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Text Identifier:"^teach_me_o_lord_thy_perfect_way_of_thy_p$"

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Teach me, O Lord, the perfect way

Meter: 8.6.8.6 Appears in 22 hymnals Scripture: Psalm 119:33-37 Used With Tune: FARRANT

Tunes

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WINCHESTER OLD

Meter: 8.6.8.6 Appears in 349 hymnals Tune Sources: Este's Psalmes, 1592 Tune Key: F Major Incipit: 13321 44323 55453 Used With Text: Teach Me, O LORD, the Perfect Way
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TALLIS'S ORDINAL

Meter: 8.6.8.6 Appears in 232 hymnals Composer and/or Arranger: Thomas Tallis Incipit: 13455 66551 76651 Used With Text: Teach me, O Lord, the perfect way
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PETERBOROUGH

Meter: 8.6.8.6 Appears in 144 hymnals Tune Key: G Major Incipit: 13344 32135 54323 Used With Text: Teach me, O Lord, the perfect way

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Published text-tune combinations (hymns) from specific hymnals
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Psalm 119, Part 5: Teach me, O Lord, the perfect way

Hymnal: Scottish Psalter and Paraphrases #P131 (1800) Meter: 8.6.8.6 First Line: Teach me, O Lord, the perfect way Lyrics: 33Teach me, O Lord, the perfect way of thy precepts divine, And to observe it to the end I shall my heart incline. 34Give understanding unto me, so keep thy law shall I; Yea, ev’n with my whole heart I shall observe it carefully. 35In thy law’s path make me to go; for I delight therein. 36My heart unto thy testimonies, and not to greed, incline. 37Turn thou away my sight and eyes from viewing vanity; And in thy good and holy way be pleas’d to quicken me. 38Confirm to me thy gracious word, which I did gladly hear, Ev’n to thy servant, Lord, who is devoted to thy fear. 39Turn thou away my fear’d reproach; for good thy judgments be. 40Lo, for thy precepts I have long’d; in thy truth quicken me. Scripture: Psalm 119:33-40 Languages: English
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Teach Me, O LORD, the Perfect Way

Hymnal: Hymns to the Living God #268 (2017) Meter: 8.6.8.6 Lyrics: 1 Teach me, O LORD, the perfect way of Thy precepts divine, and to observe it to the end I shall my heart incline. 2 Give understanding unto me, that I Thy law obey; with my whole heart shall I observe Thy statutes night and day. 3 In Thy law’s path make me to go; delight therein I find. Unto Thy truth, and not to greed, let my heart be inclined. 4 Turn Thou away my sight and eyes from viewing vanity; and in Thy good and holy way be pleased to quicken me. 5 Confirm to me Thy gracious Word, which I did gladly hear, to me Thy servant, LORD, who am devoted to Thy fear. 6 Turn Thou away my feared reproach; for good Thy judgments be. Lo, for Thy precepts I have longed; in Thy truth quicken me. Topics: Submission and Profession Scripture: Psalm 119:33-37 Languages: English Tune Title: WINCHESTER OLD
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Teach me, O Lord, the perfect way

Hymnal: The Irish Presbyterian Hymnbook #P119e (2004) Meter: 8.6.8.6 Lyrics: HE THE FIFTH PART 33 Teach me, O LORD, the perfect way of thy precepts divine, and to observe it to the end I shall my heart incline. 34 Give understanding unto me, so keep thy law shall I; yea, even with my whole heart I shall observe it carefully. 35 In thy law’s path make me to go; for I delight therein. 36 My heart unto thy testimonies, and not to greed, incline. 37 Turn Thou away my sight and eyes from viewing vanity; and in thy good and holy way be pleased to quicken me. 38 Confirm to me thy gracious word, which I did gladly hear; to me thy servant, Lord, who am devoted to thy fear. 39 Turn thou away my feared reproach; for good thy judgments be. 40 Lo, for thy precepts I have longed; in thy truth quicken me. Scripture: Psalm 119:33-40 Languages: English Tune Title: YORK

People

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Authors, composers, editors, etc.

J. H. Tenney

1840 - 1918 Composer of "THE PERFECT WAY" in Bible Songs John Harrison Tenney, 1840-1918 Born: No­vem­ber 22, 1840, Row­ley, Mass­a­chu­setts. Born just af­ter the pre­si­den­tial cam­paign of "Tip­pe­ca­noe and Ty­ler, too," Ten­ney was named af­ter Amer­i­can pre­si­dent Will­iam Hen­ry Har­ri­son. A dea­con in the Con­gre­ga­tion­al Church in Line­brook, Mass­a­chu­setts, he ed­it­ed or was as­so­ci­ate ed­it­or of over 30 books, and con­trib­ut­ed to hun­dreds more. His works in­clude: Amer­i­can Male Choir Temperance Jew­els, with Eli­sha Hoff­man (Bos­ton, Mass­a­chu­setts: Ol­iv­er Dit­son & Com­pa­ny, 1879) Bells of Vic­to­ry, with Eli­sha Hoff­man (Bos­ton, Mass­a­chu­setts: Oliv­er Dit­son & Com­pa­ny, 1888) Gems of Gos­pel Song Golden Sun­beams Sharon’s Dewy Rose Songs of Faith Shining Light Songs of Joy Sparkling and Bright Spiritual Songs, Nos. 1 and 2 Sweet Fields of Eden The Bea­con Light The Sing­ing School Ban­ner The An­them Of­fer­ing The Amer­i­can An­them Book The Crown of Praise Sources-- Hall, pp. 219-22 Music-- Asilomar Bogotá Beyond the Swell­ing Flood Cancún Come to Je­sus Ever Will I Pray Hallowed Hour of Pray­er Jesus Is Pass­ing This Way Jubilate! My An­chor Is Hold­ing Nothing Be­tween Onward Christ­ian Sol­diers Sabbath Bell San Fran­cis­co We’ll Ne­ver Say Good­bye Where Will You Spend Eter­ni­ty? --www.hymntime.com/tch

Thomas Tallis

1505 - 1585 Composer of "TALLIS'S ORDINAL" in The Hymnary of the United Church of Canada Thomas Tallis (b. Leicestershire [?], England, c. 1505; d. Greenwich, Kent, England 1585) was one of the few Tudor musicians who served during the reigns of Henry VIII: Edward VI, Mary, and Elizabeth I and managed to remain in the good favor of both Catholic and Protestant monarchs. He was court organist and composer from 1543 until his death, composing music for Roman Catholic masses and Anglican liturgies (depending on the monarch). With William Byrd, Tallis also enjoyed a long-term monopoly on music printing. Prior to his court connections Tallis had served at Waltham Abbey and Canterbury Cathedral. He composed mostly church music, including Latin motets, English anthems, settings of the liturgy, magnificats, and two sets of lamentations. His most extensive contrapuntal work was the choral composition, "Spem in alium," a work in forty parts for eight five-voice choirs. He also provided nine modal psalm tunes for Matthew Parker's Psalter (c. 1561). Bert Polman

Richard Farrant

1525 - 1580 Composer of "FARRANT" in The Presbyterian Book of Praise Like many composers of his day, the early years of Richard Farrant’s (c.1525- November 30, 1580) life are not well documented. The first acknowledgment of him is in a list of the Gentleman of the Chapel Royal in 1552. It is assumed from that list that his birth was around 1525. Although, that cannot be accurately determined. During his life he was able to establish himself as a successful composer, develop the English drama considerably, founded the first Blackfriar Theatre, and be the first to write verse-anthems. He married Anne Bower, daughter of Richard Bower who was Master of the Chapel Royal choristers at the time. With Anne he conceived ten children, one of whom was also named, Richard. As a member of the Gentleman of the Chapel Royal, Farrant was active in ceremonies surrounding the royal family. He began his work with the Chapel Royal around 1550 under the reign of Edward VI. Fortunately, for Farrant, this is a time that saw huge developments in Latin Church Music. Composers like William Byrd and Christopher Tye were busy expanding and elaborating on the Church Music of the day. In Farrant's twelve years with the Chapel Royal, he was able to participate in funerals for Edward VI and Mary I, and coronations for Mary I and Elizabeth I. After his work there, he took up a post as organist at St. George’s Chapel at Windsor. For Farrant, the post at at Windsor became a permanent one that he retained for the rest of his life. Along with this, he also acquired the position of Master of the Chapel Royal choristers in November of 1569. Having the choirs of both of these institutions at his disposal gave him an outlet to showcase all of his compositions and plays. In fact, every winter he was able to produce a play for the Queen herself. These positions also allowed him to move back to London in 1576 and begin a public theater of sorts where he rehearsed some of his choir music openly. It was soon after, in 1580, that he passed away, having left his house to his wife. Unlike many composers of his day that stuck to only music composition, Farrant also wrote many plays. One of his most important contributions to drama in England is of course the creation of the first Blackfriars Theatre. This eventually became one of the most important places in London for drama to develop during the Renaissance. Farrant is also one of the earliest and most well known composers that began to mix the two mediums of music and drama. It was this uncommon mixture that allowed him to begin to develop the composition style of 'verse.' This becomes prominent in a lot of his pieces including the anthems "When as we sat in Babylon" and "Call to remembrance" and "Hide not thou thy face." --en.wikipedia.org/wiki/
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