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Thanks Be to Thee

Appears in 6 hymnals First Line: Thanks be to Thee, O Christ, for this Thy holy gospel

[Thanks be to Thee, O Christ]

Appears in 3 hymnals Composer and/or Arranger: Thomas Tallis (c. 1510-1585) Tune Key: C Major Used With Text: Thanks Be to Thee

Thanks Be to Thee

Appears in 4 hymnals Composer and/or Arranger: Thomas Tallis Tune Key: C Major Incipit: 57655 Used With Text: Thanks Be to Thee

Instances

Published text-tune combinations (hymns) from specific hymnals

Gratia Tibi

Hymnal: The A. M. E. Zion Hymnal #640 (1957) First Line: Thanks be to Thee, O Christ, for this Thy Tune Title: [Thanks be to Thee, O Christ, for this Thy]

Hymnal: The Hymnbook #578 (1955) First Line: Thanks be to Thee, O Christ Lyrics: Thanks be to Thee, O Christ, for this Thy holy gospel. Topics: Service Music Communion Service, The Tune Title: [Thanks be to Thee, O Christ]

Thanks Be to Thee

Hymnal: Rejoice in the Lord #559 (1985) First Line: Thanks be to thee, O Christ Lyrics: Thanks be to thee, O holy gospel. Christ, for this thy holy gospel Topics: Service Music Thanks be to thee Languages: English Tune Title: Thanks Be to Thee

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People

Authors, composers, editors, etc.

Thomas Tallis

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