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FIRST MODE MELODY
Meter: 8.6.8.6 D Appears in 16 hymnals Composer and/or Arranger: Thomas Tallis, 1515-1585 Tune Key: f minor Incipit: 11171 32222 55425 Used With Text: Lord, Teach Us How to Pray Aright
FIRST MODE MELODY
Lord, Teach Us How to Pray Aright
Author: James Montgomery Meter: 8.6.8.6 D Appears in 225 hymnals Lyrics: 1. Lord, teach us how to pray aright,
With reverence and with fear;
Though dust and ashes in Thy sight,
We may, we must draw near.
2. We perish if we cease from prayer;
O grant us power to pray;
And when to meet Thee we prepare,
Lord, meet us by the way.
3. God of all grace, we come to Thee
With broken, contrite hearts;
Give what Thine eye delights to see,
Truth in the inward parts.
4. Faith in the only sacrifice
That can for sin atone;
To cast our hopes, to fix our eyes,
On Christ, on Christ alone.
5. Patience to watch, and wait, and weep,
Though mercy long delay;
Courage our fainting souls to keep,
And trust Thee though Thou slay.
6. Give these, and then Thy will be done,
Thus, strengthened with all might,
We, through Thy Spirit and Thy Son,
Shall pray, and pray aright. Used With Tune: FIRST MODE MELODY
Lord, Teach Us How to Pray Aright
My God, I love thee; not because
Meter: 8.6.8.6 Appears in 212 hymnals Used With Tune: [My God, I love Thee: not because] Text Sources: Latin
My God, I love thee; not because
Praise to the Holiest in the height
Author: J. H. Newman, 1801-90 Appears in 175 hymnals Used With Tune: FIRST MODE MELODY
Praise to the Holiest in the height
Judah's Light
Author: Maria G. Saffery Hymnal: The Cyber Hymnal #12807 Meter: 8.6.8.6 D First Line: It was amid the gathering gloom Lyrics: 1 It was amid the gathering gloom,
The deep presaging woes,
The night-fall of her hastening doom,
That Judah’s light arose.
2 It was while yet that vital beam
Upon her bosom lay,
Her glory vanished like a dream
Her scepter passed away.
3 It came—her own Messiah’s reign,
The kingdom of her God,
Told by the star on Bethlehem’s plain,
The voice on Jordan’s flood.
4 Told by each deep prophetic word,
That said "The Lord is nigh";
Responding from the earth that heard
The anthem from the sky.
5 Told by the gifts with which He came,
In ages past defined—
The herald footstep for the lame,
And daylight for the blind.
6 By sounds which deafened ear awoke
While all the world was dumb;
As if it first the silence broke,
To say, "The Lord is come!"
7 By power to loosen speechless tongue
Which, to the listening ear
That now upon its accents hung,
Could say The Lord is here.
8 Told by authority that gave
Its mandate to the deep:
That bid the whirlwind and the wave
In calm obedience sleep.
9 Told by the sympathy severe,
That o’er the suffering bled;
That groaned to see the mourner’s tear
And then awoke the dead.
10 Told by the miracles divine,
Magnificent and mild,
That awed the priesthood at the shrine,
The thousands in the wild.
11 But Judah turned from David’s son,
In His appointed hour—
Nor owned that meek and Mighty One,
In gentleness of power.
12 Saw not, in grace and grandeur meet,
Messiah’s godlike charms,
The lowly blessing at His feet,
And childhood in His arms.
13 Marked not her Sovereign from on high,
When on the wave He trod;
Nor heard the startled demon’s cry
Before the Son of God.
14 Then, Judah, then thy heart denied
The Holy and the Just;
Yet still His Spirit o’er thee sighed,
And mourned thee in the dust.
15 Thy children, on the mountain steep,
Beheld His sorrows flow,
In tears which only He could weep,
That read thy doom of woe.
16 Thy future record, wide unrolled,
Before His vision lay;
Thy desolations, yet untold—
Thy dark and bitter day.
17 ’Tis past—that form no more appears,
Thine eyes no longer see
The majesty of love in tears,
Jerusalem, for thee!
18 Thine hands have done the deed accursed—
And wrath upon the stain
Rolls o’er thee, like an ocean burst,
For God’s Messiah slain.
19 The shuddering earth confessed His doom,
The universe His cry;
And death came wandering from the tomb,
To mark that He could die.
20 Soon were His sepulcher and shroud
Beneath thy burning wall;
And He upon the judgment cloud,
That thundered o’er thy fall. Languages: English Tune Title: FIRST MODE MELODY
Judah's Light
Lord, teach us how to pray aright
Author: J. Montgomery, 1771-1854 Hymnal: The English Hymnal #78 (1906) Languages: English Tune Title: FIRST MODE MELODY
Lord, teach us how to pray aright
Lord, teach us how to pray aright
Author: J. Montgomery, 1771-1854 Hymnal: The English Hymnal #78 (1933) Languages: English Tune Title: FIRST MODE MELODY
Lord, teach us how to pray aright
James Montgomery
1771 - 1854 Author of "Lord, Teach Us How to Pray Aright" in The Cyber Hymnal James Montgomery (b. Irvine, Ayrshire, Scotland, 1771; d. Sheffield, Yorkshire, England, 1854), the son of Moravian parents who died on a West Indies mission field while he was in boarding school, Montgomery inherited a strong religious bent, a passion for missions, and an independent mind. He was editor of the Sheffield Iris (1796-1827), a newspaper that sometimes espoused radical causes. Montgomery was imprisoned briefly when he printed a song that celebrated the fall of the Bastille and again when he described a riot in Sheffield that reflected unfavorably on a military commander. He also protested against slavery, the lot of boy chimney sweeps, and lotteries. Associated with Christians of various persuasions, Montgomery supported missions and the British Bible Society. He published eleven volumes of poetry, mainly his own, and at least four hundred hymns. Some critics judge his hymn texts to be equal in quality to those of Isaac Watts and Charles Wesley . Many were published in Thomas Cotterill's Selection of Psalms and Hymns (1819 edition) and in Montgomery's own Songs of Zion (1822), Christian Psalmist (1825), and Original Hymns (1853).
Bert Polman
========================
Montgomery, James, son of John Montgomery, a Moravian minister, was born at Irvine, Ayrshire, Nov. 4, 1771. In 1776 he removed with his parents to the Moravian Settlement at Gracehill, near Ballymena, county of Antrim. Two years after he was sent to the Fulneck Seminary, Yorkshire. He left Fulneck in 1787, and entered a retail shop at Mirfield, near Wakefield. Soon tiring of that he entered upon a similar situation at Wath, near Rotherham, only to find it quite as unsuitable to his taste as the former. A journey to London, with the hope of finding a publisher for his youthful poems ended in failure; and in 1792 he was glad to leave Wath for Shefield to join Mr. Gales, an auctioneer, bookseller, and printer of the Sheffield Register newspaper, as his assistant. In 1794 Mr. Gales left England to avoid a political prosecution. Montgomery took the Sheffield Register in hand, changed its name to The Sheffield Iris, and continued to edit it for thirty-one years. During the next two years he was imprisoned twice, first for reprinting therein a song in commemoration of "The Fall of the Bastille," and the second for giving an account of a riot in Sheffield. The editing of his paper, the composition and publication of his poems and hynms, the delivery of lectures on poetry in Sheffield and at the Royal Institution, London, and the earnest advocacy of Foreign Missions and the Bible Society in many parts of the country, gave great variety but very little of stirring incident to his life. In 1833 he received a Royal pension of £200 a year. He died in his sleep, at the Mount, Sheffield, April 30, 1854, and was honoured with a public funeral. A statue was erected to his memory in the Sheffield General Cemetery, and a stained glass window in the Parish Church. A Wesleyan chapel and a public hall are also named in his honour. Montgomery's principal poetical works, including those which he edited, were:—
(1) Prison Amusements, 1797; (2) The Wanderer of Switzerland, 1806; (3) The West Indies, 1807; (4) The World before the Flood, 1813; (5) Greenland and Other Poems, 1819; (6) Songs of Zion, 1822; (7) The Christian Psalmist, 1825; (8) The Christian Poet, 1825; (9) The Pelican Island, 1828; (10) The Poet’s Portfolio, 1835; (11) Original Hymns for Public, Private, and Social Devotion, 1853. He also published minor pieces at various times, and four editions of his Poetical Works, the first in 1828, the second in 1836, the third in 1841, and the fourth in 1854. Most of these works contained original hymns. He also contributed largely to Collyer's Collection, 1812, and other hymnbooks published during the next 40 years, amongst which the most noticeable was Cotterill's Selections of 1819, in which more than 50 of his compositions appeared. In his Christian Psalmist, 1825, there are 100 of his hymns, and in his Original Hymns, 1853, 355 and 5 doxologies. His Songs of Zion, 1822, number 56. Deducting those which are repeated in the Original Hymns, there remain about 400 original compositions.
Of Montgomery's 400 hymns (including his versions of the Psalms) more than 100 are still in common use. With the aid of Montgomery's MSS. we have given a detailed account of a large number. The rest are as follows:—
i. Appeared in Collyer's Collection, 1812.
1. Jesus, our best beloved Friend. Personal Dedication to Christ.
2. When on Sinai's top I see. Sinai, Tabor, and Calvary.
ii. Appeared in Cotterill's Selection, 1819.
3. Come to Calvary's holy mountain. The Open Fountain.
4. God in the high and holy place. God in Nature. The cento in Com. Praise, 1879, and others, "If God hath made this world so fair," is from this hymn.
5. Hear me, O Lord, in my distress. Ps. cxliii.
6. Heaven is a place of rest from sin. Preparation for Heaven.
7. I cried unto the Lord most just. Ps. cxlii.
8. Lord, let my prayer like incense rise. Ps. cxxxix.
9. O bless the Lord, my soul! His grace to thee proclaim. Ps. ciii.
10. Out of the depths of woe. Ps. cxxx. Sometimes "When from the depths of woe."
11. The world in condemnation lay. Redemption.
12. Where are the dead? In heaven or hell? The Living and the Dead.
iii. Appeared in his Songs of Zion, 1822.
13. Give glory to God in the highest. Ps. xxix.
14. Glad was my heart to hear. Ps. cxxii.
15. God be merciful to me. Ps. lxix.
16. God is my strong salvation. Ps. xxvii.
17. Hasten, Lord, to my release. Ps. lxx.
18. Have mercy on me, O my God. Ps. li.
19. Hearken, Lord, to my complaints. Ps. xlii.
20. Heralds of creation cry. Ps. cxlviii.
21. How beautiful the sight. Ps. cxxxiii.
22. How precious are Thy thoughts of peace. Ps. cxxxix.
23. I love the Lord, He lent an ear. Ps. cxvi.
24. In time of tribulation. Ps. lxxvii.
25. Jehovah is great, and great be His praise. Ps. xlviii. Sometimes, "0 great is Jehovah, and great is His Name."
26. Judge me, O Lord, in righteousness. Ps. xliii.
27. Lift up your heads, ye gates, and wide. Ps.xxiv.
28. Lord, let me know mine [my] end. Ps. xxxi.
29. Of old, 0 God, Thine own right hand. Ps. lxxx.
30. O God, Thou art [my] the God alone. Ps. lxiii.
31. 0 Lord, our King, how excellent. Ps. viii. Sometimes, "0 Lord, how excellent is Thy name."
32. O my soul, with all thy powers. Ps. ciii.
33. One thing with all my soul's desire. Ps. xxvii. From this, "Grant me within Thy courts a place."
34. Searcher of hearts, to Thee are known. Ps. cxxxix.
35. Thank and praise Jehovah's name. Ps. cvii.
36. Thee will I praise, O Lord in light. Ps. cxxxviii.
37. The Lord is King; upon His throne. Ps. xciii.
38. The Lord is my Shepherd, no want shall I know. Ps. xxiii.
39. The tempter to my soul hath said. Ps. iii.
40. Thrice happy he who shuns the way. Ps. i.
41. Thy glory, Lord, the heavens declare. Ps. xix.
42. Thy law is perfect, Lord of light. Ps. xix.
43. Who make the Lord of hosts their tower. Ps. cxxv.
44. Yea, I will extol Thee. Ps. xxx.
iv. Appeared in his Christian Psalmist. 1825.
45. Fall down, ye nations, and adore. Universal adoration of God desired.
46. Food, raiment, dwelling, health, and friends. The Family Altar.
47. Go where a foot hath never trod. Moses in the desert. Previously in the Leeds Congregational Collection, 1822.
48. Green pastures and clear streams. The Good Shepherd and His Flock.
49. Less than the least of all. Mercies acknowledged.
50. Not to the mount that burned with fire [flame]. Communion of Saints.
51. On the first Christian Sabbath eve. Easter Sunday Evening.
52. One prayer I have: all prayers in one. Resignation.
53. Our heavenly Father hear. The Lord's Prayer.
54. Return, my soul, unto thy rest. Rest in God.
55. Spirit of power and might, behold. The Spirit's renewing desired.
56. The Christian warrior, see him stand. The Christian Soldier. Sometimes, "Behold the Christian warrior stand."
57. The days and years of time are fled. Day of Judgment.
58. The glorious universe around. Unity.
59. The pure and peaceful mind. A Children's Prayer.
60. This is the day the Lord hath made (q. v.). Sunday.
61. Thy word, Almighty Lord. Close of Service.
62. What secret hand at morning light ? Morning.
63. While through this changing world we roam. Heaven.
64. Within these walls be peace. For Sunday Schools.
v. Appeared in his Original Hymns, 1853.
65. Behold yon bright array. Opening a Place of Worship.
66. Behold the book whose leaves display. Holy Scriptures.
67. Come ye that fear the Lord. Confirmation.
68. Home, kindred, friends, and country, these. Farewell to a Missionary.
69. Let me go, the day is breaking. Jacob wrestling.
70. Not in Jerusalem alone. Consecration of a Church.
71. Praise the high and holy One. God the Creator.
In common with most poets and hymnwriters, Montgomery strongly objected to any correction or rearrangement of his compositions. At the same time he did not hesitate to alter, rearrange, and amend the productions of others. The altered texts which appeared in Cotterill's Selections, 1819, and which in numerous instances are still retained in some of the best hymnbooks, as the "Rock of Ages," in its well-known form of three stanzas, and others of equal importance, were made principally by him for Cotterill's use. We have this confession under his own hand.
As a poet, Montgomery stands well to the front; and as a writer of hymns he ranks in popularity with Wesley, Watts, Doddridge, Newton, and Cowper. His best hymns were written in his earlier years. In his old age he wrote much that was unworthy of his reputation. His finest lyrics are "Angels from the realms of glory," "Go to dark Gethsemane," "Hail to the Lord's Anointed," and "Songs of praise the angels sang." His "Prayer is the soul's sincere desire," is an expanded definition of prayer of great beauty; and his "Forever with the Lord" is full of lyric fire and deep feeling. The secrets of his power as a writer of hymns were manifold. His poetic genius was of a high order, higher than most who stand with him in the front rank of Christian poets. His ear for rhythm was exceedingly accurate and refined. His knowledge of Holy Scripture was most extensive. His religious views were broad and charitable. His devotional spirit was of the holiest type. With the faith of a strong man he united the beauty and simplicity of a child. Richly poetic without exuberance, dogmatic without uncharitableness, tender without sentimentality, elaborate without diffusiveness, richly musical without apparent effort, he has bequeathed to the Church of Christ wealth which could onlv have come from a true genius and a sanctified! heart.
--John Julian, Dictionary of Hymnology (1907)
James Montgomery
Thomas Tallis
1505 - 1585 Person Name: Thomas Tallis, 1515-1585 Composer of "FIRST MODE MELODY" in The Cyber Hymnal 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
Thomas Tallis
Edward Caswall
1814 - 1878 Person Name: Rev. E. Caswall Translator of "My God, I love thee; not because" in The Book of Common Praise Edward Caswall was born in 1814, at Yately, in Hampshire, where his father was a clergyman. In 1832, he went to Brasenose College, Oxford, and in 1836, took a second-class in classics. His humorous work, "The Art of Pluck," was published in 1835; it is still selling at Oxford, having passed through many editions. In 1838, he was ordained Deacon, and in 1839, Priest. He became perpetural Curate of Stratford-sub-Castle in 1840. In 1841, he resigned his incumbency and visited Ireland. In 1847, he joined the Church of Rome. In 1850, he was admitted into the Congregation of the Oratory at Birmingham, where he has since remained. He has published several works in prose and poetry.
--Annotations of the Hymnal, Charles Hutchins, M.A. 1872
=====================
Caswall, Edward, M.A., son of the Rev. R. C. Caswall, sometime Vicar of Yately, Hampshire, born at Yately, July 15, 1814, and educated at Brasenose College, Oxford, graduating in honours in 1836. Taking Holy Orders in 1838, he became in 1840 Incumbent of Stratford-sub-Castle, near Salisbury, and resigned the same in 1847. In 1850 (Mrs. Caswall having died in 1849) he was received into the Roman Catholic communion, and joined Dr. Newman at the Oratory, Edgbaston. His life thenceforth, although void of stirring incidents, was marked by earnest devotion to his clerical duties and a loving interest in the poor, the sick, and in little children. His original poems and hymns were mostly written at the Oratory. He died at Edgbaston, Jan. 2, 1878, and was buried on Jan. 7 at Redwall, near Bromsgrove, by his leader and friend Cardinal Newman. Caswall's translations of Latin hymns from the Roman Breviary and other sources have a wider circulation in modern hymnals than those of any other translator, Dr. Neale alone excepted. This is owing to his general faithfulness to the originals, and the purity of his rhythm, the latter feature specially adapting his hymns to music, and for congregational purposes. His original compositions, although marked by considerable poetical ability, are not extensive in their use, their doctrinal teaching being against their general adoption outside the Roman communion. His hymns appeared in:—
(1) Lyra Catholica, which contained 197 translations from the Roman Breviary, Missal, and other sources. First ed. London, James Burns, 1849. This was reprinted in New York in 1851, with several hymns from other sources added thereto. This edition is quoted in the indices to some American hymn-books as Lyra Cath., as in Beecher's Plymouth Collection, 1855, and others.
(2) Masque of Mary, and Other Poems, having in addition to the opening poem and a few miscellaneous pieces, 53 translations, and 51 hymns. 1st ed. Lon., Burns and Lambert, 1858.
(3) A May Pageant and Other Poems, including 10 original hymns. Lon., Burns and Lambert, 1865.
(4) Hymns and Poems, being the three preceding volumes embodied in one, with many of the hymns rewritten or revised, together with elaborate indices. 1st ed. Lon., Burns, Oates & Co., 1873. Of his original hymns about 20 are given in the Roman Catholic Crown of Jesus Hymn Book, N.D; there are also several in the Hymns for the Year, N.D., and other Roman Catholic collections.
--John Julian, Dictionary of Hymnology (1907)
======================
Caswall, E. , p. 214, ii. Additional original hymns by Caswall are in the Arundel Hymns, 1902, and other collections. The following are from the Masque of Mary, &c, 1858:—
1. Christian soul, dost thou desire. After Holy Communion.
2. Come, let me for a moment cast. Holy Communion.
3. O Jesu Christ [Lord], remember. Holy Communion.
4. Oft, my soul, thyself remind. Man's Chief End.
5. Sleep, Holy Babe. Christmas. Appeared in the Rambler, June 1850, p. 528. Sometimes given as "Sleep, Jesus, sleep."
6. The glory of summer. Autumn.
7. This is the image of the queen. B. V. M.
His "See! amid the winter's snow,” p. 1037, i., was published in Easy Hymn Tunes, 1851, p. 36. In addition the following, mainly altered texts or centos of his translations are also in common use:—
1. A regal throne, for Christ's dear sake. From "Riches and regal throne," p. 870, ii.
2. Come, Holy Ghost, Thy grace inspire. From "Spirit of grace and union," p. 945, i.
3. Hail! ocean star, p. 99, ii,, as 1873. In the Birmingham Oratory Hymn Book, 1850, p. 158.
4. Lovely flow'rs of martyrs, hail. This is the 1849 text. His 1873 text is "Flowers of martyrdom," p. 947, i.
5. None of all the noble cities. From "Bethlehem! of noblest cities," p. 946, ii.
6. O Jesu, Saviour of the World. From “Jesu, Redeemer of the world," p. 228, ii.
7. 0 Lady, high in glory raised. From "O Lady, high in glory, Whose," p. 945, i.
The Parochial Hymn Book, 1880, has also the following original hymns by Caswall. As their use is confined to this collection, we give the numbers only:—
IS os. 1, 2, 3, 159 (Poems, 1873, p. 453), 209 (1873, p. 288), 299, 324 (1873, p. 323), 357, 402, 554, 555, 558, 569 (1873, p. 334). These are from his Masque of Mary 1858. Nos. 156, 207 (1873, p. 296), 208 (1873, p. 297), 518. These are from his May Pageant, 1865.
As several of these hymns do not begin with the original first lines, the original texts are indicated as found in his Poems, 1873. [Rev. James Mearns, M.A.]
--John Julian, Dictionary of Hymnology, New Supplement (1907)
Edward Caswall
Small Church Music
Editors: James Montgomery Description:
History
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.
About the Recordings 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) to adjust the MP3 number of verses, tempo and pitch to suit their local needs.
Mobile App
We have partnered with the developer of the popular NetTracks mobile app to offer the Small Church Music collection as a convenient mobile app. Experience the beloved Small Church Music collection through this iOS app featuring nearly 10,000 high-quality hymn recordings that can be organized into custom setlists and downloaded for offline use—ideal for worship services without musicians, congregational practice, and personal devotion. The app requires a small fee to cover maintenance costs. Please note: While Hymnary.org hosts this music collection, technical support for the app is provided exclusively by the app developer, not by Hymnary.org staff.
LicensingCopyright 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.
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