Cantus Christi Copyright © 2002 Christ Church, Moscow, Idaho 2004 Revised Edition
Cantus Christi Copyright © 2002 Christ Church, Moscow, Idaho 2004 Revised Edition
Published by Canon Press P.O. Box 8729, Moscow, ID 83843. 800–488–2034 www.canonpress.org
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All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form by any means, electronic, mechanical, photocopy, recording, or otherwise, without prior permission of the author, except as provided by USA copyright law.
The publisher gratefully acknowledges permission to reprint texts, tunes and arrangements granted by the publishers, organizations and individuals listed on pages xviii and 443–445. Every effort has been made to secure current copyright permission information on the Psalms, hymns, and service music used. If any right has been infringed, the publisher promises to make the correction in subsequent printings as the additional information is received.
ISBN: Cantus Christi (clothbound) 1–59128–003- 6
ISBN: Cantus Christi (accompanist’s edition) 1–59128–004–4 Tabl e of Conte nt s
Manifesto on Psalms and Hymns by Douglas Wilson ...... v Introduction to Musical Style by Dr. Louis Schuler ...... ix List of Abbreviations ...... xvii Copyright Holders ...... xviii
Section I Psalms ...... 1
Section II Hymns ...... 197 Baptism ...... 198 Communion ...... 202 Advent ...... 218 Christmas ...... 230 Epiphany ...... 251 Christ’s Passion ...... 255 Triumphal Entry ...... 268 Resurrection ...... 269 Ascension ...... 274 Pentecost ...... 276 All Saints ...... 280 Thanksgiving ...... 283 Adoration ...... 286 Supplication ...... 336 Evening Hymns ...... 377
Section III Service Music ...... 385
Indexes ...... 441 Copyright Permissions ...... 443 Chronological Index of Hymn Tunes ...... 446 Index of Authors, Composers, and Sources ...... 448 Metrical Index of Tunes ...... 452 Alphabetical Index of Tunes ...... 457 Alphabetical Index of Titles and First Lines ...... 460 Manifesto on Psalms and Hymns
A common practice in our day is for Chris- must come to understand fully. This bot- tians to speak of the “culture wars.” By this tomless ravine is the divide between faith they usually mean the political and cul- and unbelief—and nothing joins them at tural skirmishes between leftist secular the bottom. thinking and the more moderate and tra- We are not currently in a culture war, ditional thinking of believers. But the prob- but we do need to get into a culture war. lem is that the phrase “culture wars” is a But there are prerequisites. Before you can particularly inept way to refer to this prob- have a war, you need weapons. And before lem. “Culture wars” would indicate a colli- you can have a culture war, you need to sion between two distinct cultures, but this have a culture. And this is the central prob- is not what we have. Rather, we see intra- lem that confronts Christians today as mural debates within one culture, and that they look around at the cultural manifes- culture is the form of modernity. One side tations of unbelief. What we see is the out- of the debate is clear-sighted and wants working of the “faith” established in the the unbelieving assumptions permeating Enlightenment of the mid-eighteenth that culture to come to a full and com- century, plete fruition. The other side of the de- Many Christians live within this bate is confused, and wants to pretend that broad Enlightenment culture, but they the culture surrounding them is some- belong to churches that have made their thing other than what it is. peace with this modernity. Our religion is Our phrases right-wing and left-wing safe, tucked and hidden away from all came from the seating in the revolution- alarms. Behind our eyes and between our ary legislature of the French Revolution. ears we have that gnostic spark that we call The moderate revolutionaries sat on the a personal relationship with Jesus. Non- right, while the radicals sat on the left. believers have their equivalent spark, but They had their debates, of course, but they all of them accept the external dictates of were all revolutionaries. What they held science and the state. We have accepted as in common was more fundamental than a matter of faith that our internal spiritual what divided them. Separated by a ravine, reality does not and cannot have any par- at the bottom of the ravine they were still ticular cultural embodiment that might joined together. While Scripture speaks of threaten the status quo. a bottomless pit, a place of unending and The ancient Christians in Rome had horrible judgment, there is another bot- this option open to them, an option that tomless chasm as well, a chasm which we they refused to take. Rome allowed for the
v formation of a cultus privatus, religion that What does this have to do with the accepted its duty to not challenge the au- singing of psalms? Why are these things thority of the emperor. Because Christians being written in a preface to a psalter/ would not accept this—Jesus Christ was hymnal? Lord of all, and that included Caesar— The need of the hour is reformation they were viciously persecuted. Because we in the Church. As reformation comes to have accepted the modern equivalent, we the Church and sweeps through it, the first are left alone like Lot in Sodom, free to thing we will notice is that reformation is wring our hands in dismay over the way nothing like revival. Revivals, at least as we things are going. have come to define them, are readily con- We call our spiritual weekend con- tained within the walls of our churches. ferences retreats, which kind of figures. We Periodic religious excitements are part of evangelicals affirm our faith in an inerrant our North American religious tradition, Bible—inerrant in the autographs, which and we know the tradition. We go slack, of course no one possesses. We sing feel- we get stirred up, we go slack again. But good ditties in the public worship of God, Trinitarian, incarnational reformation re- but they are songs which have been aptly quires embodiment in every aspect of life; characterized as “Jesus is my boyfriend” it requires that the teaching of the Word songs. And you ask me how I know He of God take shape in our lives, in our cul- lives; He lives within my heart. In all of ture. I never tire of saying that theology this, we have not grown a Christian cul- comes out our fingertips—and what ac- ture. Despite the fact that millions of tually comes out our fingertips is our true Christians have lived on this continent for theology. hundreds of years, we have not built a dis- We will discover in such reformation tinctively Trinitarian and Incarnational that the doctrine of Christ encompasses culture. We are too busy going along with all that is true, all that is good, and all that the latest currents in the river of unbelief. is lovely. It takes on the form of a culture But the Incarnation is the central re- and affects how we prepare our meals and ality of human history. Enlightenment how we serve them. It affects how we plant philosophy would have preferred ultimate our gardens, and how we cultivate the de- reality to be a disembodied abstract truth lights of the marriage bed. It affects the somewhere else, but the Scripture tells us making of beer and the mowing of lawns. that the Word was with God, the Word But at the center of all this is how refor- was God, and the Word took on flesh and mation affects the public worship of God, dwelt among us. We are Christians, and and this is obviously related to the music our faith in Jesus Christ demands embodi- we sing. Liturgical culture drives all other ment in every aspect of life, and settling expressions of culture. The culture we ex- for anything less than this is at root a de- hibit in the presence of our gods is the de- nial of the lordship of Jesus Christ. fining element of every culture. If we
vi would repent of our cultural polytheism, a convenience store approach to musical we must turn back to the worship of the worship. There are many songs here that living God, resolved to worship Him with are an acquired taste. We can have confi- reverence and godly fear, for He is a con- dence as we seek to acquire this taste be- suming fire. Because He is a consuming cause we know that in the history of the fire, we do not approach the unapproach- Church, generations of average Christians able light humming a few snatches of used to rejoice in and with these songs. Shine, Jesus Shine. Moses did not walk to- We also have the testimony of modern ward the burning bush with a praise CD Christians, like our congregation, who in his Walkman. have set themselves to learn this music and We reveal musically whether or not have come to experience how wonderful we are Christians who acknowledge that it is. Psalm 95 used to sound just as strange the praise of the Church should reflect and to us as it does now to you, and more than honor the glory of God in the face of a few of us thought the “funky beat” ver- Christ. Our praise of God should glorify sion of “A Mighty Fortress” was more than the Lord both in the music and the lyrics, a little much. But this was the original and one test of whether this is happening form of the hymn, and it illustrates why or not is whether our music and lyrics re- Queen Elizabeth I did not call many of sult in a true cultural antithesis. these songs “Geneva jigs” for nothing. We believe that God is bringing many Learning these songs is like trying to drink in His Church to the point of a holy dis- a hearty oatmeal stout after years of lite content with all the liturgical happy- beer. There will be a period of contorted clappy that surrounds us. As a grimaces, but, when all is said and done, consequence, we have decided to publish there is no looking back. This psalter/ this psalter/hymnal. We do not do this hymnal contains the glories of aesthetic because we believe ourselves to have our depth. reformational act together. Rather, we have Some may wonder whether this em- been brought to a deep conviction of our phasis on the psalms may be giving too own abiding ignorance in these things. We much credence to what is called the ex- are merely confessing that ignorance, and clusive psalmnody position. It is not our inviting others to join us as we seek to re- purpose here to enter into that controversy, cover a small portion of our heritage. but we do want to say that fear of over- Just a few practical considerations re- reaction is not a theology of worship. We main. Because we are recovering a number believe our exclusivist brethren are in er- of older forms of musical and lyrical ex- ror when they demand that we sing noth- pression, some of the psalms and hymns ing more than the psalms. But we want to contained do represent a challenge. Learn- give credit where credit is due and say that ing them will not necessarily be easy— they are quite right in their insistence that but one of the things we are abandoning is we sing nothing less. Any form of hymn
vii or chorus singing that prevents the the contrary, calls us to it (Eph. 5:19). Church from learning all 150 psalms is And last, we must recall that profoundly wrong-headed, and so we have Jehoshaphat sent the choir out ahead dedicated ourselves to a full recovery of the of the army, and God gave a glorious psalms. We have lost an enormous trea- victory. We need to do the same thing, sury and fallen a great way—as illustrated trusting for the same result. But before by our need to speak of “introducing” the we head out there, in the vanguard psalms to Christian churches! Whatever heading into this cultural fray, we must our differences, no one maintains as a have something to sing. point of doctrine that we are prohibited from singing psalms. The apostle Paul, on Douglas Wilson Moscow, Idaho
viii Introduction to Musical Style
Is it any surprise that the final words of the same kind of energy. When a singer the last Psalm exhort us, “Let everything sings properly with full breath support that hath breath praise the LORD. Hallelu- from the diaphragm, he will feel the ex- jah!” (Ps. 150:6)? The injunction is given haustion that comes from great physical to us as if we might forget that this is our exertion. This is one of the most difficult highest calling and that it rides on our concepts to teach to singers because our breath—something that is drawn into our culture has relegated singing to the realm bodies so that it can be exhaled with the of the weak rather than to the realm of glory of sound. The Psalms are full of other spiritual warfare. Robust singing is a must, instructions as to how we should praise and that goes for the men as much as the the Lord. “O come, let us sing unto the women. “I will praise the name of God LORD, let us heartily rejoice in the strength with a song, and I will magnify Him with of our salvation” (Ps. 95:1). Our singing thanksgiving. This also shall please the should be done with joy and great vigor. LORD better than an ox or bullock that hath “O sing unto the LORD a new song” (Ps. horns and hoofs” (Ps. 69:30, 31). Above all 96:1). A “new song” does not necessarily else, we must sing with a right heart, mean one that has just been composed, but thanksgiving, and understanding. It is easy describes the way the singer approaches to sing away, enjoying only the notes and his singing of the Psalm. The Psalm forgetting about what we are singing and should be fresh and full of life. “Rejoice in to whom we are singing. the LORD, O ye righteous: for praise is The Revelation of St. John provides comely for the upright. Praise the LORD us with even more insight into the sing- with harp: sing unto Him with the psal- ing of praise to God. As John is taken up tery and an instrument of ten strings. Sing into the heavenly realms (Rev. 4:1, 2), he unto Him a new song; play skillfully with sees the throne of God with all its atten- a loud noise” (Ps. 33:1–3). Not only are dant pictures of creatures singing His instruments employed, but they are to be praise. There are the four beasts who never played skillfully. Competent musician- cease to sing, “Holy, holy, holy, Lord God ship is expected by the psalmist. This is Almighty, which was, and is, and is to no less than praise to the Most High God. come” (Rev. 4:8); the twenty-four elders The Hebrew word used for “a loud noise” singing, “Thou art worthy, O Lord, to re- is perhaps best understood as a shout of ceive glory and honor and power: for thou joy, referring to the singers, not the instru- hast created all things, and for thy plea- mentalists. Singing is a sport. It requires sure they are and were created” (Rev. 4:11);
ix the beasts and elders singing a new song: sung in the Lord’s praise by us with our “Thou art worthy to take the book, and to fellow departed saints. We are given the open the seals thereof: for thou wast slain, opportunity to add our hymns of praise and hast redeemed us to God by thy blood to those that have been written before. The out of every kindred, and tongue, and glory increases if we climb on the shoul- people, and nation; And hast made us ders of those who have gone before us. But unto our God kings and priests: and we if, in our arrogance, we think we can ig- shall reign on the earth” (Rev. 5:9, 10). Then nore what has been taught us, we err and myriads of angels join in the throng sing- bring lame sacrifices of praise. We must be ing, “Worthy is the Lamb that was slain to taught in the sanctuary in order to bring receive power, and riches, and wisdom, and what is beautiful into the sanctuary. If we strength, and honor, and glory, and bless- bring only that which the world teaches ing” (Rev. 5:12); and finally “every crea- us, we bring that which is an abomination ture which is in heaven, and on the earth, in God’s ears. and under the earth, and such as are in the sea, and all that are in them, heard I say- WHY ANOTHER HYMNAL? ing, Blessing, and honor, and glory, and Christians are people of the Book. Our power, be unto him that sitteth upon the worship derives its form and content from throne, and unto the Lamb for ever and the Bible. Our instruction for faith and ever” (Rev. 5:13, 14). life is entirely drawn from the Word What John had experienced in Jerusa- revealed to us through inspiration of lem at the Temple he was now experienc- the Holy Spirit. It should be no surprise ing in the fullness of the heavenly places. that Christians for centuries relied on We experience the reality of this as we par- books to sing their praise in worship. The ticipate in each Lord’s Day service and ap- development of musical notation evol- proach the throne of God in worship. God ved in the surroundings of Christian has made us a temple of living stones, and worship as the need for transmitting and He dwells among us. He is our God and performing music grew. The earliest we are His people. Like John, we too, as- notation comes from the service books of cend into the heavenly places in our con- the church in the ninth and tenth centu- gregational worship. We too join in the ries. The Reformers relied on hymnals in celebration around the throne with all the book form to disseminate the singing of heavenly host. The only difference is that psalms and hymns. Psalters and hymnals there have been another 2,000 years of have been the second most important hymn writing and music making. The books of worship, just as singing is the saints of the last two millennia have added second most important skill that Chris- their voices to the heavenly chorus with tians learn. The Bible makes this clear all the new songs that they have written. throughout the Psalms, calling us to sing Those songs are our heritage and are to be praises to the Lord with skillfulness.
x But the church has experienced a denominations have published their own move away from the use of books to sing hymnals; Cantus Christi, however, is not from. Modern technologies such as the intended to be a denominational hymnal. overhead projector have rapidly replaced As Christ Church moved out of modern the use of hymnals in many churches. evangelicalism into a more historically Cantus Christi is designed to retain tradi- rooted Reformational faith, the need for tional psalm and hymn singing through Psalm singing became a high priority. As the use of the printed page. The settings the church sang Psalms, it became appar- are mostly in the typical cantional style, ent that there was also a need to change that is, four voice parts moving together hymn styles to those that approached the in block chords (homophony) with the character and the depth of the psalter. melody in the soprano voice. However, Choosing a modern hymnal for our needs there are many departures from this style was next to impossible. Most hymnals in various settings, so that sometimes the with good musical content were filled with tenor voice has the melody, sometimes all inclusive language, a sort of bowdleriza- the voices are singing in unison, and some- tion of old poetry to suit current sensibili- times the block chords give way to simple ties, and tended toward liberalism. On the contrapuntal melodies. But the beauty of other hand, most evangelical hymnals the cantional style prevails and with it the have catered to the call for eclecticism for interdependence of voices. Singing a the sake of eclecticism alongside an over- hymn in harmony is fully Trinitarian. The abundance of the subjectivist hymns of the various parts work together to make a uni- late nineteenth or early twentieth centu- fied whole–a beautiful picture of the one ries. Most show a simple lack of under- and the many. If you take away any one standing of beauty. Modern psalters often part, the hymn is lacking in completeness. fare little better musically. The historic Each voice part is written for those mem- psalters, such as the Genevan Psalter or bers of the congregation that have that the Scottish Psalter, are wonderful, but a particular vocal range; thus the music takes good mix of them cannot be found under into account the diversity of the congre- one cover. Thus Cantus Christi. It is a work gation. in progress. The first edition is fairly small, Cantus Christi is a psalter-hymnal for only around 275 hymns and Psalms, but the congregation of Christ Church, Mos- this is only the first edition of several more cow, Idaho. It does not pretend to satisfy to come, perhaps even someday becoming the needs of any other particular congre- separate hymnals and psalters. Since gation or any particular denomination. nearly half of the music is not known by We are members of the Confederation the congregation at this time, there is of Reformed Evangelicals, a small plenty of room to grow with it before the denomination without a hymnal. Many next edition comes out. Though this is a
xi hymnal for Christ Church, Moscow it is edition. A third major group of metrical assembled in such a way that it can be Psalms is the Scottish Psalter. Some of the useful for any Christian church. language is a bit more difficult to fight through; however, because of their Scot- THE CONTENT tish and English roots, many of the tunes are easy to learn by American congrega- PSALMS tions who have sung much English The psalter in this first edition is not com- hymnody. A final category is a group of plete. A little less than half of the Psalms metrical Psalms united only by their in- are represented; however, this should be clusion in The Book of Psalms for Sing- remedied by the next edition. The psalms ing, which the Christ Church congrega- can be divided into three main categories tion had been using before it was decided according to musical style–metrical, to put together our own psalter. chant, and through-composed. As the congregation matures in its The metrical style is the most acces- Psalm singing, they should be willing to sible for beginners because it is hymn-like. try a second style of Psalm singing– In fact, metrical Psalms really are hymns chanted Psalms. The advantage of the that paraphrase a Psalm text more or less chanted Psalm is that the congregation closely. The Genevan Psalms make up the can sing the actual words of the Psalm largest portion of this type. They were a rather than a poetical paraphrase, which product of John Calvin’s attempts at re- is compromised by restraints of rhyme and covering the singing of God’s word and meter. There are two styles of chant repre- represent one of the musical high points sented in this hymnal, Gregorian and in the history of psalmody. These melo- Anglican. Of the two, Anglican style dies were originally sung in unison, but I chanting is more accessible to our modern have chosen the simple four-part settings ears and sensibilities. The Anglican style of the Huguenot composer, Claude of chant began to be written soon after the Goudimel, who harmonized the Genevan Church of England was established in the Psalter within two years of its completion. sixteenth century and continues to be writ- A source of metrical Psalms from the next ten today. The Gregorian Psalm tones by century is Heinrich Schütz’s Becker contrast have less musical interest, but be- Psalter (1628, 1661). This is a source that cause their origins may go back to chants is relatively untapped in American con- of the Jewish synagogue even before the gregational singing but is a wellspring of time of Christ, they provide a musical delightful tunes that expresses the char- bridge with the saints of ancient times. acter of each Psalm in a fresh manner. I am The third style of Psalm singing is grateful to Douglas Wilson for providing through-composed. A through-composed English texts for ten of these Psalms and Psalm is one in which the composer writes hope to include many more in the next the music according to the demands of the
xii text. It has the advantage of being musi- Service Music. This section is a collection cally interesting as well as textually accu- of song whose texts come from the ancient rate, setting out the actual Psalm text church as well as the canticles (song-like rather than a metrical version. Because the passages) of the New Testament. In our music is flexible, texts such as “The hea- supposedly superior wisdom, many then raged tumultuously,” and “Be still, moderns have thrown out these most mar- and know that I am God;” are not sung to velous songs, often just because they are the same music, as in the Scottish Psalm sung in churches which have given up the 46. The through-composed Psalm is the love of the true gospel. However, these best for learning the Psalm text because ancient songs truly take us back to early the music aids in memorizing the words. Christian worship, both textually and The paradigm for this style is Thomas sometimes musically, to give us a taste of Tallis’s Psalm 95. It was composed to be what saints of all ages have brought before sung by a choir, but because of its hymn- the throne of the living God. Savor them like texture, it is accessible to congrega- and bring great glory to our God and Sav- tions with an adventurous spirit. To be ior Jesus Christ. sure, it takes more time to learn, but the effort is well worth it. Most of the Christ HYMNS Church congregation were able to sing it The largest section of the hymnal is com- from memory in less than two years after prised of the hymns themselves. Musically, it was introduced. Tallis designed this the hymns break down into the following piece so that the parallel structure of the chronology: Hebrew poetry of the Psalm is reflected in th parallel lines of music. The congregation 14 pre-16 century hymns, th is divided into two groups who alternate 31 hymns from the 16 century, th singing the parallel phrases. This style of 21 hymns from the 17 century, th singing (antiphonal) follows most closely 28 hymns from the 18 century, th the original intention of Psalm singing as 36 hymns from the 19 century, and th it was performed in the Temple. I am 8 hymns from the 20 century. grateful to two young American compos- ers who have set three other Psalms in this The tunes are taken primarily from Ger- style (Psalms 97, 127, and 133). Someday, man and English sources, followed in I hope that Cantus Christi will contain all number by American and French. German 150 Psalms in a through-composed sources are preponderant because the cho- version. rales of the German Reformation are un- surpassed in warmth, strength, beauty, and SERVICE MUSIC majesty. The Germans also had a wealth A somewhat unusual section of the hym- of beautiful pre-Reformation melodies to nal, at least for modern evangelicals, is the draw upon. The French sources include
xiii some hymns derived from Genevan death) Christ’s resurrection, Christ’s ascen- psalms, several seventeenth century sion, the outpouring of the Holy Spirit at Catholic tunes, and a carol. The British Pentecost, and All Saints Day. The Festi- sources include folk melodies from val section concludes with the American England, Ireland, and Wales, and hymn traditional festival of Thanksgiving. In and psalm tunes from the sixteenth to the singing seasonal hymns year after year, the twentieth century. The beauty of Tallis’ whole church begins to think and act ac- psalm tunes, the beloved English carols, cording to the liturgical season. All people the dignity of the Victorian hymns, and are unified into communities by a calen- the glorious sweep of Ralph Vaughan dar: the calendar of national holidays, the Williams’ hymns are all a part of the rich school calendar, the sports seasons. These English heritage. The American sources are not bad in themselves, but they don’t include some hauntingly beautiful folk point us to Christ, the substance. Let us hymns and three hymns from the 1990’s. be united as the people of Christ by the Of special delight to Americans is the sing- calendar of the church and the seasonal ing school repertoire from the late eigh- celebration of various aspects of our salva- teenth and early nineteenth centuries. It tion. Let the communion of the saints and has been well received by the Christ our united rejoicing in so great a salvation Church congregation, and the next edi- be the organizing and coloring factors of tion of Cantus Christi will include more our lives. of these fuguing-tunes. The next edition should also include many more sources, as well as a greater number of more recent DISTINCTIVE MUSICAL tunes. FEATURES The hymns are organized in five ma- The following features have been observed jor categories: Sacraments, Festivals, Ado- in editing the Psalms and hymns in this ration, Supplication, and Evening volume: Hymns. The Sacrament section includes 1. The pages are identified by page only one baptismal hymn, but more will numbers only. The hymns are not given be added. Hymns in the section of the numbers as in most hymnals. Lord’s Supper are hymns that specifically 2. Generally, all the stanzas of the refer to the Supper. Other hymns which hymn text are found in the music thus also work well for singing at communion making it easier for those who like to sing are scattered throughout the other sec- parts. No more than six verses are ever tions. The Festival section follows the tra- found between the treble and bass staves. ditional church calendar of Christ’s incar- When there are five stanzas, verse three is nation (Advent, Christmas, and italicized as a visual aid. When there are Epiphany), Christ’s passion (triumphal six stanzas, both verses three and four are entry into Jerusalem, his suffering, and italicized.
xiv 3. There are no time signatures in any 10. In the through-composed Psalms of the Psalms or hymns except in one (95, 97, 127, and 133), the rubrics dec., hymn where the meter changes for the re- can., and full appear at various places in frain. Otherwise, the meter is obvious or the music. These are traditional Anglican so varied that time signatures only cause designations indicating who should be confusion. singing. Dec. stands for decani, which is 4. Generally, barlines are used in the south side or the side where the dean metered hymns when the metrical units sits. Can. stands for cantoris, which is the remain constant throughout. Otherwise, north side or the side where the Precentor they mark textual metrical units or are (cantor) sits. Both sides join together at omitted altogether. the designation full. 5. In music without barlines, such as the Genevan psalms, rests in all parts can- The texts of Anglican chants are cel accidentals from the previous phrase. written below the music. The first line of In music with textual barlines, the barlines text corresponds to the music up to the likewise cancel accidentals. Cautionary first light double bar. Each successive line accidentals are sometimes given for clar- corresponds to the next section between ity. the light double bars or a light double bar 6. Except for a few cases, sopranos and and the final double bar. Then the music altos share stems and beams when their repeats back to the beginning, except when note durations are the same. Otherwise, there is an indication of singing the 2nd half. sopranos are stemmed up and altos are In that case the singers do not return to stemmed down. The same holds true for the beginning of the music but sing it from the tenors and the basses. the halfway point to the end. Slashes, dots 7. Most of the music with no barlines and bold type are the key to fitting the should be sung with a half-note tactus words to the music between double bars. (beat) rather than with the quarter-note Slashes correspond to the bar lines in tactus. This is especially true of the the music. Therefore, all the words or Genevan Psalms. syllables before the first slash are sung to 8. When one syllable is placed on sev- the whole note (or reciting tone) in the eral notes, a slur is used to indicate which first bar of each section. Sometimes there notes go with a particular syllable. If the may be an extra passing tone in the notes are eighth notes, the slur is omitted measure with the reciting tone. When this and the beam indicates the notes that be- occurs, the extra note is sung with the last long to the syllable. This is particularly syllable before the slash. important to observe when singing hymns The measures with half note that are derived from Gregorian chants. movement work this way: 9. Chant should be sung with natural 1. When there are two syllables speech rhythms, never metrically.
xv between the vertical lines in the text, each developed and grew. Thanks to the elders syllable is sung to one note. for their approval of this project. To the 2. If there are more than two syllables congregation of Christ Church, thank you between the slashes, the note changes will for learning these Psalms and hymns, even be determined by the dots and bold type when they seemed too difficult at first. (called pointing). Thanks to the staff at Canon Press, espe- a. If there are only two words and cially Doug Jones and Lucy Jones, who no other pointing, the first word corre- have helped me step by step along the way. sponds to the first note and the second To my w i fe K i m , wh o sp e nt m o re t i m e word to the second note. perhaps than I did on this project, my lov- b. A dot is placed between syl- ing thanks. God gave us our wives for lables or words where there might be helpmeets, and He provided me with the confusion. The dot is the dividing point. most marvelous of all. Her untiring efforts Everything to the left of the point is sung at editing, and her suggestions, ideas and on the first note, everything to the right of support have been the reason that this the point is sung on the second note. project has made it to this point. As God 3. If there is only one word or syllable made husband and wife to be one flesh, so between slashes it will be marked in bold this project is truly a product of one flesh. type. It is sung on both notes. The greatest thanks and praise belong to our Triune God—Father, Son, and Holy Although the music is marked in Spirit. The Son Himself taught us how to measures, there is no fixed rhythm. This give thanks in the Eucharistic breaking of is still chant, not metered music. As in bread and in drinking the cup of salvation. most chant, the cadence of the text dictates His sole sacrifice gives His people the bond the rhythm and tempo of the chant. The of koinonia and binds the church in one. music does not suddenly become metrical Soli Deo gloria! at the end of each section. Louis Schuler Potlatch, Idaho ACKNOWLEDGMENTS The project of Cantus Christi began at the suggestion of Douglas Wilson. I met with Douglas Jones III and Douglas Wilson to set the guidelines for the publication of this hymnal. My great thanks goes to these men, who have been an encouragement to the efforts of putting Cantus Christi together. They have been more than understanding and patient as this project
xvi List of Abbreviations
alt...... altered anon...... anonymous arr...... arranged by attr...... attributed to c...... circa C.M...... common meter C.M.D...... common meter doubled C.M. Rep...... common meter with repetition Can...... cantoris D...... doubled D.Rep...... doubled with repetition Dec...... decani harm...... harmonized by irreg...... irregular L.M...... long meter L.M.D...... long meter doubled pub...... published in rev...... revised st...... stanza sts...... stanzas tr...... translation
xvii Copyright Holders
Individuals and Publishers who have given us permission to Jordan, James B.: print their copyrighted material have been noted on pages Biblical Horizons PO Box 1096 Niceville FL 32588 443–445. If you wish to reproduce any of the copyrighted www.biblicalhorizons.com words or music in this book, you must contact them for permission at the addresses below: Oxford University Press: 198 Madison Ave. New York, NY 10016-4314 Augsburg Fortress Publishers: (212)726-6000 www.oup.com PO Box 1209, Minneapolis, MN 55440-1209 (612)330-3300 ww.augsburgfortress.org/copyrights Reagan, Mark: Please contact Canon Press: (208)892-8074 Baerenreiter Music Corp.: www.canonpress.org 224 King St. Englewood, NJ. 07631 (201)569-2898 Stainer & Bell Ltd.: Church Pension Fund: 23 Gruneisen Road, London, England N3 1DZ 445 Fifth Ave. New York, NY 10016 44 020 8343 3303 www.stainer.co.uk (212)592-1800 x249 www.churchpublishing.org Standing Committe for the Publication of the Book of Concordia Publishing House: Praise::: 3558 South Jefferson Ave. St. Louis MO 63118-3968 c/o C.Bosch secr. 505 Enfield Rd. Burlington, ON, L7T 2X5 (314)268-1000 www.cph.org The copyright to the Book of Praise material resides with the Standing Comm. for the Publ. of the Book of Praise of the Crown and Covenant Publications: Canadian Reformed Churches. No part of the material may be 7408 Penn Ave. Pittsburgh PA 15208-2531 reproduced, stored in an electronic retrieval system, or trans- (412)241-0436 www.psalms4u.com mitted in any form or by any means electronic, mechanical, photocopying, recording or otherwise, without prior written CRC Publications: permission of the Standing Committee for the Publication of 2850 Kalamzaoo Avenue SE, Grand Rapids MI 49560 the Book of Praise. (616)224-0728 www.crcpublications.org Wilbur,,, Greg: Dusenbury,,, Timothy::: Please contact Canon Press: (208)892-8074 Please contact Canon Press: (208)892-8074 www.canonpress.org www.canonpress.org Willan, Healey (Estate): Gesangbuchverlag Stuttgart GmbH: Please contact Canon Press: (208)892-8074 Augustenstr. 124 70197 Stuttgart Germany www.canonpress.org (0711)2 36 43 34 Wilson, Doug: Good Books: PO Box 419, Intercourse, PA 17534-0419 Christ Church, Anselm House 205 E. Fifth St. PO Box 8741 Moscow, ID 83843 Helder,,, William: (208) 882-2034 www.christkirk.com Please contact Canon Press: (208)892-8074 www.canonpress.org
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xviii Indexes Copyright Permissions
The following copyrights/permissions are acknowledged by 54 Text: Standing Committee for the Publication of the Book page number. Additional copyright and contact information is of Praise of the Canadian Reformed Churches. Used by per- listed at the end of this section. mission. 2 Text: Douglas Wilson, 2000. Used by permission. 56 Text: William Helder, 1980. Used by permission. 4 Text: Douglas Wilson, 2000. Used by permission. 58 Text: Standing Committee for the Publication of the Book 6 Text: Douglas Wilson, 2000. Used by permission. of Praise of the Canadian Reformed Churches. Used by per- 8 Text: Standing Committee for the Publication of the Book mission. of Praise of the Canadian Reformed Churches. Used by per- 60 Text: Taken from the Book of Psalms for Singing Copy- mission. right 1973 Crown & Covenant Publications. Used by permis- 10 Text: Douglas Wilson, 2000. Used by permission. sion. 13 Text: Douglas Wilson, 2000. Used by permission. 68 Text: William Helder, 1980. Used by permission. 14 Music: Timothy Dusenbury, 1999. Used by permission. 70 Text: Standing Committee for the Publication of the Book Text: Douglas Wilson, 2000. Used by permission. of Praise of the Canadian Reformed Churches. Used by per- 15 Text: Standing Committee for the Publication of the Book mission. of Praise of the Canadian Reformed Churches. Used by per- 74 Setting: Taken from the Book of Psalms for Singing Copy- mission. right 1973 Crown & Covenant Publications. Used by permis- 16 Text: Standing Committee for the Publication of the Book sion. of Praise of the Canadian Reformed Churches. Used by per- 76 Text: Copyright 1987. CRC Publications. All rights re- mission. served. Used by permission. 17 Text: Douglas Wilson, 2001. Used by permission. 80 Text: Douglas Wilson, 2001. Used by permission. 18 Text: Taken from the Book of Psalms for Singing Copy- 82 Text: Standing Committee for the Publication of the Book right 1973 Crown & Covenant Publications. Used by permis- of Praise of the Canadian Reformed Churches. Used by per- sion. mission. 20 Text: William Helder, 1980. Used by permission. 87 Setting: Taken f rom the Book of Psalms for Singing Copy- 22 Text: Douglas Wilson, 2001. Used by permission. right 1973 Crown & Covenant Publications. Used by permis- 25 Text: James B. Jordan, 2000. Used by permission. sion. 26 Text: William Helder, 2002. Used by permission. 88 Text: Ta ke n from th e Book of Psalms for Singing Copy- 28 Text: Douglas Wilson, 2001. Used by permission. right 1973 Crown & Covenant Publications. Used by permis- 30 Text: Douglas Wilson, 2001. Used by permission. sion. 31 Text: Taken from the Book of Psalms for Singing Copy- 89 Text: Standing Committee for the Publication of the Book right 1973 Crown & Covenant Publications. Used by permis- of Praise of the Canadian Reformed Churches. Used by per- sion. Music: Kingsfold, English Folk Melody; adapt. R. mission. Vaughan Williams (1872-1958). Used by permission. 90 Text: Standing Committee for the Publication of the Book 36 Text: William Helder, 1980. Used by permission. of Praise of the Canadian Reformed Churches. Used by per- 39 Text: Douglas Wilson, 2001. Used by permission. mission. 41 Text: Standing Committee for the Publication of the Book 92 Text: Copyright 1987. CRC Publications. All rights re- of Praise of the Canadian Reformed Churches. Used by per- served. Used by permission. mission. 93 Text: Copyright 1987. CRC Publications. All rights re- 42 Text: Copyright 1987, CRC Publications. All rights re- served. Used by permission. served. Used by permission. 94 Text: William Helder, 1980. Used by permission. 46 Text: Standing Committee for the Publication of the Book 98 Text: William Helder, 1980. Used by permission. of Praise of the Canadian Reformed Churches. Used by per- 104 Text: Standing Committee for the Publication of the Book mission. of Praise of the Canadian Reformed Churches. Used by per- 48 Text: William Helder, 1980. Used by permission. mission. 50 Text: Douglas Wilson, 2000. Used by permission. 110 Text: Standing Committee for the Publication of the Book 51 Text: Standing Committee for the Publication of the Book of Praise of the Canadian Reformed Churches. Used by per- of Praise of the Canadian Reformed Churches. Used by per- mission. mission. 113 Text: Standing Committee for the Publication of the Book 52 Text: James B. Jordan, 2000. Used by permission. of Praise of the Canadian Reformed Churches. Used by per- 53 Text: Standing Committee for the Publication of the Book mission. of Praise of the Canadian Reformed Churches. Used by per- 114 Text: William Helder, 1972. Used by permission. mission.
443 COPYRIGHT PERMISSIONS
115 Text: Taken from the Book of Psalms for Singing Copy- 169 Text: Standing Committee for the Publication of the Book right 1987 Crown & Covenant Publications. Used by permis- of Praise of the Canadian Reformed Churches. Used by per- sion. mission. 116 Text: Standing Committee for the Publication of the Book 173 Text: William Helder , 1980. Used by permission. of Praise of the Canadian Reformed Churches. Used by per- 178 Text: Standing Committee for the Publication of the Book mission. of Praise of the Canadian Reformed Churches. Used by per- 118 Text: Standing Committee for the Publication of the Book mission. of Praise of the Canadian Reformed Churches. Used by per- 180 Text: William Helder , 2000. Used by permission. mission. 182 Text: Copyright 1987. CRC Publications. All rights re- 121Text: Taken from the Book of Psalms for Singing Copy- served. Used by permission. right 1987 Crown & Covenant Publications. Used by permis- 183 Text: Standing Committee for the Publication of the Book sion. of Praise of the Canadian Reformed Churches. Used by per- 122 James B. Jordan, 1990. Used by permission. mission. 124 Text: Taken from the Book of Psalms for Singing Copy- 186 Text: Standing Committee for the Publication of the Book right 1987 Crown & Covenant Publications. Used by permis- of Praise of the Canadian Reformed Churches. Used by per- sion. mission. 130 Music: Greg D. Wilbur, 2001. Used by permission. Text: 188 Text: Standing Committee for the Publication of the Book James B. Jordan, 1997. Used by permission. of Praise of the Canadian Reformed Churches. Used by per- 134 Text: Taken from the Book of Psalms for Singing Copy- mission. right 1987 Crown & Covenant Publications. Used by permis- 189 Text: Taken from the Book of Psalms for Singing Copy- sion. right 1987 Crown & Covenant Publications. Used by permis- 136 Text: Standing Committee for the Publication of the Book sion. of Praise of the Canadian Reformed Churches. Used by per- 190 Text: Standing Committee for the Publication of the Book mission. of Praise of the Canadian Reformed Churches. Used by per- 138 Text: Standing Committee for the Publication of the Book mission. of Praise of the Canadian Reformed Churches. Used by per- 192 Text: Taken from the Book of Psalms for Singing Copy- mission. right 1987 Crown & Covenant Publications. Used by permis- 140 Text: William Helder, 1980. Used by permission. sion. 141 Text: James B. Jordan, 1997. Used by permission. 194 Text: Standing Committee for the Publication of the Book 146 Text: Standing Committee for the Publication of the Book of Praise of the Canadian Reformed Churches. Used by per- of Praise of the Canadian Reformed Churches. Used by per- mission. mission. 196 Text: Copyright 1987. CRC Publications. All rights re- 151 Text: Standing Committee for the Publication of the Book served. Used by permission. of Praise of the Canadian Reformed Churches. Used by per- 206 Textxt: Greek, from Didache, c.110; tr. F. Bland Tucker mission. (1895-1984), Copyright Church Pension Fund, used by per- 152 Text: Copyright 1987. CRC Publications. All rights re- mission. served. Used by permission. 212 Text: John Athelstan Riley (1858-1945), alt. Copyright 154 Text: Standing Committee for the Publication of the Book Oxford University Press. Used by permission. All rights re- of Praise of the Canadian Reformed Churches. Used by per- served. mission. 213 Text: John Athelstan Riley (1858-1945), alt. Copyright 158 Text: Taken from the Book of Psalms for Singing Copy- Oxford University Press. Used by permission. All rights re- right 1987 Crown & Covenant Publications. Used by permis- served. sion. 216 Setting: Healey Willan, 1918. Used by permission of the 161 Text: Standing Committee for the Publication of the Book Estate of Healey Willan. of Praise of the Canadian Reformed Churches. Used by per- 217 Arrangement: Copyright 1978 Lutheran Book of Wor- mission. ship, admin. Augsburg Fortress. Used by permission. 162 Text: Standing Committee for the Publication of the Book 220 Setting: Lutheran Book of Worship Nbr. 76. Copyright of Praise of the Canadian Reformed Churches. Used by per- Gesangbuchverlag Stuttgard GmbH. Used by permission. mission. 224 Setting: Lutheran Book of Worship Nbr. 32. Copyright 163 Music: Mark Reagan, 2001. Used by permission. Gesangbuchverlag Stuttgard GmbH. Used by permission. 166 Text: Taken from the Book of Psalms for Singing Copy- 228 Setting: Publisher: Baerenreiter-Verlag; reprinted by per- right 1987 Crown & Covenant Publications. Used by permis- mission. sion. 241 Music: Picardy; adapt. R. Vaughan Williams (1872-1958) 168 Text: Copyright 1987. CRC Publications. All rights re- Copyright Oxford University Press. Used by permission. All served. Used by permission. rights reserved. 254 Text: Douglas Wilson, 1990. Used by permission.
444 COPYRIGHT PERMISSIONS
272 Text: Copyright 1958 Service Book and Hymnal. Re- 425 Text: William Helder, 1979. Used by permission. printed by permission of Augsburg Fortress. 428 Arrangement: Copyright 1978 Lutheran Book of Wor- 276 Music: acc. C. Wilfred Douglas (1867-1944), Copyright ship, admin. Augsburg Fortress. Used by permission. Church Pension Fund, used by permission. 278 Music: Down Ampney; R. Vaughn Williams (1872- 1958) Copyright Oxford University Press. Used by permis- sion. All rights reserved. 280 Music: Sine nomine; R. Vaughn Williams (1872-1958) Copyright Oxford University Press. Used by permission. All rights reserved. 282 Music: Greg Wilbur, 1994. Used by permission. 288 Music: Lasst uns erfreuen; adapt. R. Vaughan Williams (1872-1958) Copyright Oxford University Press. Used by permission. All rights reserved. 290 Setting: Translation Copyright 1941. Concordia Publish- ing House. Used with permission. 294 Music: King’s Weston, R. Vaughan Williams (1872- 1958) Copyright Oxford University Press. Used by permis- sion. All rights reserved. 301 Music: Christe Sanctorum; R. Vaughan Williams (1872- 1958) Copyright Oxford University Press. Used by permis- sion. All rights reserved. 317 Music: Deo gracias, English ballad melody, Trinity Col- lege MS; adapt. R. Vaughan Williams (1872-1958) Copyright Oxford University Press. Used by permission. All rights re- served. 320 Music: Deo gracias, English ballad melody, Trinity Col- lege MS; adapt. R. Vaughan Williams (1872-1958) Copyright Oxford University Press. Used by permission. All rights re- served. 340 Arrangement: from Twelve Folksongs and Spirituals by David N. Johnson, Copyright 1968 Augsburg Publishing House, admin. Augsburg Fortress. Used by permission. 342 Text: Eleanor H. Hull (1860-1935), alt Music: Slane; adapt. R. Vaughan Williams (1872-1958) Copyright Oxford University Press. Used by permission. All rights reserved. 344 Music: Timothy D. Dusenbury, 1999. Used by permis- sion. 349 Setting: Adapted from The Harmonia Sacra, Twenty- Fifth Edition. Copyright by Good Books. All rights reserved. Used by permission. 366 Music: John Ireland Trust. On His occasian permission granted free of charge. 369 Text: Gilbert Keith Chesterton (1874-1936) Music: King’s Lynn; adapt. R. Vaughan Williams (1872-1958) Copy- right Oxford University Press. Used by permission. All rights reserved. 378 Music: Ar hyd y nos, arr. R. Vaughan Williams (1872- 1958) Copyright Oxford University Press. Used by permis- sion. All rights reserved. 390 Text: Willam Helder, 1979. Used by permission. 396 Arrangement: Copyright 1978 Lutheran Book of Wor- ship, admin. Augsburg Fortress. Used by permission. 415 Arrangement: Copyright 1958 Service Book and Hym- Please see page xviii for copyright holder contact nal, admin. Augsburg Fortress. Used by permission. information.
445 Chronological Index of Hymn Tunes
Plainsong Hymnody 1543 The Law of God Is Good and Wise, p. 375 800 Come, Holy Ghost, Our Souls Inspire 1560 That Easter Day with Joy Was Bright, p. 271 plainsong, p. 276 1574 In God, My Faithful God, p. 355 1200?Jesus, Thou Joy of Loving Hearts 1577 Lord, Thee I Love with All My Heart, p. 362 Sarum plainsong, p. 211 1599 How Lovely Shines the Morning Star, p. 220 1250 O Come, O Come Emmanuel 1599 Wake, Awake, for Night Is Flying, p. 228 13th century plainsong, p. 227 1300?Of the Father's Love Begotten Calvin's Psalter 12th to 15th century tropes, p. 246 1542 O Food of Men Wayfaring, p. 213 1551 Comfort, Comfort Ye My People, p. 226 Late Middle Ages and Renaissance Melodies 1551 O Gladsome Light, p. 379 English 1551 Father, We Thank Thee Who Hast Planted, p. 206 1415 O Love, How Deep, How Broad, How High! English carol, p. 317 Bohemian Brethren 1415 O Wondrous Type! O Vision Fair! 1566 Sing Praise to God, Who Reigns Above, p. 324 English carol, p. 320 German Unofficial English Psalters and Hymnbooks, 1560-1637 1100 We Now Implore the Holy Ghost 1567 Lord, Teach Us How to Pray Aright -Thomas Tallis German Leise, p. 279 Archbishop Parker's Psalter, p. 372 1250 That Man a Godly Life Might Live 1567 All Praise to Thee, My God, This Night-Tallis 13th century pilgrim hymn, p. 387 Archbishop Parker's Psalter, p. 377 1350? Good Christian Men, Rejoice 1567 Behold the Bridegroom Cometh,-Tallis 14th century melody, p. 238 Archbishop Parker's Psalter, p. 218 1400 O Lord, We Praise Thee, p. 318 1623 And Now, O Father, Mindful of the Love, p. 202 1450 Arise and Shine in Splendor 15th century, p. 252 Catholic tunes 1450 Now Rest Beneath Night's Shadow French 15th century, p. 380 1650?Let All Mortal Flesh Keep Silence 1450 O Bread of Life from Heaven French traditional carol, p. 241 15th century, p. 212 1675?Only-Begotten, Word of God Eternal, p. 216 1450 Lo, How a Rose E'er Blooming 1681 Father Most Holy, p. 301 15th century, p. 242 1697 Thee We Adore, O Hidden Savior, p. 217 1544 O Day of Rest and Gladness 1750 Angels We Have Heard on High, p. 230 German medieval traditional melody adapted by English Walter, p. 314 1751 O Come, All Ye Faithful, p. 243
The Age of Luther, German chorales to 1599 German Hymnody, 1599-1850 1524 Savior of the Nations, Come, p. 225 1601 O Sacred Head, Now Wounded, p. 263 1524 To Jordan Came Our Lord, the Christ, p. 198 1614 All Glory Laud and Honor, p. 268 1524 From Depths of Woe I Raise to Thee, p. 346 1623 Now Let the Vault of Heaven Resound, p. 272 1524 From East to West, p. 231 1623 All Creatures of Our God and King, p. 288 1524 Jesus Christ, Our Blessed Savior, p. 208 1640 Ah, Holy Jesus, How Hast Thou Offended, p. 255 1524 Christ Jesus Lay in Death's Strong Bands, p. 269 1640 If Thou But Suffer God to Guide Thee, p. 354 1525 May God Bestow on Us His Grace, p. 364 1641 I Will Sing My Maker's Praises, p. 308 1525 A Lamb Goes Uncomplaining Forth, p. 256 1647 Now Thank We All Our God, p. 283 1529 A Mighty Fortress Is Our GodBSchütz, p. 336 1649 Soul, Adorn Thyself with Gladness, p. 214 1529 A Mighty Fortress Is Our GodBBach, p. 338 1653 Let Thy Blood in Mercy Poured, p. 261 1539 From Heaven Above to Earth I Come, p. 232 1653 Jesus, Priceless Treasure, p. 356 1539 All Glory Be to God on High, p. 291 1664 Blessed Jesus, at Thy Word, p. 343 1541 All Glory Be to God Alone, p. 290 1665 Praise to the Lord, the Almighty, p. 322 1675 Whate'er My God Ordains is Right, p. 334 1678 At the Lamb's High Feast We Sing, p. 204
446 CHRONOLOGICAL INDEX OF HYMN TUNES
1704 Lift Up Your Heads, p. 224 1867 God Moves in a Mysterious Way, p. 353 1798 The Spacious Firmament on High, p. 330 1868 O Little Town of Bethlehem, p. 244 1818 Silent Night, Holy Night, p. 245 1870 Love Divine, All Love Excelling, p. 313 1838 As with Gladness Men of Old, p. 251 1840 Hark! the Herald Angels Sing, p. 236 American Folk Hymns 1842 Fairest Lord Jesus, p. 300 1813 Once More, My Soul, p. 373 1850 Stricken, Smitten, and Afflicted, p. 265 1825 Ah Jesus Lord, Thy Love to Me, p. 340 1843 What Wondrous Love Is This, p. 335 English Hymnody After the Resoration to 1738 1705?Our God, Our Help in Ages Past, p. 374 1708 Christ the Lord Is Risen Today, p. 270 1764 Let Christian Faith and Hope Dispel, p. 360 The British 19th Century-Evangelical and Activist Scottish English Evangelicalism 1738-1802 1756 Behold! the Mountain of the Lord, p. 298 1763 Come, Ye That Love the Lord, p. 348 English 1769 Come, Thou Almighty King, p. 345 1775?O God of Bethel! by Whose Hand, p. 316 1770 Rejoice, the Lord Is King, p. 326 1780 The God of Abraham Praise, p. 328 1770?Great God of Wonders!, p. 302 1803 Behold the Glories of the Lamb, p. 296 1775?O Worship the King, p. 321 1815 Jesus, Thy Blood and Righteousness, p. 260 1792 Come, Ye Disconsolate, p. 210 1825 And Can It Be That I Should Gain, p. 286 1793 Jesus Shall Reign, p. 311 1836 How Sweet the Name of Jesus Sounds, p. 307 1797 Glorious Things of Thee Are Spoken, p. 304 1875 How Bright These Glorious Spirits Shine, p. 306 1802 The Day Is Past and Gone (English), p. 382
English Melodies Victorian Composers 1550 What Child Is This, p. 250 1836 Lead On, O King Eternal, p. 312 1750 God Rest Ye Merry, Gentlemen, p. 234 1851 Thou Hidden Source of Calm Repose, p. 376 1833 The First Noel, p. 248 1859 Come, Ye Thankful people, Come, p. 284 1861 Holy, Holy, Holy!, p. 305 Dutch Melodies 1864 The Church's One Foundation, p. 327 1626 We Gather Together, p. 285 1866 Jesus, the Very Thought of Thee, p. 359 1868 Crown Him with Many Crowns, p. 293 Irish Melodies 1750?I Bind unto Myself Today, p. 350 The Edwardians, 1890-1920 1750 Be Thou My Vision, p. 342 1897 See, the Conqueror Mounts in Triumph, p. 274 1750 St. Patrick's Breastplate, p. 350 1750?How Sweet and Awful Is the Place, p. 258 England-the 20th Century Renaissance 1906 For All the Saints RVW p. 280 Welsh Hymns 1906 Come Down, O Love Divine RVW p. 278 1784 God, That Madest Earth and Heaven, p. 378 1906 O God of Earth and Altar RVW p. 369 1800?Immortal, Invisible, God Only Wise, p. 310 1919 My Song Is Love Unknown Ireland p. 366 1840 Author of Life Divine, p. 205 1925 At the Name of Jesus RVW p.294 1855 Jesus! What a Friend for Sinners!, p. 259 1855 Come, Thou Long-Expected Jesus, p. 219 20th Century American 1879 Jesus, Lover of My Soul, p. 358 1990 Let All the Stars in the Skies Give Praise, p. 254 1890 O the Deep, Deep Love of Jesus, p. 264 1994 The Son of God Goes Forth to War, p. 282 1999 Christ Is Made the Sure Foundation, p. 344 American Hymnody, 1776-1900 1784 O Let My Name Engraven Stand, p. 370 1788 ‘Tis by Thy Strength the Mountains Stand, p. 332 1790 Through Every Age, Eternal God, p. 266 1793 All Hail the power of Jesus' Name!, p. 292 1824 When I Survey the Wondrous Cross, p. 267 1828 O for a Thousand Tongues to Sing, p. 315 1836 Joy to the World! the Lord Is Come, p. 240 1850 It Came Upon the Midnight Clear, p. 239
447 Index of Authors, Composers, and Sources
A Selection of Hymns 292 Cox, Frances Elizabeth 324 Addison, Joseph 330 Croft, William 175, 374 Ahle, Johann R. 343 Crossman, Samuel 366 Alexander, Cecil Frances Humphreys 349 Crüger, Johann 76, 214, 226, 255, 261, 283, 356 Alexander, James Waddell 263 Cummings, William Hayman 236 Alford, Henry 284 Cutler, Henry S. 150 Allein Gott in der Höh’ sei Ehr 396 Ambrose, St. 225 Dachstein, Wolfgang 256 American folk hymn 335, 340 Daniel ben Judah 328 Anon. (Author Unknown) 162, 188, 208, 279, 285, 290, Darwall, John 121, 326 316, 317, 318, 343, 345 Davies, Samuel 302 Antiphoner (Poitiers, 1746) 216 Dearmer, Percy A. 301 Aquinas, Thomas 217 Decius, Nicolaus 262, 291, 396 Arnold, J.H. 438 Decker, Joachim 208, 346 Deutsche Kirchenamt, Strasbourg (1525) 364 Bach, J. S. 204, 212, 252, 262, 263, 268, 334, 338, 356, 362 Deutsche Lieder (1574) 355 Baker, Henry W. 35, 246 Deutsche Messe (1827) 407 Baker, Theodore 242, 285 Didache (c. 110) 206 Barnby, Joseph 40 Dix, Leopold L. 74 Barnes, Edward Shippen 230 Dix, William Chatterton 250, 251 Barton's Psalms (1706) 144 Doddridge, Philip 316 Bernard of Clairvaux 211, 263, 359 Draper, William H. 288 Bianco da Siena 278 Dusenbury, Timothy D. 14, 344 Blacker, Maxwell J. 216 Dykes, John B 120, 305, 359 Bohemian Brethren's Kirchengesänge (1566) 324 Bourgeois, Louis 139, 437 Easy Hymn Tunes (1851) 376 Bridges, Matthew 293 Eber, Paul 260 Bridges, Robert 255, 379 Edwards, John David 205 Bright, William 202 Ein shöner Geistlicher und Christlicher newer Broadwood, Lucy 31 Berckreyen (1552) 314 Brondsema, Samuel G. 42 Ellerton, John 231 Brooks, Phillips 244 Elvey, George J. 284, 293 Brownlie, John 261 English melody 234, 250, 317, 320, 369 Bruce, Michael 298 English carol, Traditional 234, 248, 250 Byrne, Mary 342 Ernewerten Gesangbuch, Stralsund (1665) 322 Evans, David 342 Camidge, Matthew 32 Campbell, Robert 204 Farrant, Richard 3 Campbell, Thomas 286 Feilée, François de La 301 Caniadau y Cyssegr 310 Francis of Assisi 288 Cantus Diversi 243 Francis, Samuel Trevor 264 Caswall, Edward 359 Franck, Johann 214, 356 Chapman, J. Wilbur 259 French carol 230 Chesterton, Gilbert Keith 369 French traditional carol 241 Christ ist erstanden 269 Freylinghausen, J.A. 415 Christmas Carols, Ancient and Modern (1833) 248 Freylinghausen's Gesangbuch (1704) 224 Clausnitzer, Tobias 343 Fryxell, Regina H. 396, 414, 428, 440 Collection of Motetts or Antiphons (London) 210 Concentus Novi, Augsburg (1540) 142 Gardiner, William, Sacred Melodies (1815) 260, 321 Corfe, Joseph 9 Gastorius, Severus 334 Cosin, John 276 Geistliche Lieder, Leipzig (1539) 232 Coverdale, Miles 3, 9, 32, 40, 86, 108, 126 Geistliche Kirchengesänge, Köln (1623) 272, 288 Cowper, William 353 Geistliche Volkslieder, Paderborn (1850) 265
448 INDEX OF AUTHORS, COMPOSERS, AND SOURCES
Genevan Psalter (1542) 8, 10, 13, 15, 16, 26, 41, 68, 90, Hymns and Sacred Songs (1707) 258 151, 213 Ireland, John 366 Genevan Psalter (1543) 58, 94, 98, 136, 154, 180 Irish (ancient) 342 Genevan Psalter (1544) 36, 79, 82 Irish (ancient) hymn melody 349, 352 Genevan Psalter (1549) 186, 390 Irish (old) hymn melody 35, 258 Genevan Psalter (1551) 18, 20, 42, 46, 48, 51, 53, 54, 62, Irish traditional melody 74, 342 70, 76, 104, 114, 139, 140, 146, 149, 161, 162, 169, 172, Irvine, Jessie Seymour 38 183, 188, 206, 226, 379, 425, 437 Isaac, Heinrich 380 Genevan Psalter (1562) 89, 110, 113, 116, 118, 138, 152, 173, 190, 194, 196 Jarman, Thomas 134, 296 Gerhardt, Paul 256, 308, 340, 380 Jesu dulcis memoria 211 German melody 212, 238, 242, 252, 269, 318 Jewish melody 328 German Medieval traditional melody 314 Johnson, David N. 340 German Leise 279 Jordan, James B. 25, 52, 122, 130, 141 Gesius, Bartholomäus 387 Geystliche gesangk Bücklein (1524) 231, 346, 404 Kelly, Thomas 265 Giardini, Felice de 345 Kelway, Joseph 109 Gibbons, Orlando 202 Ken, Thomas 377, 437 Gieschen, Gerhard 252 Kethe, William 139 Gilbert, Davies, Some Ancient Christmas Carols (1823) Kimball, Jacob 370 248 Kirchengesangbuch (Strasbourg, 1541) 290 Gilbert, Harold W. 415 Klug, Joseph, Geistliche Lieder (Wittenberg, 1543) Gillet, Alexander 353 368, 375 Gläser, Carl Gotthelf 315 Kocher, Conrad 251 Goss, John 86 Kremser, Edward 285 Goudimel, Claude 4, 8, 10, 13, 15, 16, 18, 20, 26, 36, 41, Kugelmann, Johann 142 42, 46, 48, 51, 53, 54, 56, 58, 62, 66, 68, 70, 79, 82, 89, Kuipers, William 79, 118, 152 90, 94, 98, 100, 104, 110, 113, 114, 116, 118, 136, 138, 140, 146, 149, 151, 152, 154, 161, 168, 169, 172, 173, Lamberts, Lambertus J. 172 178, 180, 183, 186, 188, 190, 194, 196, 206, 213, 379, Latin 213, 216, 390, 425 Latin antiphon 227 Gramann, Johann 142 Latin carol 238 Grant, Robert 321 Latin Credo (1300) 404 Greek hymn 206, 261, 379 Latin hymn 204, 212, 213, 216, 243, 269, 271, 276, 301, Gregorian Psalm Tones 25, 52, 75, 141 317, 344 Gruber, Franz 245 Lawes, Henry 9 Leipzig 355 Harmonia Sacra (1867) 353 Leland, John 382 Hassler, Hans Leo 263 Littledale, Richard F. 278 Hastings, Thomas 210 Litany in the Phrygian Mode 414 Hatton, John 311 Liturgy of St. James 241 Haydn, Franz Joseph 34, 124, 304, 330 Logan, John 298, 316 Haydn, Johann Michael 316, 321 Lowry, Robert 166 Heber, Reginald 282, 305, 378 Loy, Matthias 375 Hedge, Frederick H. 336, 338 Luther, Martin 198, 225, 232, 269, 279, 318, 336, 338, Heermann, Johann 255 346, 364, 368, 387, 404, 408 Helder, William 20, 26, 36, 48, 56, 58, 68, 94, 98, 114, 116, Lyon, Meyer 328 118, 138, 140, 151, 154, 173, 180, 190, 390, 425 Lyra Davidica (London, 1708) 270 Helmore, Thomas 227 Herman, Nikolaus 271 Mason, Lowell 240, 267, 315 Hintze, Jakob 204 Massie, Richard 198, 269, 364, 387 Holden, Oliver 292 Mattes, John C. 242 Horologion 218 Meineke, Charles 436 How, William Walsham 280 Mendelssohn, Felix 236 Hull, Eleanor 342 Mêthode du plain-chant (1782) 301 Huss, John 208 Miller, Edward 189 Hymns Ancient and Modern (1861) 344
449 INDEX OF AUTHORS, COMPOSERS, AND SOURCES
Mohr, Joseph 245 Reinagle, Alexander Robert 307 Monk, William H. 251 Repository of Sacred Music, II (1813) 88 Montgomery, James 372 Reynolds, William M. 225 Moore, Thomas 210 Rhabanus Maurus 276 Moore's Psalm-Singer's Pocket Companion 298 Riley, Athelstan, 212, 213 Morgan, Justin 266 Rinkart, Martin 283 Moultrie, Gerard 218, 241 Rippon, J. 292 Münster Gesangbuch (1677) 300 Roberts, John 310 Mure, Sir William 38 Rodigast, Samuel 334 Musae Sionae (1609) 242 Rous, Francis 38 Musikalisches Hand-Buch, Hamburg (1690) 105 Russell, Arthur Tozer 262
Neale, John Mason 227, 238, 246, 268, 271, 320, 344 Sandy, William 248 Neander, Joachim 115, 322 Sarum Breviary (1495) 320 Nederlandtsch Gedenckclanck (1626) 285 Sarum Plainsong 211 Neumark, Georg 354 Schaff, Philip 212 New Harmony of Zion (1764) 360 Schalling, Martin 362 Newton, John 302, 304, 307 Schlesische Volkslieder, Leipzig (1842) 300 Nicolai, Philipp 220, 228 Schmid, Bernhard 362 Noel, Caroline M. 294 Schop, Johann 308 Schubert, Franz 407 Oakeley, Frederick 243 Schütz, Heinrich 2, 6, 17, 22, 28, 30, 39, 50, 80, 142, 336 Olearius, Johannes 226 Schütz, Johann J. 324 Olivers, Thomas 328 Scottish Psalter (1615) 78, 84, 159, 162, 175 Opitz, Martin 252 Scottish Psalter (1650) 12, 38, 105, 144, 167, 193 Orgelbuch, Strasbourg (1577) 362 Scottish Psalter (1929) 306, 360 Osiander, Lucas 198, 231, 279, 318 Sears, Edmund H. 239 Sedulius, Coelius 231 Palmer, Horatio R. 192 Seiss, Joseph Augustus 300 Palmer, Ray 211 Shurtleff, Ernest Warburton 312 Parish Choir (1851) 193 Silesian melody 300 Parry, C. Hubert 274 Smart, Henry 312 Parry, Joseph 358 Smith, Walter Chalmers 310 Patrick 350 Soest 428 Perronet, Edward 292 Southern folk tune 340 Pfalz 428 Southern Harmony Pilgrim hymn 387 Spaeth, Harriet R. 242 Plainsong 227, 276, 396, 428, 440 Stanford, Charles Villiers 349 Polack, W. Gustav 290 Stone, Robert 412 Poole, Clement W. 87, 306 Stone, Samuel John 327 Praetorius, Hieronymus 291 Strasbourg (1539) 4, 56, 66, 100, 168, 178 Praetorius, Michael 238, 242 Strodach, Paul Zeller 272 Praxis Pietatis Melica 261, 283, 356 Surrexit Christus Hodie 270 Pritchard, T. C. L. 38 Swan, Timothy 332 Pritchard, Rowland Hugh 219, 259 Swedish Mässbok (1942) 414, 440 Processionale, Paris (1697) 217 Prudentius, Aurelius Clemens 246 Tallis, Thomas 92, 93, 126, 218, 372, 377, 386, 392, 393, Psalter (1912) 92, 93 398, 406, 410, 413, 416, 420, 426, 430 Psalter Hymnal (1987) 92, 93 Ta n s 'ur, William 160 Purcell, Henry 122 Tate & Brady, A New Version of the Psalms of David (1735) 160 Ravenscroft's Psalter (1621) 12 Tate & Brady, Supplement to the New Version (1708) Read, Daniel 158 374 Reagan, Mark 163, 170 Teschner, Melchior 268 Redner, Lewis H. 244 The Becker Psalter (1661) 336 Regnart, Jacob 355
450 INDEX OF AUTHORS, COMPOSERS, AND SOURCES
The Book of Psalms for Singing 31, 34, 60, 74, 87, 88, Wilson, Hugh 167 115, 120, 121, 124, 134, 150, 158, 166, 182, 189, 192 Winkworth, Catherine 142, 214, 224, 226, 228, 232, 283, The Dorian Service (1550) 126, 393, 398, 406, 410, 413, 291, 322, 334, 343, 354, 355, 356, 362, 368 416, 420, 426, 430 Woodbury, Isaac B. 34, 182, 330 The Sacred Harp (1859) 373 Woodford, James Russell 217 Theodulph of Orleans 268 Wordsworth, Christopher 274, 314 The Southern Harmony (1843) 335 Wyeth, John 88, 373 Thring, Godfrey 293 Yattendon Hymnal (1899) 255 Te ut s ch K irchen a mpt, Strasbourg (1525) 256 Yigdal-A Christian paraphrase 328 Traditional English carol 234, 248, 250 Young, John Freeman 245 Traditional English melody 369 Traditional, very ancient 411 Zinzendorf, Nicolaus Ludwig von 260 Traditional Welsh melody 378 Zundel, John 313 Tucker, F. Bland 206 Turle, James 122
Valerius, Adrianus 285 van der Kamp, W. 15, 16, 41, 46, 51, 53, 54, 58, 62, 66, 70, 82, 89, 90, 113, 146, 169, 178, 183, 186, 194 van der Boom, D. 138 VanDooren, G. 18 VanOene, W. W. J. 8, 100, 110, 116, 149 Vaughan Williams, Ralph 31, 241, 272, 278, 280, 288, .. 294, 301, 369, 378 Veni, Creator Spiritus 276 Victimae Paschali laudes (1100) 269
Wade, John Francis 243 Wainright, John 60 Walker, William 335 Walter, Johann 225, 231, 314, 346, 404 Watts, Isaac 240, 258, 266, 267, 296, 311, 332, 348, 370, 373, 374 Webb, Benjamin 317 Webbe, Sr., Samuel 210 Weingärtner, Sigismund 355 Weisel, Georg 224 Welsh melody, Traditional 378 Wesley, Charles 205, 219, 236, 270, 286, 313, 315, 326, 358, 376 Wesley, John 260, 340 Wesley, Samuel 108 Wesley, Samuel Sebastian 327 West, Elisha 382 Westra, Dewey 76, 104, 136, 151, 161, 168, 190, 196 Whately, Richard 378 White, Ernest 211 Whitefield's Collection (1757) 345 Wilbur, Gregory D. 130, 282 Wilkin's Psalmody 84 Willan, Healy 216 Williams, Aaron 348 Williams, Thomas John 264 Willis, Richard S. 239 Wilson, Douglas 2, 4, 6, 10, 13, 14, 17, 22, 28, 30, 39, 50, 80, 254
451 Metrical Index of Tunes
S.M. OR SUS, SERVITEURS DU SEIGNEUR ...... 172 EVENING HYMN ...... 382 ROCKINGHAM ...... 189 ST. THOMAS ...... 348 RUSSIA ...... 158 SEIGNEUR, JE N’AY POINT LE COEUR FIER ...... 169 S.M.D... VENI, CREATOR SPIRITUS ...... 276 DIADEMATA ...... 293 VOM HIMMEL HOCH ...... 232 VOUS TOUS QUI LA TERRE HABITEZ ...... 140 C.M. WER NICHT SITZT IM GOTTLOSEN RAT ...... 2 AMANDA ...... 266 WER WIRD, HERR ...... 17 ANTIOCH ...... 240 WESLEY ...... 182 AZMON ...... 315 COLCHESTER ...... 160 L. M. with refrain COLESHILL ...... 144 SOVEREIGNTY ...... 302 CONSOLATION ...... 373 WONDERS ...... 302 CRIMOND ...... 38 DUNDEE ...... 159 L.M.DL.M.D. EFFINGHAM ...... 105 CREATION ...... 330 FRENCH ...... 159 EIGHTH MODE MELODY ...... 377 GLASGOW ...... 298 SAGINA ...... 286 MARTYRDOM ...... 167 ST. PATRICK ...... 349 MARTYRS ...... 78 SCHMÜCKE DICH ...... 214 MORNING SONG ...... 373 TALLIS’ CANON ...... 377 RAINBOW ...... 332 ST. AGNES ...... 359 5 5 8. 5 5 8 ST. ANDREW ...... 360 CRUSADER’S HYMN ...... 300 ST. ANNE ...... 374 SCHÖNSTER HERR JESU ...... 300 ST. COLUMBA ...... 35, 258 ST. PETER ...... 307 6 5. 6 5. D... SALISBURY ...... 12 KING’S WESTON ...... 294 SALZBURG ...... 316 STROUDWATER ...... 84 6 6 4. 6 6. 6 4 UNION ...... 353 ITALIAN HYMN ...... 345
C.M. rep. 6 6 5. 6 6 5. 7 8 6 DESERT ...... 134, 296 JESU, MEINE FREUDE ...... 356 LYNGHAM ...... 134, 296 6 6. 6 6. 4 4. 4 4 C.M.D... DARWALL...... 326 ALL SAINTS NEW ...... 150 LOVE UNKNOWN ...... 366 CAROL ...... 239 FIRST MODE MELODY ...... 372 6 6. 6 6. 4 4 4 4 rep. GREYOAKS ...... 282 ST. CATHERINE’S ...... 192 KINGSFOLD ...... 31 PETERSHAM ...... 87, 306 6 6. 6 6. 4 8 4 THIRD MODE MELODY ...... 92, 93 DARWALL’S 148TH ...... 121
L.M. 6 6. 6 6. D... AGINCOURT HYMN ...... 317, 320 FINGAL ...... 74 AMANDA ...... 266 CHRISTE REDEMPTOR ...... 211 6 6 6. 6 6 6. 6 6 7. 6 6 7 CHRISTUM WIR SOLLEN LOBEN SCHON ...... 231 LES CIEUX EN CHACUN LIEU ...... 26 DEIRDRE ...... 352 DEO GRACIAS ...... 317, 320 6 6. 6 6. 8 8 DUKE STREET ...... 311 CROFT’S 136TH ...... 75 ERHALT UNS, HERR ...... 368, 375 ST. JOHN ...... 193 GERMANY ...... 260 HAMBURG ...... 267 6 6. 6 6. 8 8. rep. INVITATION ...... 370 LOVELY ...... 205 J’AY DE MA VOIX À DIEU CRIÉ ...... 188 RHOSYMEDRE ...... 205 OLD HUNDREDTH ...... 139, 437
452 METRICAL INDEX OF TUNES
6 6 7. 6 6 7 7 7 7 7. 7 7 7 7. 7 7 NUNC DIMITTIS ...... 379, 425 MENDELSSOHN ...... 236
6 6. 7 7. 7 7 7 7. 7 7. 7 7 8 AUF MEINEN LIEBEN GOTT ...... 355 O LAMM GOTTES UNSCHULDIG ...... 262
6 6. 7 7. 7 8. 5 5 7 7. 7 7 8 . 7 7 8 IN DULCI JUBILO ...... 238 OR SOIT LOUÉ L’ETERNEL ...... 196
7 7. 7 7. 8 8. 8 8 6 6. 8 4. D... VOUS TOUS PRINCES ET SEIGNEURS ...... 53 LEONI ...... 328 7 8. 7 8. 7 6. 7 6. 7 6. 7 6 6 6 8. 7 7 8 NUN LOB, MEIN SEEL ...... 142 SEIGNEUR, GARDE MON DROIT ...... 46
6 6 11. 6 6 11 DOWN AMPNEY ...... 278 7 8. 7 8. 7 7 JESUS, MEINE ZUVERSICHT ...... 261 6 7. 6 7. 6 6. 6 6 NUN DANKET ALLE GOTT ...... 283 7 8 . 7 8. 8 8 LIEBSTER JESU ...... 343 7 6. 7 6. 6 7 6 ES IST EIN ROS ENTSPRUNGEN ...... 242 8s. 10 lines WIR GLAUBEN ALL AN EINEM GOTT ...... 404 7 6. 7 6. 7 6. 7 6 DU FONS DE MA PENSEE ...... 168 8 4 7. 8 4 7 ENTENS À CE QUE JE CRIE ...... 89 7 6. 7 6. D... LAS! EN TA FUREUR AIGUË ...... 68 AURELIA ...... 327 HERZLICH TUT MICH ERFREUEN ...... 314 8 4. 8 4. 8 8. 8 4 HERZLICH TUT MICH VERLANGEN ...... 263 AR HYD Y NOS ...... 378 KING’S LYNN ...... 369 LANCASHIRE ...... 312 8 6. 8 6. 7 6. 8 6 ST. THEODULPH ...... 268 ST. LOUIS ...... 244 VALET WILL ICH DIR GEBEN ...... 268 8 6. 8 6. 8 6 7 6. 7 6. 7 7 6 CONSOLATION ...... 88 HOCH FREUET SICH DER KÖNIG ...... 30 CORONATION ...... 292 MORNING SONG ...... 88 7 7 6. 7 7 6 INNSBRUCK, ICH MUSS DICH LASSEN ...... 380 8 6. 8 6. 8 6. 8 4 8 NE VEUILLES PAS, Ô SIRE ...... 8, 213 GOD REST YE MERRY ...... 234 O ESCA VIATORUM ...... 8, 213 8 7. 8 7. 4 4 4 4 7. 8 7. 6 6 7 7 6. 7 7 8 MEIN HERZ DICHTET EIN LIED MIT FLEIß ...... 80 O WELT, ICH MUSS DICH LASSEN ...... 212, 252 8 7. 8 7. 4 4 7. 4 4 7 7 7. 7 7 MEIN LICHT UND HEIL ...... 50 EASTER HYMN (with Alleluias) ...... 270 NUN KOMM, DER HEIDEN HEILAND ...... 225 8 7. 8 7. 4 4. 8 8 WAS GOTT TUT ...... 334 7 7. 7 7. Ref. GLORIA ...... 230 8 7 . 8 7 ST. COLUMBA ...... 35 7 7. 7 7. 7 7 CHANTEZ DE DIEU LE RENOM ...... 173 8 7. 8 7. 5 5 5. 6 7 DIX ...... 251 ICH LIEB DICH, HERR ...... 22 O SEIGNEUR, LOUÉ SERA ...... 113 8 7. 8 7. 6 6. 6 6 7 7 7. 7 7. D... EIN FESTE BURG ...... 336, 338 ABERYSTWYTH ...... 358 ALLE MENSCHEN MÜSSEN STERBEN ...... 204 8 7. 8 7. 6 8. 6 7 SALZBURG ...... 204 GREENSLEEVES ...... 250
453 METRICAL INDEX OF TUNES
8 7. 8 7. 7 7. 8 8 AINSI QU’ON OIT LE CERF BRUIRE ...... 76, 226 8 8 7. 8 8 7. 4 4 4 4. 8 FREU DICH SEHR ...... 76, 226 WIE SCHÖN LEUCHTET ...... 220 8 8 7. 8 8 7. 8 8 7. 8 8 7 8 7. 8 7. 7 8. 7 4 DU MALIN LE MESCHANT VOULOIR ...... 66 CHRIST LAG IN TODESBANDEN ...... 269 QUE DIEU SE MONSTRE SEULEMENT ...... 100
8 7. 8 7. 7 8. 7 8 8 8. 8 7. 4 A TOI, MON DIEU ...... 42 DIES SIND DIE HEILGEN ZEHN GEBOT ...... 387
8 7. 8 7. 8 7 8 8 8. 7 7 BONNIE ...... 344 DIE ERD UND WAS SICH AUF IHR REGT ...... 39 NEANDER ...... 115 PICARDY ...... 241 8 8. 8 8. 8 8 ALL EHR UND LOB ...... 290 8 7. 8 7. 8 7. 4 6 7 CREATION ...... 34 HERR, HÖR, WAS ICH WILL BITTEN DICH ...... 6 MELITA ...... 120 SLUMBER ...... 340 8 7. 8 7. 8 7. 7 STELLA ...... 376 CORDE NATUS EX PARENTIS ...... 246 VENI EMMANUEL ...... 227 DIVINUM MYSTERIUM ...... 246 8 8. 8 8. 8 8. 6 6 8 7. 8 7. 8 7. 7 8. 7 7 MACHT HOCH DIE TÜR ...... 224 SOLLT ICH MEINEM GOTT ...... 308 8 8. 8 8. 4 8 7. 8 7. 8 7. 8 7. 7 ERSCHIENEN IST ...... 271 CHRIST UNSER HERR ZUM JORDAN KAM ...... 198 DER HERR ERHÖR DICH ...... 28 8 8. 8 8. 9 9 ES WOLL UNS GOTT GENÄDIG SEIN ...... 364 C’EST EN JUDEE PROPREMENT ...... 114 O DIEU, TU COGNOIS QUI JE SUIS ...... 183 8 7. 8 7. D... SEIGNEUR, PUIS QUE M’AS RETIRÉ ...... 54 AUSTRIAN HYMN ...... 124, 304 BEECHER ...... 313 8 8. 8 8. 9 9. 8 8 EBENEZER ...... 264 VOUS TOUS LES HABITANS DES CIEUX ...... 190 HYFRYDOL ...... 219, 259 O MEIN JESU, ICH MUSS STERBEN ...... 265 8 8 9. 8 8 9 RUSTINGTON ...... 274 DU SEIGNEUR DIEU EN TOUS ENDROITS ...... 151 TON-Y-BOTEL ...... 264 LA TERRE AU SEIGNEUR APPARTIENT ...... 41 MON AME EN DIEU TANT SEULEMENT ...... 90 8 7. 8 7. D... rep... ULSTER ...... 166 8 8 9. 8 8. 9 8 8 O DIEU DES ARMEES, COMBIEN ...... 118
8 8. 9 9. 8 8 7. 8 7. 8 8 7 HOW LONG, O LORD ...... 14 ALLEIN GOTT IN DER HÖH’ ...... 291 JUSQUES À QUAND AS ESTABLI ...... 15 AUS TIEFER NOT ...... 346 MIT FREUDEN ZART ...... 324 8 9 8. 8 9 8. 6 6 4. 8 8 WACHET AUF ...... 228 8 7. 8 7. 8 8 7. 8 8 7 AN WASSERFLÜSSEN BABYLON ...... 256 8 8 9 9. 8 8 8 8 DEBA CONTRE MES DEBATEURS ...... 62 8 8. 4 4. 8 8. 4 4 and alleluias LASST UNS ERFREUEN ...... 272 8 9. 8 9. 8 9. 8 9 IL FAUT QUE DE TOUS MES ESPRITS ...... 180 8 8. 4 4. 8 8. 3 3 and alleluias LASST UNS ERFREUEN ...... 288 8 9 9 8. 9 8 8 9 O DIEU, OÙ MON ESPOIR J’AI MIS ...... 104 8 8 7. 8 8 7. 8 8. 8 8. 4 8 8 SEIGNEUR, ENTEN À MON BON DROICT ...... 20 HERZLICH LIEB HAB ICH DICH, O HERR ...... 362 9 8. 9 8. 8 8. 7 8 O DIEU, DONNE-MOY DELIVRANCE ...... 186, 390 JESUS CHRISTUS, UNSER HEILAND ...... 208
454 METRICAL INDEX OF TUNES
SINE NOMINE ...... 280 9 8. 9 8. 6 6 5. 6 6 5 10 10. 10 12 DIEU NOUS SOIT DOUX ET FAVORABLE ...... 98 OR EST MAINTENANT ...... 138 RESVEILLEZ VOUS, CHACUN FIDELE ...... 58 10 10. 11 11 9 8. 9 8. 8 8 LYONS ...... 321 NEUMARK ...... 354 WEN NUR DEN LIEBEN GOTT ...... 354 10 11. 10 11. 11 11 SOIS MOI, SEIGNEUR ...... 18
9 8. 9 8. 9 8. 9 8 10 11. 10 11. 11 10. 11 10 CHANTEZ À DIEU NOUVEAU CANTIQUE ...... 136 POURQUOI FONT BRUIT ...... 4 OR SUS, LOUEZ DIEU TOUT LE MONDE ...... 94 RENDEZ À DIEU ...... 154, 206 10 11. 11 10 D’OÙ VIENT, SEIGNEUR, QUE TU NOUS AS 9 8. 9 9. 8 6 ESPARS ...... 110 REVENGE-MOY, PREN LA QUERELE ...... 79 J’AIME MON DIEU ...... 152
9 9. 8 8. 8 8 10 11 11. 10 4 O PASTEUR D’ISRAEL, ESCOUTE ...... 116 LE FOL MALIN EN SON COEUR ...... 16
9 9. 9 7. 8 8. 8 6 11 8. 11 8. 5. 9 9. 6 7. 5 CHANTEZ À DIEU CHANSON NOUVELLE ...... 194 GOTT SEI GELOBET ...... 318
9 9. 9 9. 8 8 11 10. 11 10 O DIEU, MON HONNEUR ET MA GLOIRE ...... 146 CONSOLATOR ...... 210 O DIEU, QUI ES MA FORTERESSE ...... 51 DONNE SECOURS, SEIGNEUR ...... 13 L’OMNIPOTENT À MON SEIGNEUR ET MAISTRE ..... 149 9 9. 10 9 RAMAH WEEPING ...... 254 11 10. 11 10. 10 10. 10 10 LE SEIGNEUR EST LA CLARTÉ ...... 48 9 9. 11 10. 4 NUN BITTEN WIR ...... 279 11 11. 10 10. 11 11 ESTANS ASSIS AUX RIVES AQUATIQUES ...... 178 10 6. 11 7. 11 7. 10 6 A TOY, Ô DIEU, QUI ES LÀ-HAUT AUX CIEUX ...... 161 11 11. 10 10. 11 11. 10 10 O BIENHEUREUX CELUI DONT LES COMMISES ...... 56 10 8 8. 10. 7 7 6. 6 6 6 PROPOS EXQUIS FAUT ...... 82 APRES AVOIR CONSTAMMENT ATTENDU ...... 70 11 11. 11 5 10 10. 9 10 CHRISTE SANCTORUM ...... 301 SLANE ...... 342 HERZLIEBSTER JESU ...... 255 ISTE CONFESSOR ...... 216 10 10. 10 10 ROUEN ...... 216 ADORO TE DEVOTE ...... 217 11 11. 11 11 10 10. 10 10 10 JOANNA ...... 310 TH OLD 124 ...... 162 ST. DENIO ...... 310 OR PEUT BIEN DIRE ...... 162 10 10. 10 10. 10 10 11 11. 11 11. 11 11 SONG 1 ...... 202 MON DIEU ME PAIST SOUS ...... 36 YORKSHIRE ...... 60 11 12. 12 10 10s. 16 lines NICAEA ...... 305 JESAIA, DEM PROPHETEN ...... 408 12 9. 6 6. 12 9 10 10. 10 10. 10 11 11 WONDROUS LOVE ...... 335 D’OÙ VIENT CELA, SEIGNEUR ...... 10 12 11. 12 11 10 10. 10 4 KREMSER ...... 285
455 METRICAL INDEX OF TUNES
14 14. 4 7 8 LOBE DEN HERREN ...... 322
14 14. 14 14 SECOND MODE MELODY ...... 218
Irregular ADESTE FIDELIS ...... 243 STILLE NACHT ...... 245 THE FIRST NOWELL ...... 248 GLORIA PATRI ...... 436
456 Alphabetical Index of Tunes
A TOI, MON DIEU ...... 42 D’OÙ VIENT, SEIGNEUR, QUE TU NOUS AS A TOY, Ô DIEU, QUI ES LÀ-HAUT AUX CIEUX ...... 161 ESPARS ...... 110 ABERYSTWYTH ...... 358 DOWN AMPNEY ...... 278 ADESTE FIDELIS ...... 243 DU FONS DE MA PENSEE ...... 168 ADORO TE DEVOTE ...... 217 DU MALIN LE MESCHANT VOULOIR ...... 66 AGINCOURT HYMN ...... 317, 320 DU SEIGNEUR DIEU EN TOUS ENDROITS ...... 151 AINSI QU’ON OIT LE CERF BRUIRE ...... 76, 226 DUKE STREET ...... 311 ALL EHR UND LOB ...... 290 DUNDEE ...... 159 ALL SAINTS NEW ...... 150 ALLE MENSCHEN MÜSSEN STERBEN ...... 204 EASTER HYMN ...... 270 ALLEIN GOTT IN DER HÖH ...... 291 EBENEZER ...... 264 AMANDA ...... 266 EFFINGHAM ...... 105 AN WASSERFLÜSSEN BABYLON ...... 256 EIGHTH MODE MELODY ...... 377 ANTIOCH ...... 240 EIN FESTE BURG ...... 336, 338 APRES AVOIR CONSTAMMENT ATTENDU ...... 70 ENTENS À CE QUE JE CRIE ...... 89 AR HYD Y NOS ...... 378 ERHALT UNS, HERR ...... 368, 375 AUF MEINEN LIEBEN GOTT ...... 355 ERSCHIENEN IST ...... 271 AURELIA ...... 327 ES IST EIN ROS ENTSPRUNGEN ...... 242 AUS TIEFER NOT ...... 346 ES WOLL UNS GOTT GENÄDIG SEIN ...... 364 AUSTRIAN HYMN ...... 124, 304 ESTANS ASSIS AUX RIVES AQUATIQUES ...... 178 AZMON ...... 315 EVENING HYMN ...... 382
BEECHER ...... 313 FINGAL ...... 74 BONNIE ...... 344 FIRST MODE MELODY ...... 372 FRENCH ...... 159 CAROL ...... 239 FREU DICH SEHR ...... 226 C’EST EN JUDEE PROPREMENT ...... 114 CHANTEZ À DIEU CHANSON NOUVELLE ...... 194 GERMANY ...... 260 CHANTEZ À DIEU NOUVEAU CANTIQUE ...... 136 GLASGOW ...... 298 CHANTEZ DE DIEU LE RENOM ...... 173 GLORIA ...... 230 CHRIST LAG IN TODESBANDEN ...... 269 GLORIA PATRI ...... 436 CHRIST UNSER HERR ZUM JORDAN KAM ...... 198 GOD REST YE MERRY ...... 234 CHRISTE REDEMPTOR ...... 211 GOTT SEI GELOBET ...... 318 CHRISTE SANCTORUM ...... 301 GREENSLEEVES ...... 250 CHRISTUM WIR SOLLEN LOBEN SCHON ...... 231 GREYOAKS ...... 282 COLCHESTER ...... 160 COLESHILL ...... 144 HAMBURG ...... 267 CONSOLATION ...... 88, 373 HERR, HÖR, WAS ICH WILL BITTEN DICH ...... 6 CONSOLATOR ...... 210 HERZLICH LIEB HAB ICH DICH, O HERR ...... 362 CORONATION ...... 292 HERZLICH TUT MICH ERFREUEN ...... 314 CREATION ...... 34, 330 HERZLICH TUT MICH VERLANGEN ...... 263 CRIMOND ...... 38 HERZLIEBSTER JESU ...... 255 TH CROFT’S 136 ...... 175 HOCH FREUET SICH DER KÖNIG ...... 30 CRUSADER’S HYMN ...... 300 HOW LONG, O LORD ...... 14 HYFRYDOL ...... 219, 259 DARWALL...... 326 TH DARWALL’S 148 ...... 121 ICH LIEB DICH, HERR ...... 22 DEBA CONTRE MES DEBATEURS ...... 62 IL FAUT QUE DE TOUS MES ESPRITS ...... 180 DEIRDRE ...... 352 IN DULCI JUBILO ...... 238 DEO GRACIAS ...... 317, 320 INNSBRUCK, ICH MUSS DICH LASSEN ...... 380 DER HERR ERHÖR DICH ...... 28 INVITATION ...... 370 DESERT ...... 134, 296 ISTE CONFESSOR ...... 216 DIADEMATA ...... 293 ITALIAN HYMN ...... 345 DIE ERD UND WAS SICH AUF IHR REGT ...... 39 DIES SIND DIE HEILGEN ZEHN GEBOT ...... 387 J’AIME MON DIEU ...... 152 DIEU NOUS SOIT DOUX ET FAVORABLE ...... 98 J’AY DE MA VOIX À DIEU CRIÉ ...... 188 DIVINUM MYSTERIUM ...... 246 JESAIA, DEM PROPHETEN ...... 408 DIX ...... 251 JESU, MEINE FREUDE ...... 356 DONNE SECOURS, SEIGNEUR ...... 13 JESUS CHRISTUS, UNSER HEILAND ...... 208 D’OÙ VIENT CELA, SEIGNEUR ...... 10 JESUS, MEINE ZUVERSICHT ...... 261
457 ALPHABETICAL INDEX OF TUNES
JOANNA ...... 310 OR SUS, SERVITEURS DU SEIGNEUR ...... 172 JUSQUES À QUAND AS ESTABLI ...... 15 PETERSHAM ...... 87, 306 KING’S LYNN ...... 369 PICARDY ...... 241 KING’S WESTON ...... 294 POURQUOI FONT BRUIT ...... 4 KINGSFOLD ...... 31 PROPOS EXQUIS FAUT ...... 82 KREMSER ...... 285 QUE DIEU SE MONSTRE SEULEMENT ...... 100 LA TERRE AU SEIGNEUR APPARTIENT ...... 41 LANCASHIRE ...... 312 RAINBOW ...... 332 LAS! EN TA FUREUR AIGUË ...... 68 RAMAH WEEPING ...... 254 LASST UNS ERFREUEN ...... 272, 288 RENDEZ À DIEU ...... 154, 206 LE FOL MALIN EN SON COEUR ...... 16 RESVEILLEZ VOUS, CHACUN FIDELE ...... 58 LE SEIGNEUR EST LA CLARTÉ ...... 48 REVENGE-MOY, PREN LA QUERELE ...... 79 LEONI ...... 328 RHOSYMEDRE ...... 205 LES CIEUX EN CHACUN LIEU ...... 26 ROCKINGHAM ...... 189 LIEBSTER JESU ...... 343 ROUEN ...... 216 LOBE DEN HERREN ...... 322 RUSSIA ...... 158 L’OMNIPOTENT À MON SEIGNEUR ET MAISTRE ..... 149 RUSTINGTON ...... 274 LOVE UNKNOWN ...... 366 LUX ET ORIGO ...... 396 SAGINA ...... 286 LYONS ...... 321 ST. AGNES ...... 359 LYNGHAM ...... 134, 296 ST. ANDREW ...... 360 ST. ANNE ...... 374 MACHT HOCH DIE TÜR ...... 224 ST. CATHERINE’S ...... 192 MARTYRDOM ...... 167 ST. COLUMBA ...... 35, 258 MARTYRS ...... 78 ST. DENIO ...... 310 MEIN HERZ DICHTET EIN LIED MIT FLEIß ...... 80 ST. GEORGE’S WINDSOR ...... 284 MEIN LICHT UND HEIL ...... 50 ST. JOHN ...... 193 MELITA ...... 120 ST. LOUIS ...... 244 MENDELSSOHN ...... 236 ST. PATRICK ...... 349 MIT FREUDEN ZART ...... 324 ST. PETER ...... 307 MON AME EN DIEU TANT SEULEMENT ...... 90 ST. THEODULPH ...... 268 MON DIEU ME PAIST SOUS ...... 36 ST. THOMAS ...... 348 SALISBURY ...... 12 NE VEUILLES PAS, Ô SIRE ...... 8, 213 SALZBURG (7 7. 7 7. D.) ...... 204 NEANDER ...... 115 SALZBURG (C.M.) ...... 316 NEUMARK ...... 354 SCHMÜCKE DICH ...... 214 NICAEA ...... 305 SCHÖNSTER HERR JESU ...... 300 NUN BITTEN WIR ...... 279 SECOND MODE MELODY ...... 218 NUN DANKET ALLE GOTT ...... 283 SEIGNEUR, ENTEN À MON BON DROICT ...... 20 NUN KOMM, DER HEIDEN HEILAND ...... 225 SEIGNEUR, GARDE MON DROIT ...... 46 NUN LOB, MEIN SEEL ...... 142 SEIGNEUR, JE N’AY POINT LE COEUR FIER ...... 169 NUNC DIMITTIS ...... 379, 425 SEIGNEUR, PUIS QUE M’AS RETIRÉ ...... 54 SINE NOMINE ...... 280 O BIENHEUREUX CELUI DONT LES COMMISES ...... 56 SLANE ...... 342 O DIEU DES ARMEES, COMBIEN ...... 118 SLUMBER ...... 340 O DIEU, DONNE-MOY DELIVRANCE ...... 186, 390 SOIS MOI, SEIGNEUR ...... 18 O DIEU, MON HONNEUR ET MA GLOIRE ...... 146 SOLLT ICH MEINEM GOTT ...... 308 O DIEU, OÙ MON ESPOIR J’AI MIS ...... 104 SONG 1 ...... 202 O DIEU, QUI ES MA FORTERESSE ...... 51 SOVEREIGNTY ...... 302 O DIEU, TU COGNOIS QUI JE SUIS ...... 183 STELLA ...... 376 O ESCA VIATORUM ...... 213 STILLE NACHT ...... 245 O LAMM GOTTES UNSCHULDIG ...... 262 STROUDWATER ...... 84 O MEIN JESU, ICH MUSS STERBEN ...... 265 O PASTEUR D’ISRAEL, ESCOUTE ...... 116 TALLIS’ CANON ...... 377 O SEIGNEUR, LOUÉ SERA ...... 113 THE FIRST NOWELL ...... 248 O WELT, ICH MUSS DICH LASSEN ...... 212, 252 THIRD MODE MELODY ...... 92, 93 OLD 124TH ...... 162 TON-Y-BOTEL ...... 264 OLD HUNDREDTH ...... 139, 437 OR EST MAINTENANT ...... 138 ULSTER ...... 166 OR PEUT BIEN DIRE ...... 162 UNION ...... 353 OR SOIT LOUÉ L’ETERNEL ...... 196 OR SUS, LOUEZ DIEU TOUT LE MONDE ...... 94 VALET WILL ICH DIR GEBEN ...... 268
458 ALPHABETICAL INDEX OF TUNES
VENI, CREATOR SPIRITUS ...... 276 VENI EMMANUEL ...... 227 VOM HIMMEL HOCH ...... 232 VOUS TOUS LES HABITANS DES CIEUX ...... 190 VOUS TOUS PRINCES ET SEIGNEURS ...... 53 VOUS TOUS QUI LA TERRE HABITEZ ...... 140
WACHET AUF ...... 228 WAS GOTT TUT ...... 334 WEN NUR DEN LIEBEN GOTT ...... 354 WER NICHT SITZT IM GOTTLOSEN RAT ...... 2 WER WIRD, HERR ...... 17 WESLEY ...... 182 WIE SCHÖN LEUCHTET ...... 220 WIR GLAUBEN ALL AN EINEN GOTT ...... 404 WONDERS ...... 302 WONDROUS LOVE ...... 335
YORKSHIRE ...... 60
459 Alphabetical Index of Titles and First Lines
A Lamb Goes Uncomplaining Forth ...... 256 Come, Thou Almighty King ...... 345 A Mighty Fortress Is Our God-Schütz ...... 336 Come, Thou Long-Expected Jesus ...... 219 A Mighty Fortress Is Our God-Bach ...... 338 Come, Ye Disconsolate ...... 210 Agnus Dei ...... 410 Come, Ye Thankful People, Come ...... 284 Ah, Holy Jesus, How Hast Thou Offended ...... 255 Come, Ye That Love the Lord ...... 348 Ah, Jesus Lord, Thy Love to Me ...... 340 Comfort, Comfort Ye My People ...... 226 All Creatures of Our God and King ...... 288 Create in Me a Clean Heart, O God ...... 415 All Glory Be to God Alone ...... 290 Credo ...... 398 All Glory Be to God on High ...... 291 Crown Him with Many Crowns ...... 293 All Glory, Laud, and Honor ...... 268 All Hail the Power of Jesus’ Name! ...... 292 Doxology ...... 437 All Peoples, Clap Your Hands for Joy ...... 87 All People That on Earth Do Dwell ...... 139 Except the LORD Build the House ...... 163 All Praise the LORD, O Sons of Light! ...... 190 All Praise to Thee, My God, This Night ...... 377 Fairest Lord Jesus ...... 300 Along the Streams of Babylon, in Sadness ...... 178 Father Most Holy ...... 301 And Can It Be That I Should Gain ...... 286 Father, We Thank Thee Who Hast Planted ...... 206 And Now, O Father, Mindful of the Love ...... 202 For All the Saints ...... 280 Angels We Have Heard on High ...... 230 From Depths of Woe I Raise to Thee ...... 346 Arise and Shine in Splendor ...... 252 From East to West ...... 231 As the Hart , About to Falter ...... 76 From Heaven Above to Earth I Come ...... 232 As with Gladness Men of Old ...... 251 From Heav'n O Praise the LORD ...... 192 Ascribe to Yahweh, Sons of Mighty Ones...... 52 At the Lamb's High Feast We Sing ...... 204 At the Name of Jesus ...... 294 Give Ear, O LORD, to All My Thoughts ...... 6 Author of Life Divine ...... 205 Gloria in excelsis-Decius ...... 396 Gloria in excelsis-Tallis ...... 393 Be Gracious unto Me, O God ...... 88 Gloria Patri ...... 436 Be Not Far Off, for Grief Is Near ...... 31 Glorious Things of Thee Are Spoken ...... 304 Be Pleased to Save Me, God, I Pray ...... 104 Glory be to God on high ...... 393, 396 Be Thou My Vision ...... 342 Glory be to the Father ...... 436 Before Thee Let My Cry Come Near ...... 158 God Is My Light, My Refuge, My Salvation ...... 48 Behold, How Good and How Pleasant ...... 170 God Is Our Refuge and Our Strength ...... 84 Behold the Bridegroom Cometh ...... 218 God Moves in a Mysterious Way ...... 353 Behold the Glories of the Lamb ...... 296 God of Vengeance, O Jehovah ...... 124 Behold! the Mountain of the Lord...... 298 God Rest Ye Merry, Gentlemen ...... 234 Benedictus-Tallis ...... 420 God Shall Arise and by His Might ...... 100 Bless Now the Man Who Does Not Walk ...... 2 God, That Madest Earth and Heaven ...... 378 Blessed be the Lord God of Israel ...... 420 God the LORD Is King ...... 138 Blessed Is He That Considereth the Poor ...... 75 God the Lord Is Known in Judah ...... 115 Blessed Is the Man ...... 3 Good Christian Men, Rejoice ...... 238 Blessed Jesus, at Thy Word ...... 343 Great God of Wonders! ...... 302 Blessed the Man That Fears Jehovah ...... 166 Blest Is the Man Whose Trespass Is Forgiven ...... 56 Hallelujah! Praise the LORD and Extol ...... 173 Hallelujah! Praise the LORD, In His House ...... 196 Chide Me, O LORD, No Longer ...... 8 Christ Is Made the Sure Foundation ...... 344 Hark! the Herald Angels Sing ...... 236 Christ Jesus Lay in Death's Strong Bands ...... 269 He Who in Evil Does Rejoice ...... 66 Christ the Lord Is Risen Today ...... 270 Hear How the Lord on Sinai's Mountain ...... 390 Help, LORD, Your Law the Godly Cease to Savor ...... 13 Come, Bless the LORD with One Accord ...... 172 Come Down, O Love Divine ...... 278 Holy, Holy, Holy! ...... 305 Come, Holy Ghost, Our Souls Inspire ...... 276 Holy, holy, holy, Holy is the Lord! ...... 407 Holy, holy, holy, Lord God of hosts ...... 406
460 ALPHABETICAL INDEX OF TITLES AND FIRST LINES
How Bright These Glorious Spirits Shine! ...... 306 Lord, Keep Us Steadfast in Thy Word...... 368 How Long, O LORD, Will You Forget? ...... 14 Lord, now lettest Thou Thy servant depart in How Long, O LORD, Wilt Thou Forget? ...... 15 peace ...... 426, 428 How Lovely, LORD of Hosts, to Me ...... 120 LORD, Rebuke Me Not in Anger ...... 68 How Lovely Shines the Morning Star ...... 220 LORD, Rescue Me from Foes, I Pray Thee ...... 186 How Sweet and Awful Is the Place ...... 258 Lord, Teach Us How to Pray Aright ...... 372 How Sweet the Name of Jesus Sounds ...... 307 Lord, Thee I Love with All My Heart ...... 362 LORD, Who Shall Dwell Within Your House? ...... 17 I believe in one God, the Father Almighty ...... 398 Love Divine, All Love, Excelling ...... 313 I Bind unto Myself Today ...... 349 I in the LORD Do Put My Trust ...... 12 Magnificat ...... 416 I Love the LORD, the Fount of Life and Grace ...... 152 May God Be Merciful and Bless Us ...... 98 I to the Hills Will Lift Mine Eyes ...... 159 May God Bestow on Us His Grace ...... 364 I Wai ted a nd I Wai te d for th e LORD ...... 70 My God, My God, Look upon Me ...... 32 My Heart Has Found a Ready Theme ...... 80 I Waited for the LORD ...... 74 My Savior God Is All My Light ...... 50 I Will Extol Thee, LORD ...... 54 My Song Is Love Unknown ...... 366 I Will Sing My Maker's Praises ...... 308 My soul doth magnify the Lord ...... 416 If Thou But Suffer God to Guide Thee ...... 354 My Soul, Now Bless Thy Maker ...... 142 Immortal, Invisible, God Only Wise ...... 310 In Every Time I'll Always Bless the LORD ...... 60 Not every one that sayest unto me ...... 413 In God Alone My Soul Finds Rest ...... 90 Now Let the Vault of Heaven Resound...... 272 In God, My Faithful God ...... 355 Now Rest Beneath Night's Shadow ...... 380 In Judah's Land Prevails God's Fame...... 114 Now Thank We All Our God ...... 283 Isaiah, Mighty Seer, in Days of Old ...... 408 Nunc dimittis ...... 426 It Came upon the Midnight Clear ...... 239 It's Good to Thank the LORD ...... 121 O Be Not Silent, Heed and Hear Me ...... 146 O Bread of Life from Heaven ...... 212 Jehovah to My Lord Has Said ...... 150 O Clap Your Hands Together, All Ye People ...... 86 Jesus Christ, Our Blessed Savior ...... 208 O Come, All Ye Faithful ...... 243 Jesus, Lover of My Soul ...... 358 O Come, Let Us Sing unto the LORD ...... 126 Jesus, Priceless Treasure ...... 356 O Come, O Come, Emmanuel ...... 227 Jesus Shall Reign ...... 311 O Come with Thanks, God's Goodness Praising ...... 154 Jesus, the Very Thought of Thee ...... 359 O Day of Rest and Gladness ...... 314 Jesus, Thou Joy of Loving Hearts ...... 211 O Food of Men Wayfaring ...... 213 Jesus, Thy Blood and Righteousness ...... 260 O for a Thousand Tongues to Sing ...... 315 Jesus! What a Friend for Sinners! ...... 259 O Gladsome Light ...... 379 Joy to the World! the Lord Is Come ...... 240 O God of Bethel! by Whose Hand ...... 316 Judge Me, O God, and Plead My Cause ...... 78 O God of Earth and Altar ...... 369 O God, Why Dost Thou Cast Us Off for Aye ...... 110 Kyrie eleison ...... 392 O Israel's Shepherd, Hear Our Pleading ...... 116 O Judge Me, God of My Salvation ...... 79 Lead On, O King Eternal ...... 312 O Lamb of God Most Holy! ...... 262 Let All Mortal Flesh Keep Silence ...... 241 O Lamb of God, that takest away the sins of the Let All the Earth with Loud Rejoicing ...... 94 world ...... 410 Let All the Stars in the Skies Give Praise ...... 254 O Let My Name Engraven Stand ...... 370 Let Christian Faith and Hope Dispel ...... 360 O Little Town of Bethlehem ...... 244 Let Israel Now Say in Thankfulness ...... 162 O Lord and Master, Thou ...... 425 Let Thy Blood in Mercy Poured ...... 261 O LORD God, to Whom Vengeance Belongeth ...... 122 Lift Up Your Heads ...... 224 O LORD, Hear Thou My Righteous Cause ...... 20 Listen to My Cry, and Hear Me ...... 89 Lo, How a Rose E'er Blooming ...... 242 O LORD, I Love You, God, My Strength...... 22 LORD LORD, from the Depths to Thee I Cried ...... 167 O in Whom I Do Abide ...... 169 Lord, have mercy upon us ...... 392 O Lord, My God, Most Earnestly ...... 92, 93 Lord, have mercy upon us, and incline our hearts to O LORD My God, Thou Searchest Me ...... 183 keep this law ...... 386 O LORD of Hosts, O God of Grace ...... 118
461 ALPHABETICAL INDEX OF TITLES AND FIRST LINES
O LORD Our Governor ...... 9 The Eyes of All upon Thee Wait ...... 189 O LORD, Our King Rejoices ...... 30 The First Noel ...... 248 O LORD, Thy Judgments Give the King ...... 105 The Fool Says in His Heart, “There Is No God” ...... 16 O Lord, We Praise Thee ...... 318 The God of Abraham Praise ...... 328 O Love, How Deep, How Broad, How High! ...... 317 The Heavens Are Declaring the Mighty One's Glory ... 25 O Sacred Head, Now Wounded ...... 263 The King of Love My Shepherd Is ...... 35 O Sing a New Song to the LORD ...... 134 The Law of God Is Good and Wise ...... 375 O the Deep, Deep Love of Jesus ...... 264 The LORD Be Praised! Come and Adore Him ...... 194 O Thou My Soul, Bless God the LORD ...... 144 The LORD Hear Thee in Troubled Times ...... 28 O, 'Twas a Joyful Sound to Hear ...... 160 The Lord Is King of Earth's Domain ...... 41 O Vindicate Me, LORD ...... 46 The LORD's My Shepherd, I'll Not Want ...... 38 O Wondrous Type! O Vision Fair! ...... 320 The LORD My Shepherd in His Love Defends Me ...... 36 O Worship the King ...... 321 The Lord of Heaven Confess ...... 193 O You Mighty, Give the LORD ...... 53 The Lord's Prayer-Ancient ...... 411 Of Lovingkindness and Justice Will I Sing ...... 141 The Lord's Prayer-Stone ...... 412 Of the Father's Love Begotten ...... 246 The LORD unto My Lord These Words Has Spoken . 149 Offertory Sentence ...... 413 The Sacrifices of God Are a Broken Spirit ...... 414 Once More, My Soul ...... 373 The Son of God Goes Forth to War ...... 282 Only-Begotten, Word of God Eternal ...... 216 The Song of Simeon ...... 425 Our Father, Which art in heav'n ...... 412 The Spacious Firmament on High ...... 330 Our Father, Who art in heaven ...... 411 The Spacious Heavens Declare ...... 26 Our God, Our Help in Ages Past ...... 374 Thee, O God, Yes, Thee We Praise ...... 113 Out of the Depths of Sadness ...... 168 Thee We Adore, O Hidden Savior ...... 217 Thou Hidden Source of Calm Repose ...... 376 Praised Be the LORD! I Shall Impart ...... 151 Through Every Age, Eternal God...... 266 Praise God, for He Is Kind ...... 175 ‘Tis by Thy Strength the Mountains Stand ...... 332 Praise God from Whom all blessings flow ...... 437 To All My Brothers I'll Declare ...... 34 Praise to the Lord, the Almighty ...... 322 To Jordan Came Our Lord, the Christ ...... 198 Preserve Me, God, I Put My Trust in Thee ...... 18 To Th e e, O LORD, I Call in Anguish ...... 51 To Th e e, O LORD Who Dwellest in the Height ...... 161 Rejoice, the Lord Is King ...... 326 Truly God Is Loving unto Israel ...... 108 Rejoice Ye in the LORD, O Righteous ...... 58 Responses to the Commandments ...... 386 Unto Thee, O LORD, My Savior ...... 42
St. Patrick's Breastplate ...... 349 Wake, Awake, for Night Is Flying ...... 228 Sanctus-Schubert ...... 407 We All Believe in One True God ...... 404 Sanctus-Tallis...... 406 We Gather Together ...... 285 Savior of the Nations, Come ...... 225 We Now Implore God the Holy Ghost ...... 279 See, the Conqueror Mounts in Triumph ...... 274 We praise Thee, O God ...... 430 Silent Night, Holy Night ...... 245 What Child Is This ...... 250 Sing Praise to God, Who Reigns Above ...... 324 What Wondrous Love Is This...... 335 Sing to the LORD, a New Song Voicing ...... 136 Whate'er My God Ordains Is Right ...... 334 Song of Simeon ...... 428 When I Survey the Wondrous Cross ...... 267 Soul, Adorn Thyself with Gladness ...... 214 Why Do the Heathen Nations Vainly Rage? ...... 4 Stricken, Smitten, and Afflicted ...... 265 Why Do You Stand Far Off, O God ...... 10 Strive, LORD, with Those Who Strive with Me ...... 62 With All My Heart My Thanks I'll Bring ...... 182 With All My Heart, O LORD, I Praise ...... 180 Te Deum ...... 430 With All My Voice to God I Cry ...... 188 That Easter Day with Joy Was Bright ...... 271 With Noble Themes My Heart and Mouth Are That Man a Godly Life Might Live ...... 387 Ringing ...... 82 The Church's One Foundation ...... 327 The Day Is Past and Gone ...... 382 Yahweh Reigns! Let the Land Rejoice! ...... 130 The Decalogue ...... 390 You Lands and Peoples of the Earth ...... 140 The Earth Belongs to God Our LORD ...... 39 The Earth Is the LORD's ...... 40
462