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MARCHING TO ZION
Meter: 6.6.8.6 Appears in 385 hymnals Composer and/or Arranger: Robert Lowry Tune Key: F Major Incipit: 13156 71231 5432 Used With Text: Marching to Zion
MARCHING TO ZION
We're Marching to Zion
Author: Isaac Watts; Robert Lowry Meter: 6.6.8.6.6 with refrain Appears in 1,824 hymnals First Line: Come, we that love the Lord Lyrics: 1 Come, we that love the Lord,
and let our joys be known,
join in a song with sweet accord,
join in a song with sweet accord
and thus surround the throne,
and thus surround the throne.
[Refrain:]
We're marching to Zion,
beautiful, beautiful Zion;
we're marching upward to Zion,
the beautiful city of God.
2 Let those refuse to sing
who never knew our God,
but children of the heavenly King,
but children of the heavenly King
may speak their joys abroad,
may speak their joys abroad. (Refrain)
3 The hill of Zion yields
a thousand sacred sweets
before we reach the heavenly fields,
before we reach the heavenly fields
or walk the golden streets,
or walk the golden streets. (Refrain)
4 Then let our songs abound
and every tear be dry;
we're marching through Emmanuel's ground,
we're marching through Emmanuel's ground
to fairer worlds on high,
to fairer worlds on high. (Refrain)
Topics: Heaven; Joy; Pilgrimage Scripture: Psalm 2:6 Used With Tune: MARCHING TO ZION
We're Marching to Zion
We're Marching to Zion
Appears in 10 hymnals First Line: To leave the world below Used With Tune: [To leave the world below]
We're Marching to Zion
Los que amen al Señor
Author: Isaac Watts; Robert Lowry Appears in 4 hymnals Refrain First Line: A Sion caminamos Used With Tune: MARCHING TO ZION
Los que amen al Señor
We're Marching to Zion
Author: Isaac Watts Hymnal: Baptist Hymnal 1991 #524 (1991) Meter: 6.6.8.6 with refrain First Line: Come, we that love the Lord Refrain First Line: We're marching to Zion Lyrics: 1. Come, we that love the Lord,
And let our joys be known;
Join in a song with sweet accord,
Join in a song with sweet accord,
And thus surround the throne,
And thus surround the throne.
We're marching to Zion,
Beautiful, beautiful Zion;
We're marching upward to Zion,
The beautiful city of God.
2. Let those refuse to sing
Who never knew our God;
But children of the heav'nly King,
But children of the heav'nly King,
May speak their joys abroad,
May speak their joys abroad.
We're marching to Zion,
Beautiful, beautiful Zion;
We're marching upward to Zion,
The beautiful city of God.
3. The hill of Zion yields
A thousand sacred sweets,
Before we reach the heav'nly fields,
Before we reach the heav'nly fields,
Or walk the golden streets,
Or walk the golden streets.
We're marching to Zion,
Beautiful, beautiful Zion;
We're marching upward to Zion,
The beautiful city of God.
4 Then let our songs abound,
And ev'ry tear be dry;
We're marching thro' Immanuel's ground,
We're marching thro' Immanuel's ground,
To fairer worlds on high,
To fairer worlds on high.
We're marching to Zion,
Beautiful, beautiful Zion;
We're marching upward to Zion,
The beautiful city of God.
Scripture: Isaiah 35:10 Languages: English Tune Title: MARCHING TO ZION
We're Marching to Zion
Marching to Zion
Author: Isaac Watts; Robert Lowry Hymnal: The A.M.E. Zion Hymnal #648 (1999) Meter: 6.6.8.6 First Line: Come, we that love the Lord Refrain First Line: We're marching to Zion Lyrics: 1 Come, we that love the Lord,
and let our joys be known;
join in a song with sweet accord,
join in a song with sweet accord
and thus surround the throne,
and thus surround the throne.
Refrain:
We’re marching to Zion,
beautiful, beautiful Zion;
we’re marching upward to Zion,
the beautiful city of God.
2 Let those refuse to sing
who never knew our God;
but children of the heavenly King,
but children of the heavenly King
may speak their joys abroad,
may speak their joys abroad. [Refrain]
3 The hill of Zion yields
a thousand sacred sweets
before we reach the heavenly fields,
before we reach the heavenly fields,
or walk the golden streets,
or walk the golden streets. [Refrain]
4 Then let our songs abound,
and every tear be dry;
we’re marching through Immanuel’s ground,
we’re marching through Immanuel’s ground,
to fairer worlds on high,
to fairer worlds on high. [Refrain] Topics: Zion Connectional Hymns Languages: English Tune Title: MARCHING TO ZION
Marching to Zion
We're Marching to Zion
Author: Isaac Watts, 1674-1748; Robert Lowry, 1826-1899 Hymnal: Worship and Rejoice #390 (2003) Meter: 6.6.8.6.6 with refrain First Line: Come, we that love the Lord Lyrics: 1 Come, we that love the Lord,
and let our joys be known;
join in a song with sweet accord,
join in a song with sweet accord
and thus surround the throne,
and thus surround the throne.
Refrain:
We're marching to Zion,
beautiful, beautiful Zion;
we're marching upward to Zion,
the beautiful city of God.
2 Let those refuse to sing
who never knew our God;
but children of the heavenly King,
but children of the heavenly King
may speak their joys abroad,
may speak their joys abroad. [Refrain]
3 The hill of Zion yields
a thousand sacred sweets
before we reach the heavenly fields,
before we reach the heavenly fields,
or walk the golden streets,
or walk the golden streets. [Refrain]
4 Then let our songs abound,
and every tear be dry;
we're marching through Emmanuel's ground,
we're marching through Emmanuel's ground,
to fairer worlds on high,
to fairer worlds on high. [Refrain] Scripture: Psalm 149:2 Languages: English Tune Title: MARCHING TO ZION
We're Marching to Zion
John Wesley
1703 - 1791 Alterer of "We're marching to Zion" in The Wesleyan Methodist Hymnal 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
John Wesley
R. H. Cornelius
1872 - 1933 Arranger of "[Come, we that love the Lord]" in Songs of the Cross R.H. Cornelius, known as Rufus Cornelius by his friends, was born in Blount Co., AL., January 24, 1872. He was educated in the public schools of Oneonta, the county seat. He began teaching in the public schools at an early age and at one time was associate Principle of the Oneonta High School. It was while teaching in the high school that he became interested in church music and began to study with some of the best teachers of the time. His first major teacher was the late A J showalter in one of his normals at Eden, AL. He continued his study with this wellknown teacher until he had finished the courses a second time. He soon felt that the study of harmony was his first love in his study and soon became one of the best harmon teachers of his time.
Near the close of the century, he moved to Texas and settled in Midlothian, Ellis Co., where he established a publishing house and published many fine gospel song books that sold by the thousands. However, before coming to Texas, he was associated with The Showalter-Patton Co. who published his first compositions. Soon after coming to Texas, he devoted much time to teaching singing schools (Cornelius Normal Musical Institute) and soon became one of the best known teachers of that great state, often having many more calls for schools than he could have time for. In many cases his schools were dated years ahead. he had possessed a beautiful tenor voice and was of a very pleasant personality. This caused his to be loved by all who knew him. About 1914 he was called to Southwestern Baptist Seminary as head of the music department. After several years here in the Baptist School in Ft Worth, Texas, he felt he was more needed back in the field of teaching and songbook publishing. Soon after coming to Texas, he married Maycon Temperance Burleson, who was a fine singer and musician and wrote many songs.During the first 32 years of the 20th Century, this couple of musicians blessed the State of Texas with their singing and teaching. Of all the fine song written by Mr. Cornelius, "Oh, I want to See Him" will carry his memory for years to come. The Cornelius' were members of the Baptist Church and were devoted Christians.
Mr. Cornelius passed away in 1932. Mrs. Cornelius lived only about two years, passing away in 1934. In the passing of these fine gospel singer and teachers, church music suffered a great loss. By C C Stafford
--www.findagrave.com/cgi-bin/ (excerpts)
R. H. Cornelius
Ernst Gebhardt
1832 - 1899 Person Name: E. G. Author of "Wir pilgern nach Zion" in Gebet- und Danklieder
Ernst Gebhardt
Christian Classics Ethereal Hymnary
Publication Date: 2007 Publisher: Grand Rapids, MI: Christian Classics Ethereal Library
Christian Classics Ethereal Hymnary
Small Church Music
Editors: Isaac Watts 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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