this work for years afterward in Dr. Mason's teachers' classes, and later incorporated the same method in his own normals. During this year Mr. Johnson went to Germany, and left the two large church choirs (Winter Street and Park Street) in charge of Mr. Root. One of the organs was played by a pupil — Mr. S. A. Bancroft. Everything went smoothly during Mr. Johnson's absence as it did also after his return. During the last year of the five-year partnership, Mr. Root was called to take the organ at Bowdoin Street, Mr. Mason changing to Winter Street. An amicable settlement was made between Messrs. Johnson and Root, and the partnership dissolved. In 1811, Mr. Jacob Abbott (father of Lyman Abbott)and his three brothers had established a young ladies' school in New York City. They wanted a music teacher, and offered the position to Mr. Root. They also secured him the organ and choir of the Mercer Street Church, with prospects for other good work. It required pretty strong persuasive arguments to tempt Mr. Root to leave Boston, he was doing well there, and as the sequel shows, there was an attraction in Boston that held him in too tight a grasp to be relinquished by the mere offer of greater power and place. He made up his mind, however, only after getting the consent of the powders of Boston to take with him this [to him] the greatest attraction of the city — Miss Mary Olive Woodman — an accomplished lady, a sweet singer, and a member of a prominent family of musicians. He went to New York first to prepare a home, and in August, 1845, returned for his bride, who took her place in his New York choir as leading soprano, and through his long and eventful career she was ever at his side, a true helpmeet. He was soon employed at Rutger's Female Institute, Miss Haines' School for Young Ladies, Union Theological Seminary and the New York State Institution for the Blind. Within six weeks after he arrived in New York his time was fully occupied. He continued with Mr. Abbott's young ladies' school ten years. While teaching in New York he continued his summer work with Messrs. Mason and Webb in Teachers' Classes. Up to the year 1849 he had written but little music; only a few hymn tunes while in Boston. He needed more music for the young ladies of his schools, so he made his first book, The Young Ladies' Choir, of which he had enough copies made for his own use, as he had no thought of offering it to the public. Then in connection with Mr. J. E. Sweetser, they compiled the Root and Sweetser's Collection. Mr. Root did work enough for two men, hence broke down in health. Mr. Abbott suggested that he take a trip to Paris. After weighing the matter carefully, in December, 1853, he sailed, and in due time arrived at Paris, where he began studying French, voice culture and piano under celebrated teachers. After spending nearly a year abroad, he returned home in improved health and ready for active work. He began to feel the need of new music for his classes, and after some thought decided upon a musical play ; the subject and title, The Flower Queen. At the Institution for the Blind was a young lady, a former pupil, but now a teacher who had shown some poetical talent. He asked her to help him with the words. He would suggest in prose what the flowers might say and she would put it into rhyme. She did it so well that it seldom needed any alteration. This lady was the now famous Fanny Crosby. The cantata became very popular. About this time Mr. Root wrote a half dozen simple songs for the people. They all sold pretty well, but Hazel Dell and Rosalie, the Prairie Flower, became the most popular, and had a large sale. It was in the summer of 1853 that the first real normal was held. Mr. Root originated it, and held it in New York. The principal teachers were Messrs. Mason, Root, Hastings, and Bradbury. This school became famous. Sessions were also held at North Reading, Mass., a village near Mr. Root's "Willow Farm Home," with Dr. Mason, Mr. Webb, Mr. Bradbury and himself as principal teachers. About this time Mr. Root decided to give up his work in New York, and devote himself entirely to conventions, normal work and authorship. He was eminently successful. Among the most eminent teachers and composers of our country have been students in Dr. Geo. F. Root's Normal Musical Institute. In 1860 Dr. Root settled in Chicago and entered the music publishing business with his brother E. T. Root, and C. M. Cady, as "Root & Cady," Mr. Root's reputation being the most important capital of the firm. His books and popular songs soon made the new firm prosperous. Then came the war with its horror. Dr. Root wielded his musical sword in the way of writing war songs, which made him famous. The Battle Cry of Freedom, Just Before the Battle, Mother, and others, made thousands of dollars for the music house. In the great Chicago fire of 1871 the interests of the firm of Root & Cady became engulfed in the general ruin. Their loss was upward of a quarter of a million dollars. They then sold their book catalogue, plates and copyrights to John Church & Co., of Cincinnati, and the sheet music plates and copyrights to S. Brainard's Sons, Cleveland. These sales realized about §130,000. The final result was that Dr. Root, his talented son F. W., and others became connected with John Church & Co. Under this new business relationship Mr. Root went right on with his normal and convention work; also issued a great many new books and cantatas. In 1872 the Chicago University very worthily conferred upon him the degree Doctor of Music. In 1886 he made a trip to Scotland and England, and arranged with publishers to issue some of his cantatas. He was royally received. Dr. Root was the author of about seventy-five books, nearly two hundred songs in sheet form, and many popular gospel songs. Dr. Root occupies a prominent place in the musical history of this country. It was Dr. Mason who lifted music from almost nothing and gave it an impetus, but he left no better follower than Dr. Root to carry on his work. He was a man of spotless integrity and high Christian character, and to know him was to love him. At the time of Dr. Root's death he was at Bailey Island, Maine, a summer resort, where he and other relatives had cottages. On August 6, 1895, he was seized with neuralgia of the heart — and died within one hour. He was buried at North Reading, Mass., his old home. --Hall, J. H. (c1914). Biographies of Gospel Song and Hymn Writers. New York: Fleming H. Revell Company.

Joseph Barnby

1838 - 1896 Meter: 7.6.7.6 D Composer of "ST. ANSELM" in The Hymnal Joseph Barnby (b. York, England, 1838; d. London, England, 1896) An accomplished and popular choral director in England, Barby showed his musical genius early: he was an organist and choirmaster at the age of twelve. He became organist at St. Andrews, Wells Street, London, where he developed an outstanding choral program (at times nicknamed "the Sunday Opera"). Barnby introduced annual performances of J. S. Bach's St. John Passion in St. Anne's, Soho, and directed the first performance in an English church of the St. Matthew Passion. He was also active in regional music festivals, conducted the Royal Choral Society, and composed and edited music (mainly for Novello and Company). In 1892 he was knighted by Queen Victoria. His compositions include many anthems and service music for the Anglican liturgy, as well as 246 hymn tunes (published posthumously in 1897). He edited four hymnals, including The Hymnary (1872) and The Congregational Sunday School Hymnal (1891), and coedited The Cathedral Psalter (1873). Bert Polman

Hymnals

hymnal icon
Published hymn books and other collections

Small Church Music

Meter: 7.6.7.6 D Editors: E. H. Plumptre 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  

The Book of Common Praise

Publication Date: 1939 Publisher: Oxford University Press Meter: 7.6.7.6 D Publication Place: Toronto

The Book of Psalms for Singing

Publication Date: 1998 Publisher: Crown and Covenant Publications Meter: 7.6.7.6 D Publication Place: Pittsburgh, PA