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Take My Life, and Let It Be
 | Take my life and let it beAuthor: Frances R. Havergal (1874)Published in 969 hymnals Printable scores: PDF, SibeliusAudio files: MIDI | |
Author: Frances R. Havergal
Havergal, Frances Ridley, daughter of the Rev. W. H. Havergal, was born at Astley, Worcestershire, Dec. 14, 1836. Five years later her father removed to the Rectory of St. Nicholas, Worcester. In August, 1850, she entered Mrs. Teed's school, whose influence over her was most beneficial. In the following year she says, "I committed my soul to the Saviour, and earth and heaven seemed brighter from that moment." A short sojourn in Germany followed, and on her return she was confirmed in Worcester Cathedral, July 17, 1853. In 1860 she left Worcester on her father resigning the Rectory of St. Nicholas, and resided at different periods in Leamington, and at Caswall Bay, Swansea, broken by visits to Switzerland, Scotland, and North Wales. She died… Go to person page >For Leaders
Text
Critics have raved over Havergal’s text for almost two centuries. Hymn author Ira Sankey wrote that this was “one of the finest consecration hymns in the world” (Sankey, My Life in Hymns, 81). Albert Bailey wrote, “This hymn has had a career of great usefulness. It has frequently objectified for even young children what practical ways of serving Christ may be theirs in their every-day lives” (Bailey, The Gospel in Hymns, 405).
Each verse offers a different part of ourselves for the purposes of God – our life, our hands, our voice, our money, our wills, and our love. Modern hymnals include a number of different arrangements of the text. For example, the Psalter Hymnal ends verse one with “Take my moments and my days; let them flow in endless praise” and begins the second verse with “Take my hands and let them move at the impulse of thy love.” The Worshiping Church uses the latter line to end the first verse, and doesn’t include the former line in any verse. Modern hymnals include anywhere from four to six verses.
Tune
Originally Havergal’s text was set to the tune PATMOS which was composed by her father, William H. Havergal, in 1847. Frances was apparently quite adamant that this be the only tune her text was sung to, but this was not to be the case. Henri A. Cesar Malan composed the tune HENDON around 1827. It was taken over to North America by Lowell Mason where it quickly became the tune associated with this hymn, and is found in most modern hymnals.
This is a gentle, quiet tune that doesn’t require much accompaniment. Use guitar picking or light piano with a flute or violin providing harmony lines, or a very light organ registration. On the third verse, which reads, “Take my voice and let me sing always, only for my King,” consider dropping out instrumentally so only the voices are heard.
Chris Tomlin and Louie Giglio have altered the melody a bit and added a chorus that echoes the text of Isa. 6:8, which says, “’Whom shall I send? And who will go for us?’ And I said, ‘Here am I. Send me!’” Tomlin’s chorus reads, “Here am I, all of me, take my life, it’s all for thee.” In this version, keep the verses softer and grow on the chorus, which you can repeat multiple times, getting louder as you repeat. The strength and volume of the chorus makes this a perfect alternative to the original for a large praise band with drums and electric guitar.
When/Why/How
This hymn can be sung in any time of worship that emphasizes our dedication of our whole selves to God, or our commitment to serve God. Consider transitioning right into the simple song “Take, o Take Me As I Am” at the end, or pairing the hymn with “Be Thou My Vision.”
Suggested music:
- Schram, Ruth Elaine. First Fruits - for Choir, original words by Ruth Schram leading into "Take My Life and Let It Be"
- Schrader, Jack. We Fall Down - for Choir, pairs "We Fall Down" by Chris Tomlin with a verse of "Take my Life and Let It Be"
- Wigal, John E. Hymn Introductions and Alternate Harmonizations - for Organ
Laura de Jong Hymnary.org
Here is how author Frances Havergal describes the events that inspired the writing of this hymn:
“I went for a little visit of five days. There were ten persons in the house, some unconverted and long prayed for; some converted, but not rejoicing Christians. He gave me the prayer: ‘Lord, give me all in this house.’ And He just DID! Before I left the house everyone had got a blessing. The last night of my visit, after I had retired, the governess asked me to go to the two daughters. They were crying, etc. Then and there both of them trusted and rejoiced. It was nearly midnight. I was too happy to sleep, and passed most of the night in praise and renewal of my own consecration; and these little couplets formed themselves and chimed in my heart one after another till they finished with ‘ever, only, all for Thee’” (Lutheran Hymnal Handbook, 486).
This hymn is a beautiful prayer that God would both draw us closer to Himself, and use us to bring others to Him. God calls us to a life of discipleship, and our only response should be, “Here am I. Send me.”
