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Author: Daniel Iverson Meter: 7.5.7.5.8.7.5 Appears in 100 hymnals Topics: Choruses and Refrains First Line: Spirit of the living God, fall afresh on me Scripture: Acts 11:15 Used With Tune: LIVING GOD

God Be with You till We Meet Again

Author: Jeremiah E. Rankin Meter: 9.8.8.9 Appears in 1,168 hymnals Topics: Choruses and Refrains Lyrics: 1 God be with you till we meet again; loving counsels guide, uphold you, with a shepherd's care enfold you; God be with you till we meet again. 2 God be with you till we meet again; unseen wings protecting hide you, daily manna still provide you; God be with you till we meet again. 3 God be with you till we meet again; when life's perils thick confound you, put unfailing arms around you; God be with you till we meet again. 4 God be with you till we meet again; keep love's banner floating o'er you, smite death's threatening wave before you; God be with you till we meet again. Used With Tune: RANDOLPH

Pass Me Not, O Gentle Saviour

Author: Fanny J. Crosby Meter: 8.5.8.5 with refrain Appears in 908 hymnals Topics: Choruses and Refrains Refrain First Line: Saviour, Saviour, hear my humble cry Lyrics: 1 Pass me not, O gentle Saviour, hear my humble cry; while on others thou art calling, do not pass me by. [Refrain:] Saviour, Saviour, hear my humble cry; while on others thou art calling, do not pass me by. 2 Let me at thy throne of mercy find a sweet relief, kneeling there in deep contrition; help my unbelief. [Refrain] 3 Trusting only in thy merit, would I seek thy face; heal my wounded, broken spirit, save me by thy grace. [Refrain] 4 Thou the spring of all my comfort, more than life to me, whom have I on earth beside thee? Whom in heaven but thee. [Refrain] Used With Tune: PASS ME NOT

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Tunes

Tune authorities

SEEK YE

Meter: Irregular Appears in 82 hymnals Composer and/or Arranger: Karen Lafferty Topics: Choruses and Refrains Tune Key: D Major Incipit: 33453 21612 34543 Used With Text: Seek Ye First

ONE BREAD, ONE BODY

Meter: 4.4.6 with refrain Appears in 37 hymnals Composer and/or Arranger: John B. Foley; Gary Alan Smith Topics: Choruses and Refrains Tune Key: G Major Incipit: 11215 55431 24321 Used With Text: One Bread, One Body

LIVING GOD

Meter: 7.5.7.5.8.7.5 Appears in 104 hymnals Composer and/or Arranger: Daniel Iverson Topics: Choruses and Refrains Tune Key: F Major Incipit: 33332 34312 33333 Used With Text: Spirit of the Living God

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Instances

Published text-tune combinations (hymns) from specific hymnals

O Come, All Ye Faithful

Author: Frederick Oakeley; John Francis Wade; Claude Rozier Hymnal: Voices United #60 (1996) Meter: Irregular Topics: Choruses and Refrains First Line: O come, all ye faithful (Adeste fideles) (Peuple fidèle) Refrain First Line: O come, let us adore him (Venite adoramus) (En lui viens reconnaître) Lyrics: 1 O come, all ye faithful, joyful and triumphant, O come ye, O come ye to Bethlehem; come and behold him, born the King of angels: [Refrain:] O come, let us adore him, O come, let us adore him, O come, let us adore him, Christ the Lord. 2 God of God, light of light, lo, he abhors not the virgin's womb, very God, begotten, not created: [Refrain] 3 Sing, choirs of angels, sing in exultation, sing, all ye citizens of heaven above; Glory to God in the highest: [Refrain] 4 See, how the shepherds summoned to his cradle, leaving their flocks, draw nigh with lowly fear; we too will thither bend our joyful footsteps; [Refrain] 5 Yea, Lord, we greet thee, born this happy morning; Jesus, to thee be all glory given; word of the Father, now in flesh appearing: [Refrain] 1 Adeste, fideles, laeti triumphantes, venite, venite, in Bethlehem. natum vidéte, regem angelorum: [Refrain:] venite adoremus, venite adoremus, venite adoremus Dominum. 2 Deum de Deo, lumen de lumine, parturit virgo mater, Deum verum, genitum non factum. [Refrain] 3 Cantet nunc hymnos chorus angelorum, cantet nunc aula caelestium: gloria in excelsis Deo! [Refrain] 4 En grege relicto, -- humiles ad cunas vocati pastores approperant; et nos ovanti gradu festinemus. [Refrain] 5 Ergo qui natus die hodierna Jesu, tibi sit gloria: Patris aeterni verbum caro factum. [Refrain] 1 Peuple fidèle, le Seigneur t'appelle c'est fête sur terre, le Christ est né. Viens à la crèche, voir le Roi du monde. [Refrain:] En lui viens reconnaître, en lui viens reconnaître, en lui viens reconnaître, ton Dieu, ton Sauveur! 2 Verbe, Lumière et splendeur du Père, il naît d'une mère, petit enfant, Dieu véritable, le Seigneur fait homme: [Refrain] 3 Peuple, acclame, avec tous les anges le Maître des hommes qui vient chez nous. Dieu qui se donne à tous ceux qu'il aime! [Refrain] 4 Peuple fidèle, en ce jour de fête, proclame la gloire de ton Seigneur. Dieu se fait homme, vois donc comme il t'aime: [Refrain] Languages: English; French; Latin Tune Title: ADESTE FIDELES

Midnight Stars Make Bright the Skies

Author: Ching-chiu Yang; Mildred A. Wiant; Christopher Cheung Hymnal: Voices United #85 (1996) Meter: 7.7.7.7 D with refrain Topics: Choruses and Refrains First Line: Midnight stars make bright the skies (ming xing can lan ye wei yang) Refrain First Line: Glory be to God on high (zhi gao rong yao gui shang zhu!) Languages: Chinese; English Tune Title: HUAN-SHA-CH'I

Go, Tell It on the Mountain

Author: John Wesley Work II Hymnal: Voices United #43 (1996) Meter: Irregular Topics: Choruses and Refrains First Line: While shepherds kept their watching Lyrics: Refrain: Go, tell it on the mountain, over the hills and everywhere. Go, tell it on the mountain that Jesus Christ is born. 1 While shepherds kept their watching o'er silent flocks by night, behold, throughout the heavens there shone a holy light. [Refrain] 2 The shepherds feared and trembled when lo, above the earth rang out the angel chorus that hailed our Saviour's birth. [Refrain] 3 Down in a lonely manger the humble Christ was born, and God sent our salvation that blessed Christmas morn. [Refrain] Languages: English Tune Title: GO, TELL IT

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People

Authors, composers, editors, etc.

Communauté de Taizé

Person Name: Community of Taizé Topics: Choruses and Refrains Composer of "REMEMBER ME" in The United Methodist Hymnal

Charles Wesley

1707 - 1788 Topics: Choruses and Refrains Author of "Hark! the herald angels sing" in Voices United Charles Wesley, M.A. was the great hymn-writer of the Wesley family, perhaps, taking quantity and quality into consideration, the great hymn-writer of all ages. Charles Wesley was the youngest son and 18th child of Samuel and Susanna Wesley, and was born at Epworth Rectory, Dec. 18, 1707. In 1716 he went to Westminster School, being provided with a home and board by his elder brother Samuel, then usher at the school, until 1721, when he was elected King's Scholar, and as such received his board and education free. In 1726 Charles Wesley was elected to a Westminster studentship at Christ Church, Oxford, where he took his degree in 1729, and became a college tutor. In the early part of the same year his religious impressions were much deepened, and he became one of the first band of "Oxford Methodists." In 1735 he went with his brother John to Georgia, as secretary to General Oglethorpe, having before he set out received Deacon's and Priest's Orders on two successive Sundays. His stay in Georgia was very short; he returned to England in 1736, and in 1737 came under the influence of Count Zinzendorf and the Moravians, especially of that remarkable man who had so large a share in moulding John Wesley's career, Peter Bonier, and also of a Mr. Bray, a brazier in Little Britain. On Whitsunday, 1737, [sic. 1738] he "found rest to his soul," and in 1738 he became curate to his friend, Mr. Stonehouse, Vicar of Islington, but the opposition of the churchwardens was so great that the Vicar consented that he "should preach in his church no more." Henceforth his work was identified with that of his brother John, and he became an indefatigable itinerant and field preacher. On April 8, 1749, he married Miss Sarah Gwynne. His marriage, unlike that of his brother John, was a most happy one; his wife was accustomed to accompany him on his evangelistic journeys, which were as frequent as ever until the year 1756," when he ceased to itinerate, and mainly devoted himself to the care of the Societies in London and Bristol. Bristol was his headquarters until 1771, when he removed with his family to London, and, besides attending to the Societies, devoted himself much, as he had done in his youth, to the spiritual care of prisoners in Newgate. He had long been troubled about the relations of Methodism to the Church of England, and strongly disapproved of his brother John's "ordinations." Wesley-like, he expressed his disapproval in the most outspoken fashion, but, as in the case of Samuel at an earlier period, the differences between the brothers never led to a breach of friendship. He died in London, March 29, 1788, and was buried in Marylebone churchyard. His brother John was deeply grieved because he would not consent to be interred in the burial-ground of the City Road Chapel, where he had prepared a grave for himself, but Charles said, "I have lived, and I die, in the Communion of the Church of England, and I will be buried in the yard of my parish church." Eight clergymen of the Church of England bore his pall. He had a large family, four of whom survived him; three sons, who all became distinguished in the musical world, and one daughter, who inherited some of her father's poetical genius. The widow and orphans were treated with the greatest kindness and generosity by John Wesley. As a hymn-writer Charles Wesley was unique. He is said to have written no less than 6500 hymns, and though, of course, in so vast a number some are of unequal merit, it is perfectly marvellous how many there are which rise to the highest degree of excellence. His feelings on every occasion of importance, whether private or public, found their best expression in a hymn. His own conversion, his own marriage, the earthquake panic, the rumours of an invasion from France, the defeat of Prince Charles Edward at Culloden, the Gordon riots, every Festival of the Christian Church, every doctrine of the Christian Faith, striking scenes in Scripture history, striking scenes which came within his own view, the deaths of friends as they passed away, one by one, before him, all furnished occasions for the exercise of his divine gift. Nor must we forget his hymns for little children, a branch of sacred poetry in which the mantle of Dr. Watts seems to have fallen upon him. It would be simply impossible within our space to enumerate even those of the hymns which have become really classical. The saying that a really good hymn is as rare an appearance as that of a comet is falsified by the work of Charles Wesley; for hymns, which are really good in every respect, flowed from his pen in quick succession, and death alone stopped the course of the perennial stream. It has been the common practice, however for a hundred years or more to ascribe all translations from the German to John Wesley, as he only of the two brothers knew that language; and to assign to Charles Wesley all the original hymns except such as are traceable to John Wesley through his Journals and other works. The list of 482 original hymns by John and Charles Wesley listed in this Dictionary of Hymnology have formed an important part of Methodist hymnody and show the enormous influence of the Wesleys on the English hymnody of the nineteenth century. -- Excerpts from John Julian, Dictionary of Hymnology (1907) ================== Charles Wesley, the son of Samuel Wesley, was born at Epworth, Dec. 18, 1707. He was educated at Westminster School and afterwards at Christ Church, Oxford, where he graduated M.A. In 1735, he took Orders and immediately proceeded with his brother John to Georgia, both being employed as missionaries of the S.P.G. He returned to England in 1736. For many years he engaged with his brother in preaching the Gospel. He died March 29, 1788. To Charles Wesley has been justly assigned the appellation of the "Bard of Methodism." His prominence in hymn writing may be judged from the fact that in the "Wesleyan Hymn Book," 623 of the 770 hymns were written by him; and he published more than thirty poetical works, written either by himself alone, or in conjunction with his brother. The number of his separate hymns is at least five thousand. --Annotations of the Hymnal, Charles Hutchins, M.A., 1872.

W. Chatterton Dix

1837 - 1898 Person Name: William Chatterton Dix Topics: Choruses and Refrains Author of "What Child is This" in Voices United Most British hymn writers in the nineteenth century were clergymen, but William C. Dix (b. Bristol, England, 1837; d. Cheddar, Somerset, England, 1898) was a notable exception. Trained in the business world, he became the manager of a marine insurance company in Glasgow, Scotland. Dix published various volumes of his hymns, such as Hymns of Love and Joy (1861) and Altar Songs: Verses on the Holy Eucharist (1867). A number of his texts were first published in Hymns Ancient and Modern (1861). Bert Polman ======================== Dix, William Chatterton, son of John Dix, surgeon, of Bristol, author of the Life of Chatterton; Local Legends, &c, born at Bristol, June 14, 1837, and educated at the Grammar School of that city. Mr. Chatterton Dix's contributions to modern hymnody are numerous and of value. His fine Epiphany hymn, "As with gladness men of old,” and his plaintive ”Come unto Me, ye weary," are examples of his compositions, many of which rank high amongst modern hymns. In his Hymns of Love and Joy, 1861, Altar Songs, Verses on the Holy Eucharist, 1867; Vision of All Saints, &c, 1871; and Seekers of a City, 1878, some of his compositions were first published. The greater part, however, were contributed to Hymns Ancient & Modern; St. Raphaels Hymnbook, 1861; Lyra Eucharidica, 1863; Lyra Messianica, 1864; Lyra Mystica, 1865; The People's Hymns, 1867; The Hymnary, 1872; Church Hymns, 1871, and others. Many of his contributions are renderings in metrical form of Dr. Littledale's translation from the Greek in his Offices . . . of the Holy Eastern Church, 1863; and of the Rev. J. M. Rodwell's translation of hymns of the Abyssinian Church. These renderings of the "songs of other Churches" have not received the attention they deserve, and the sources from whence they come are practically unknown to most hymnal compilers. Mr. Dix has also written many Christmas and Easter carols, the most widely known of which is "The Manger Throne." In addition to detached pieces in prose and verse for various magazines, he has published two devotional works, Light; and The Risen Life, 1883; and a book of instructions for children entitled The Pattern Life, 1885. The last-named contains original hymns by Mr. Dix not given elsewhere. In addition to the more important of Mr. Dix's hymns which are annotated under their respective first lines, the following are also in common use:- 1. God cometh, let the heart prepare. Advent. In his Vision of All Saints, &c, 1871. 2. Holy, holy, holy, to Thee our vows we pay. Holy Communion. Published in his Altar Songs, 1867, in 6 stanzas of 6 lines, and headed "Eucharistic Processional for Dedication Feast." In the Society for Promoting Christian Knowledge Church Hymns, 1871, and others in an abridged form. 3. How long, O Lord, how long, we ask. Second Advent. Appeared in the Appendix to the Society for Promoting Christian Knowledge Psalms & Hymns, 1869, and repeated in several collections. 4. In our work and in our play. Children's Hymn. Published in his Hymns and Carols for Children, 1869, and is largely adopted in children's hymnbooks, as Mrs. Brock's Children's Hymnbook, 1881, and others. Also in the Society for Promoting Christian Knowledge Church Hymns, 1871. 5. In the hollow of Thine hand. For Fair Weather. Appeared in the People's Hymns, 1867, and repeated in several others. 6. Joy fills our inmost heart today. Christmas. Printed in the Church Times, and then on a Flysheet by Gr. J. Palmer, as the third of Four Joyful Hymns for Christmas, circa 1865. It is in the Society for Promoting Christian Knowledge Church Hymns, 1871, and other hymnals. It is also one of Mr. Dix's Christmas Customs & Christmas Carols, not dated. 7. Lift up your songs, ye thankful. St. Ambrose. Contributed to the People's Hymns, 1867. 8. Now in numbers softly flowing. St. Cecilia. Contributed to the People's Hymns, 1867. 9. Now, our Father, we adore Thee. Praise to the Father. Appeared in the Appendix to the S. P. C. K. Psalms & Hymns, 1869. 10. O Christ, Thou Son of Mary. St. Crispin. First printed in the Union Review, Sept., 1866, and thence into the People's Hymns, 1887. 11. O Cross which only canst allay. Glorying and Trusting in the Cross. Published in the People's Hymns, 1867. 12. O Thou the Eternal Son of God. Good Friday. Appeared in Lyra Messianica, 1864; the author's Hymns and Carols for Children, 1869; the S. P. C. K. Church Hymns, 1871, &c. 13. On the waters dark and drear. For use at Sea. Published in Hymns for Public Worship, &c. (St. Raphael's, Bristol), 1861; the S. P. C. K. Church Hymns, 1871, &c. 14. Only one prayer to-day. Ash Wednesday. Contributed to the People's Hymns, 1867. 15. Sitting at receipt of custom. St. Matthew. Appeared in the People's Hymns, 1867. 16. The Cross is on thy brow. Confirmation. In the 1869 Appendix to the S. P. C. K. Psalms & Hymns. 17. The stars above our head. Work and Humility. In the 1869 Appendix to the S. P. C. K. Psalms & Hymns. 18. When the shades of night are falling. Evening Hymn to the Good Shepherd. In the author's Seekers of a City, &c. [1878]. Most of Mr. Dix's best-known hymns, and also some of those named above, are in common use in America and other English-speaking countries. In Great Britain and America from 30 to 40 are in common use. He died Sept. 9, 1898. -- John Julian, Dictionary of Hymnology (1907) ====================== Dix, William Chatterton, p. 302, ii. Additional hymns by Mr. Dix now in common use are:— 1. Lift up your songs, ye angel choirs. Ascension. 2. Now, my soul rehearse the story. Christ Feeding the Multitude. 3. Within the temple's hallowed courts. Blessed Virgin Mary. These hymns are from his Altar Songs, 1867. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907)

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