Restoration
“Simplicity is the final achievement.”
— FRÉDÉRIC CHOPIN
#1 The Morning Breaks
The premier hymn in this collection is a bold declaration of the restored gospel of Jesus Christ, which promises light to a world in spiritual darkness. Included in the download are two versions. First, an accompaniment for the final verse, and second, a modified version that harmonizes the unique tenor/bass and treble duet phrases.
#2 The Spirit of God
"Because it is so closely tied with important events in Church history, and because it is part of such joyful occasions as temple dedications in our own day, 'The Spirit of God' is one of the most significant and beloved hymns in the hymn tradition of The Church of Jesus Christ of Latter-day Saints. It truly affords an opportunity to sing and shout "with the armies of heaven." Karen Lynn Davidson
The pedal line in this hymnbellishment encourages a forward, marching movement, which aptly reflects the spirit of this hymn.
#3 Now Let Us Rejoice
"'Now Let Us Rejoice' came out of a grave situation in the history of The Church of Jesus Christ of Latter-day Saints, a situation in 1833 of defeat, frustration, homelessness, suffering, privation, and hunger. But even these hardships produced a hymn that still gives hope and sustenance to [millions] who live in better times." George D. Pyper
This hymnbellishment features harmonic changes that will be more effective if the accompanied verse is sung in unison. Use part of it for the introduction and/or all of it for the singing of the final verse. The long pedal points, walking pedal lines, and frequent harmonic changes are more effective with a broadened tempo.
#4 Truth Eternal
"This hymn honors the power of truth. Truth will liberate, enlighten, and save" Karen Lynn Davidson.
Due to the facts that this hymn is a little less known and so short, enjoy playing all of this setting as the introduction and again to accompany the final verse in unison.
#5 High on the Mountain Top
"And it shall come to pass in the last days, that the mountain of the Lord's house shall be established in the top of the mountains, and shall be exalted above the hills: and all nations shall flow unto it" Isaiah 2:2.
This hymnbellishment can be used effectively with unison singing or with the traditional four-part harmonies. As with most last-verse accompaniments with long pedal points, walking pedal lines, and frequent harmonic changes, it is more effective to broaden the tempo a bit. With the download a second version is included that can be used as the introduction or for a different verse.
#6 Redeemer of Israel
"The six verses of this hymn affirm many facets of the Savior's mission and personality. The vigorous words praise the Savior first as our invincible redeemer, then as our shepherd and protector, then as the millenial Messiah. The sixth verse is an ecstatic vision of his heavenly glory" Karen Lynn Davidson.
This setting can be used as an introduction to the hymn and as an accompaniment for the final verse. Too often music directors end before singing the prayerful fifth verse and the praising sixth verse, omitting references to the soul-cheering comfort and hope that the Savior imparts and the rejoicing of ten thousand angels, as myriads wait for His word!
#7 Israel, Israel, God Is Calling
"Few tunes have attained more popularity in the Christian world than ERIE by Charles C. Converse. Early Latter-day Saints were quick to make it one of their favorites. Most other denominations know ERIE as the setting for the words by Joseph Scriven, 'What a Friend We Have in Jesus'..... For us, the invitation to gather within 'Zion's walls' is a symbolic invitation to repentance, truth, and happiness. To this hymn's author, it was also a literal invitation to forsake the temptations and errors of the world and join the Saints of the latter days...." Karen Lynn Davidson. This setting creates the yearning invitation of our current text, being used effectively as an accompaniment for unison singing.
#9 Come, Rejoice
"Come, Rejoice" is a Christ-centered celebration of the restoration of the gospel. Jesus has spoken again in the latter days to gladden the hearts of his followers and gather them to him." Karen Lynn Davidson
The four-part version here is taken from the 1950 hymnal and expanded with harmonic and melodic movement at the phrase endings and a pedal point on the third line.
#8 Awake and Arise
"...In this hymn, the gospel has burst forth 'like a dawn,' and those who will awaken to [its] light can leave forever the hopelessness and torpor of their long slumber" Karen Lynn Davidson. The gospel message carries with it the promise of hope and salvation for all.
#13 An Angel from on High
"'An Angel from on High' belongs distinctively to the hymnology of The Church of Jesus Christ of Latter-day Saints. It is a song of the Restoration---a revelation of a divine truth...." George D. Pyper in Stories of Latter-day Saint Hymns
Written at the request of an organist friend, this hymnbellishment will elevate the singing of the final verse. Please consider singing all five verses!
#14 Sweet Is the Peace the Gospel Brings
"Latter-day Saints understand the truth of this hymn's message. Without hesitation we welcome a hymn that exalts reason, thoughtful seeking, and the role of human beings in the divine plan; we have total trust in the intellectual completeness as well as the spiritual completeness of the gospel.... CACHE first appeared in Hymns (1948); the text has been part of Latter-day Saint tradition since it was first printed in the Millennial Star in 1852" Karen Lynn Davidson.
This two-page setting provides assorted components to facilitate singing all seven verses: an introduction, the complete hymn, four varied verse endings with optional interludes, and an embellishment with coda for the final verse!
#19 We Thank Thee, O God, for a Prophet
"It cannot be called the greatest hymn ever written.... In fact, it does not compare in literary merit or poetic beauty with many of the other gems contained in our hymn books; but...it is exclusively a Latter-day Saint hymn; a Mormon heart-throb; a song of the Restoration" George D. Pyper.
This is a reharmonization for unison singing on the last verse. The organist may play the last two lines as an "interlude" as a way of slowing down the tempo in preparation for a broader, more deliberate tempo for the last verse.
#21 Come, Listen to a Prophet's Voice
This little hymnbellishment can be used at the end of the introduction for a more interesting harmony to the otherwise mundane repeated notes. Also use it at the end of the fourth verse for the same reason and to end the hymn with a feeling of completion and resolve.
#25 Now We'll Sing with One Accord
The events referred to in this hymn---the restoration of the gospel, the receiving of the priesthood, and the translation of the Book of Mormon---honor the Prophet Joseph Smith.
This accompaniment was written to commemorate the 200th anniversary of the Prophet's First Vision in the spring of 1820.
#26 Joseph Smith's First Prayer
This hymn depicts the First Vision of the Prophet Joseph Smith. It provides the essential facts of the moving account of the events leading up to and including the vision of the Father and the Son.
This setting can be used as an introduction and/or an accompaniment to the singing of the hymn, being especially effective on the final verse to provide an audible impression of the remarkable words spoken by the Father: "Joseph, this is my Beloved; hear Him."
#27 Praise to the Man
"Soon after the death of the Prophet Joseph Smith, William W. Phelps, in an expression of grief and admiration for his close associate who had been so cruelly martyred, wrote "Praise to the Man." The words he penned as a personal tribute reflect the feelings of millions of Saints" Karen Lynn Davidson.
This setting provides an introduction, interlude, and final-verse accompaniment, which allows for four-part singing and the option of soloing out the tenor line, preferably on a bright reed combination. The introduction mimics the sound of Scottish bagpipes.
#30 Come, Come, Ye Saints
"In the minds of many members of the Church, 'Come, Come, Ye Saints' is the hymn that more than any other connotes the heritage and spirit of The Church of Jesus christ of Latter-day Saints. The unforgettable words of this hymn allow us to pay tribute to the unflinching courage of the early Saints and to relate that commitment to our own lives (Karen Lyn Davidson).
Use this setting for the final verse with a subdued registration for the first seven and a half bars. After the fermata, use full organ to reflect the confident and assuring "All is well! All is well!"
#36 They, the Builders of the Nation
"This hymn highlights the role of the pioneers as an example and a model for those who followed them. Their deeds not only tamed the wilderness and built cities but also provided 'stepping-stones for generations,' a path for their children and grandchildren to admire and follow..." Karen Lynn Davidson
Simple, yet effective. Useful as a final verse accompaniment, sung in unison. If the organist plays from the hymnal and then reverts to the hymnbellishment on the third line, it can be sung in harmony.
#35 For the Strength of the Hills
The appeal of "For the Strength of the Hills" is great and much beloved by congregations throughout the Church. This hymn reflects the Saints' gratitude for their regfuge from persecution; it speaks of their faith in the guiding hand of a watchful and protective Father.
Accompany the congregation with full organ for a powerful and exuberant final verse.
#31 O God, Our Help in Ages Past
"No hymn stands as a greater monument to the genius of Isaac Watts than this one. It is as meaningful for occasions of sorrow as for occasions of rejoicing. It is almost impossible to think of Isaac Watts' words without William Croft's appropriately vigorous tune" Karen Lynn Davidson.
This setting provides a powerful accompaniment for the last verse, with its low, moving pedal line and the melody doubled in the left hand chords. Use an 8' Reed in the chorus registration to encourage the bass voices to sing the melody.
#41 Let Zion in Her Beauty Rise
This setting can be used with good effect for the last verse of the hymn. The five unison notes at the beginning of the first, second, and fourth lines are harmonized, and the pedal point on the third line creates a sense of urgency to return to the tonic. All in all it will elevate the message and edify the singers as they sing this glorious hymn.
#43 Zion Stands with Hills Surrounded
Members of The Church of Jesus Christ of Latter-day Saints love this hymn and its promise of safety and security in "Zion, kept by power divine." The text, written by a man who probably never heard of the Church during his lifetime, is completely in tune with Latter-day Saint feelings. Play this hymn at a dignified tempo, using lush foundational stops 8' and 4'. The thick, five-part harmonies of this setting create a full and pleasing sound.
#44 Beautiful Zion, Built Above
In collaboration with Rebecca Brand, we have created an accompaniment for the final verse of this very singable and well-loved gospel-style hymn. It can be used with good effect to elevate the message and edify the congregation.
#58 Come, Ye Children of the Lord
Considered by many to be of highest exaltation and musical worship, this hymn contemplates the events of the Savior's second coming and the anticipation of that day when we will shout and sing in celebration of the time of love and beauty, when earth is cleansed from sin.
This setting is to be used as a last-verse accompaniment with full organ.
#59 Come, O Thou King of Kings
This vigorous millennial hymn text by Parley P. Pratt is a fervent cry to the God of Israel to come and set His people free. No doubt written during a time of great trials for the early Saints, it looked to the day when all the ransomed throng would join in singing a new triumphant song, filling the heavens with anthems from Zion's Hill.
With the steady stepwise motion of the pedal and the added harmonic and rhythmic movement between the phrases, this setting can give the last verse an edifying lift.
#60 Battle Hymn of the Republic
The words to this famous hymn link patriotic heroism with the heroism of our Savior and Redeemer, Jesus Christ. It points toward a jubilant millennial return of the Lord.
Use this joyful hymnbellishment as an accompaniment to the singing of the second verse ("He has sounded forth the trumpet that shall never call retreat") and the last chorus—resolutely!
#62 All Creatures of Our God and King
This magnificent hymn should be led with close adherence to the tempo suggestions, allowing the congregation adequate breath to sing the phrases exultantly, particularly the last "Alleluia!"
This final-verse setting will add depth and gravity to unison or part singing. An introduction is also provided.
#66 Rejoice, the Lord Is King!
Described by J. Spencer Cornwall as "heroic in character and . . . sequentially climactic" in melody and text, this hymn is an exultant celebration of the Savior's many names and attributes: Lord, King, Savior, Christ, and "the God of truth and love"!
This setting provides a harmonic background to the three small sections that are solely unison, and features long, low pedal points, which emphasize the triumphant text: "His kingdom cannot fail."
#67 Glory to God on High
This dignified hymn unites the praises of heaven and earth. It is a simple poetic adaptation of Revelation 5:9-13, wherein John the Revelator sees and hears "a new song:" Worthy is the Lamb that was slain to receive power, and riches, and wisdom, and strength, and honour, and glory, and blessing. Use the hymnbellishment as a joyful introduction or accompaniment for the final verse. The tune name, ITALIAN HYMN, honors the nationality of the composer. First published in 1761, the tune is included in most Christian hymnals. It is perfect for the Easter season!
#68 A Mighty Fortress Is Our God
"This beloved and historic hymn arose out of the struggle of the Protestant Reformation.... It takes its inspiration from Psalm 46, which begins, 'God is our refuge and strength, a very present help in trouble.'...Its popularity extends throughout the Christian world" Karen Lynn Davidson.
Use this setting as the introduction and/or an accompaniment for the singing of the hymn. It would also make a stately postlude.
#69 All Glory, Laud, and Honor
This stately hymn is more than eleven hundred years old. Theodulph, bishop of Orleans, wrote the hymn in 820 A.D. to be used as a processional hymn on Palm Sunday, the Sunday before Easter, when many denominations celebrate Christ's triumphal entry into Jerusalem.
#72 Praise to the Lord, the Almighty
This hymn's purpose is to praise the Lord for his many blessings, too numerous and too great to name or describe adequately. The spirit and imagery of the psalms permeate this hymn text.
For best effect, use this stately setting to accompany the singing of the last verse, with the congregation singing the melody in unison.
#78 God of Our Fathers, Whose Almighty Hand
This stirring hymn praises the majesty of God and addresses Him in mighty prayer, pleading for His guidance and protection in preserving our nation. The text expresses patriotic feelings, but is appropriate for any occasion. The fourth verse, which is not printed in the Latter-day Saint hymnal, states:
Refresh thy people on their toilsome way,
Lead us from night to never-ending day;
Fill all our lives with love and grace divine,
And glory, laud, and praise be ever thine.
The opening fanfare is dramatically reharmonized, and, when sung with the omitted fourth verse, the marching bass line suggests a people being led and refreshed "on their toilsome way," reminiscent of the Pioneers. Singers can comfortably sing the four-part harmonies in the hymnal.
#81 Press Forward, Saints
"The optimism and encouragement of this hymn text are complemented by the tune's brisk tempo and emphatic melody line. The opening musical phrases in lines one and three are almost like a fanfare, and the alleluias in line four have a bold, refreshing sound that leads to a joyful expression of praise to the Lord (Karen Lynn Davidson).
Use this arrangement for the final verse with full organ and a supporting 8' reed in the pedal.
#85 How Firm a Foundation
The words of this bold, vigorous hymn express our absolute faith in the saving and protecting power of Jesus Christ. The text is unique in that the 3rd, 4th, 5th, and 6th verses speak as from the the Lord to his followers. The 1st, 2nd, and 7th verses speak as from a narrator, or one who is very firm in their faith of the Savior. Thus, this setting presents varied options for singing all seven verses.
The audio recording demonstrates the introduction and the third, fourth, fifth and seventh verses with interludes. Watch for the altered syllable placements in the 2nd, 5th, and 6th verses. Note the suggested tempo range with two beats per measure and the broadening of the 7th verse in four beats.
#86 How Great Thou Art
This hymn was popularized by Billy Graham in his tours of Britain and North America in the 1950s. By 1974 it had become, according to a poll among readers of the Christian Herald magazine, the most popular hymn in America. In 1985 it appeared in Hymns of The Church of Jesus Christ of Latter-day Saints.
Whenever I sang or played "How Great Thou Art" in a church service, I always felt it needed more movement in the accompaniment. Thus, this version for organ was born when it was chosen as a congregational hymn in a funeral for which I was asked to play.
I've also included a bonus setting in the download to use as an optional introduction or an alternate version for the refrain.
#87 God Is Love
This hymn's message is that the earth and its beauties and joys are a constant reminder of the goodness and love of the Creator. "The voice of His creations declares His divinity.... If [mankind] fails to converse with their Creator in plain words, at least they are obligated to hear the voice of Nature, which is also the voice of God" (Bruce R. McConkie).
This hymnbellishment is intended for accompanying congregational singing on the final verse. Beginning on the third staff the organ rises above the melody, so a strong director or choir should lead the way.
#89 The Lord Is My Light
"I've never liked this hymn," was a student's comment at a lesson to prepare this hymn for a sacrament service on the upcoming Sunday. I agreed that the value of "The Lord Is My Light" depends more on the significance of its message than on its musical worth. However, when the verses are sung at a slightly slower tempo to allow for all of the words to be sung comfortably, and then when the chorus's tempo is faster, it is much more enjoyable to sing! After I explained the tempo suggestions and wrote this hymnbellishment for her to use in the service, she admitted, "You're going to make me like this hymn now, aren't you?!"
#92 For the Beauty of the Earth
This joyful hymn recalls to our minds the importance of being aware of the simple beauties of nature, family, and friendship. While naming many sources of joy, it gives us an opportunity to renew our appreciation for our blessings and to offer thanks to the Lord at the end of each verse.
This hymnbellishment provides an exuberant introduction to the singing of the hymn and an exciting accompaniment for the final verse.
#93 Prayer of Thanksgiving
In America, "Prayer of Thanksgiving" (often known by its first line, "We gather together to ask the Lord's blessing") is a traditional Thanksgiving hymn. The tune, a Dutch folk melody, takes its name from a Viennese choirmaster named Edward Kremser, who published the melody in a collection of Dutch folk songs that he had arranged for male chorus. Karen Lynn Davidson
For congregational singing, use a bright, full chorus registration with a reed added to the pedal.
#94 Come, Ye Thankful People
During the Thanksgiving holiday season, the time when this hymn is usually sung, we reflect thoughtfully and joyfully upon our blessings. This hymn gives us an opportunity to recognize and praise the generous goodness of our Heavenly Father.
Again, as in hymn #93, use a bright, full chorus registration with a reed in the pedal for optimum effect in congregational singing.
#95 Now Thank We All Our God
This stately and moving hymn has been incorporated by Johann Sebastian Bach and other composers into their works. The tune name comes from the first line of the original German text: "Nun danket alle Gott." In addition to its use at Thanksgiving, the hymn is also used in many countries to mark important national occasions and celebrations.
The setting presented here is intended for accompaniment to the singing of the hymn in unison. It would also make a dignified postlude.
#96 Dearest Children, God Is Near You
"This hymn directed at children has a message for all who seek to do right: Blessings, happiness, and the instructive companionship of the Holy Ghost come through doing what is right. The final words of verse two could be a motto for all, young and old alike: "Cherish virtue! God will bless the pure in heart" Karen Lynn Davidson.
This "warm, fuzzy" setting is perfect as an introduction, last-verse accompaniment, and/or a fervent postlude at the end of a meeting.
#98 I Need Thee Every Hour
"This hymn strikes a meaningful chord among Latter-day Saints in its humble pleading for the constant presence of the Savior. In this hymn we petition Him repeatedly to be with us, not just in times of trial nor just on special spiritual occasions, but every hour" Karen Lynn Davidson.
This setting can be played ensemble style (both hands on the same manual) for every verse. The harmonies fit nicely with four-part singing. On the last verse the tenor line may be soloed out at pitch or an octave higher, depending on the solo registration that is chosen.
#100 Nearer, My God, to Thee
"More than one-third of the words of this hymn consist of a repeated phrase of longing, stated in the title.... It is an emotional outpouring of a desire to be more closely united with the Father and His angelic hosts in both life and death (Karen Lynn Davidson). Much of the imagery in the text can be better understood by recalling the story of Jacob's dream-vision, as related in Genesis 28:10-22.
Use the first four measures and the last four measures as the hymn introduction, and play it in its entirety for the singing of the third verse.
#101 Guide Me to Thee
"As followers of Jesus Christ, we pray that we may be led, day by day, nearer to the presence of our Savior. The repeated supplications in this hymn, 'Guide me to Thee,' are a prayer we would do well to carry constantly in our hearts." Karen Lynn Davidson
#103 Precious Savior, Dear Redeemer
This hymn is especially powerful as an opening hymn in a worship service or as an invocation of the Spirit in a family or personal setting. The gentle, triple meter entreats calmness and serenity. The dotted rhythm should be slightly "relaxed" to aid in singing the peaceful prayer.
The setting here is for a second verse accompaniment in hymn singing or as a contrasting texture in a prelude.
#106 God Speed the Right
Use this hymnbellishment as a last-verse accompaniment for unison singing to emphasize the steady, rhythmic tune and to express the patience, firmness, and perseverance that are ours as this hymn is sung. The unison voicing of the original is harmonized for strong effect. Use full organ with a 16' reed in the pedal. Enjoy!
#109 The Lord My Pasture Will Prepare
The soothing melody, dating from 1825, provides a peaceful setting for the poetic grace in the lovely lines of this hymn. Part or all of this arrangement can be used as the introduction and/or as the accompaniment to the final verse.
#113 Our Savior's Love
"The culmination of this quiet and elegant hymn is a reverent prayer to the Father. Verses one and two, as they unfold toward that prayer, speak of the gentle warmth of the Savior's guiding love and of the Holy Spirit's 'voice of goodnes'" Karen Lynn Davidson.
This is a lush setting of an already lush hymn. Enjoy it as a prelude, voluntary, hymn introduction, or accompaniment for the final verse. As a bonus, the download includes a version that modulates a whole step lower for more comfortable unison singing.
#116 Come, Follow Me
This Christ-centered hymn is a favorite of most Latter-day Saints. Its message is unique: If we emulate the Savior in this earthly life, we will have the opportunity to continue on the path of discipleship and acquire even more of His attributes in the life to come. If verse five is omitted, this thought is not complete. Verse six itemizes the gifts and blessings of obeying His words, "Come, follow me." Use this hymnbellishment to emphasize the grandeur of the final verse.
#117 Come unto Jesus
Jesus's invitation, "Come unto me," includes everyone who is burdened with cares or oppressed by sin. He made it open and free for all: the weak, the fearful, the hesitant. He beckons to those from every nation and isle, to the high and lowly in station. Ever he calls, "Come to me"!
This pastorale setting is useful as an introduction to the singing of the hymn, an accompaniment to one of the verses, or as an organ voluntary during the worship service.
#124 Be Still, My Soul
This hymn candidly acknowledges the presence of grief and pain in human lives. The text is woven together in a creative and remarkable way by the author to include a series of scriptural themes and references to biblical events, thereby confirming that we can overcome temporary discouragement and look to a future in serenity of "purest joys restored." The tune, FINLANDIA, is named for the tone poem by Jean Sibelius from which the melody is taken.
#125 How Gentle God's Commands
"Those who obey the Lord find their load lighter, not heavier. This is the paradox of obedience: If we seek obedience rather than happiness, the result is happiness after all" Karen Lynn Davidson. "The undulating flowing melody of this tune is beautifully in harmony with the text, although the two were not associated when the composition was written" J. Spencer Cornwall.
This setting with the right hand played an octave lower is for verse three: "Why should this anxious load / Press down your weary mind...?" It can also be played with the right hand at pitch for the optimistic fourth verse.
#128 When Faith Endures
This hymn is a confident statement of having explicite trust in God and the assurance of His blessings.
This setting of "When Faith Endures" is intended as a through-played introduction to the singing of the one and only verse. It can also be used as an organ postlude after just having sung the hymn at the closing of a meeting.
#129 Where Can I Turn for Peace?
"The honest and touching words of this hymn can help in difficult moments---first, because they help us realize that all men and women experience such moments, and second, because they remind us of the ultimate source of comfort and solace." Karen Lynn Davidson
Written for a stake conference adult session, this hymnbellishment (or part of it) may be used to introduce the hymn, or, in its entirety, to accompany the last verse.
#130 Be Thou Humble
"The music and words of this tranquil hymn communicate beautifully the peace that comes with humble dependence on the Lord" (Karen Lynn Davidson). The promised blessings? Answered prayers, peace of mind, joy in service, and, ultimately, our return to our Father in heaven.
Use this hymnbellishment as the introduction to the singing of the hymn, an accompaniment for the singing of the second verse, or as part of a prelude or postlude.
#131 More Holiness Give Me
Philip Paul Bliss was a popular writer of gospel songs. Several of his hymns have been included in various Latter-day Saint collections. The hymn text reviews Christian qualities of character of which the Savior himself is the source and example of these virtues. as indicated in the final line of the hymn: "More, Savior, like thee."
The setting here may be used as an organ voluntary or introduction to the hymn. It may also be used to accompany any of the verses without the singers needing to sing the melody in unison. The organist may solo out the tenor line in a higher register for good effect.
#132 God Is in His Holy Temple
"Know ye not that ye are the temple of God, and that the Spirit of God dwelleth in you? If any man defile the temple of God, him shall God destroy; for the the temple of God is holy, which temple ye are." 1 Corinthians 3:16-17
#133 Father in Heaven
This is an excellent hymn of prayer for peace. It is especially powerful for patriotic occasions, with its third verse:
God of our fathers, strengthen ev'ry nation
In thy great peace where only is salvation.
So may the world its future spread before thee, Thus to adore thee.
A student requested this hymnbellishment, saying that she heard in her mind a walking pedal line, which provided the perfect setting for an exultant accompaniment for the last verse.
#134 I Believe in Christ
The words of this hymn are the words of a servant of the Lord who spent his life speaking and writing about the Savior. The text is a grand and sweeping testimony of Jesus Christ. This powerful setting perfectly emphasizes the uplifting and positive nature of the words for the last verse. Select a full pleno registration, including mixtures, with a 16' reed added in the pedal.
#135 My Redeemer Lives
"In the most unequivocal language, this hymn declares the divinity and mission of Jesus Christ. The images of light, faith, and security that are used so effectively in the text are familiar to every Latter-day Saint" Karen Lynn Davidson.
This setting features a fanfare-like introduction to emphasize the declaration of the first phrase, "I know that my Redeemer lives"! The motivic phrases, which follow, require the music director to gesture a clear preparatory beat and entrance for the singers, as the organ introduction does not end with a "perfect cadence." The first verse should be sung in unison with this arrangement, and the proceeding verses may be sung in four-part harmony with the organ playing the same harmonies from the hymnal.
#136 I Know That My Redeemer Lives
"To hear this loved song rendered by an assembly of devoted Latter-day Saints is a spiritual baptism. It becomes a mass-testimony of many of the truths of the restored Gospel of Jesus Christ" George D. Pyper.
Use this hymnbellishment on the last verse with a strong organ registration to heighten the emotion and power of this hymn.
#137 Testimony
"A testimony meeting was the inspiration for the words of this hymn. In the early 1970s, Elder Loren C. Dunn...attended a seminar where those in attendance bore such powerful testimonies that he was moved to jot down some lines of poetry before the meeting had finished. [These] lines...became the first verse...[and] the rest of the poem came later" Karen Lynn Davidson. When Elder Dunn shared his poem with Michael Moody, they discussed the possibility of a musical setting. Text and tune were first published together in Hymns, 1985.
#139 In Fasting We Approach Thee
Former Tabernacle organist Clay Christiansen shares his feelings about creating this hymn tune: "Fasting is an act of humility done without show or fanfare. Such is the tune: humble, simple, without show or fanfare, but hopefully strong."
The setting here is useful in worship services as a reverent offertory or as a solemn introduction to the singing of the hymn.
#138 Bless Our Fast, We Pray
Within the space of three short verses, this perceptive hymn deals with three different aspects of the law of the fast: prayer, offerings, and testimonies. It expresses the feelings and experiences of a meaningful fast.
Use this arrangement to introduce the hymn and/or accompany the singing of one of the verses.
#140 Did You Think to Pray?
"Most of us know from experience that even a few moments devoted to prayer in the morning can change our outlook for the better throughout the day. The greater the demands of the day, the greater seems to be our need for a private communication with the Lord. This hymn's message is a reminder of this important truth" Karen Lynn Davidson.
The setting here was written in the late 70's and may well be the first hymnbellishment I ever wrote! It is useful as an accompaniment for unison singing with a choir or congregation or as an organ prelude or offertory.
#143 Let the Holy Spirit Guide
Within the three short verses of this hymn we are taught a complete overview of the role of the Spirit: He will guide us, enlighten us, testify of Christ, protect us, and comfort us.
The arranger often hears this hymn sung too fast, considering the nature of the text. Refer to the metronomic suggestions for a proper tempo range. Use this setting in its entirety as an introduction and/or accompaniment to the second or third verse. Select a combination of "foundational" stops to create a feeling of being wrapped in the warm embrace of the Holy Spirit.
#144 Secret Prayer
The words and music of this hymn were written by Hans Henry Petersen while he was director of the Hyrum (Utah) Stake choir around the turn of the century. He wished to make vivid the problems and difficulties of life that can be solved by prayer.
This setting is useful as a last-verse accompaniment for congregational singing or as part of a prelude before the service begins.
#145 Prayer Is the Soul's Sincere Desire FUGHETTA
This hymn is "a collection of beautiful metaphors that describe prayer: hidden fire, a sigh, a falling tear, an upward glance, vital breath. The plain prose of the first line is as good a definition of prayer as one can find in short compass" (Albert Edward Bailey). It has the distinction of being the only hymn in the 1985 hymnal with eight numbered verses, the most of any other hymn.
It is presented here as a fughetta, "a short fugue with exposition plus only a few restatements of the subject." It is useful in worship services as a reverent offertory or as a solemn introduction to the singing of the hymn.
#146 Gently Raise the Sacred Strain
This hymn is known to millions as the hymn that begins each weekly broadcast of the Tabernacle Choir at Temple Square. It expresses gratitude for the return of the day of rest and its attendant blessings; it sings of repentance and forgiveness. It also qualifies as a sacrament hymn, as it refers to the emblems of the sacrament.
#147 Sweet Is the Work
"It is a good thing to give thanks unto the Lord, and to sing praises unto thy name, O most High: To show forth thy lovingkindness in the morning, and thy faithfulness every night" Psalm 92:1-2.
This hymnbellishment could be used effectively as a last-verse accompaniment for congregational singing. The singers may sing the four-part harmonization with this setting.
#149 As the Dew from Heaven Distilling
The familiar strains of this hymn tune are played by the organist for the traditional close of the Tabernacle Choir's weekly broadcast. Latter-day Saints as well as untold numbers of radio listeners and television viewers have come to love this peaceful, tender melody by former Tabernacle organist Joseph J. Daynes.
This setting for organ can be used in many various ways in a worship service and by temple organist service missionaries.
#150 O Thou Kind and Gracious Father FUGHETTA
"O Thou Kind and Gracious Father" is presented here as a fughetta, "a short fugue with exposition plus only a few restatements of the subject." It is useful in worship services as a reverent offertory or as a solemn introduction to the singing of the hymn.
#151 We Meet, Dear Lord FUGHETTA
"We Meet, Dear Lord" is presented here as a fughetta, "a short fugue with exposition plus only a few restatements of the subject." It is useful in worship services as a reverent offertory or as a solemn introduction to the singing of the hymn.
#152 God Be with You Till We Meet Again
The lush setting of this favorite hymn for partings provides a sentimental introduction to the singing of the hymn and/or an accompaniment to the singing of the final verse. The chorus changes the meaning from a single good-bye to a farewell "till we meet" in heaven. But it is still sung at many missionary departure meetings with the anticipation of an eventual reunion in this life.
#153 Lord, We Ask Thee Ere We Part
J. Spencer Cornwall called this hymn "well written, dignified, and enticingly singable." It is a prayer of benediction, asking that the teachings of the day take root in each member of the congregation so that all may grow in obedience, service, and holiness. Karen Lynn Davidson
Use this hymnbellishment to provide a prayerful yet powerful conclusion to the singing of this hymn.
#155 We Have Partaken of Thy Love
This beautiful closing hymn is a prayer of gratitude for the blessings of sacrament meeting: the partaking of the sacrament, the commitment to live a better life, and the chance to feel restored and renewed after a challenging week. The simple, resolute hymn tune, with its reiteration of the final phrase, is a fine companion to the text.
#157 Thy Spirit, Lord, Has Stirred Our Souls
"This hymn is intended to be a grateful closing hymn after a rich outpouring of the 'glowing power' of the Lord has moved the souls of the listeners and filled them with new determination to carry on, or newborn resolutions to do better." J. Spencer Cornwall
Schreiner's masterful melody is an example of motivic unity—short melodic fragments repeated and altered. Both text and tune are elevated in structure and tone. It is a well-loved hymn among the saints.
#158 Before Thee, Lord, I Bow My Head
This hymn was originally included in the "choir" section of the 1950 hymnal, probably because of it's unique tenor/bass "answering measures," but it was quite popular with congregations as well. Use this setting as part of a prelude or postlude or to accompany the second verse for the singing of the hymn. It is especially effective if the melody is played an octave lower with a distinctive combination of stops. If you wish, you may tie the first two bass quarter notes in each measure.
#163 Lord, Dismiss Us with Thy Blessing
The lovely text of this hymn is a verbal prayer, offering thanks and adoration for the "joyful sound" of the gospel in our lives. The text may be better appreciated when sung to an alternate tune such as #172 "In Humility, Our Savior," HYFRYDOL. The present tune is often criticized as "too simple" and "folkish." I suggest that the congregation be encouraged to sing the melody on both verses and that the organist play this hymnbellishment for both verses, brightening the registration for the second verse.
#166 Abide with Me!
One of the masterpieces of Christian hymn tradition, "Abide with Me!" is sometimes thought of as a hymn about the close of day; it is actually about the close of life. It is a prayer for the Lord's presence at the moment of trial, particularly at the moment of death. It is also an affirmation of belief in an afterlife and in the Lord's power to sustain and bless. Karen Lynn Davidson
With its swiftly moving eighth notes in the first measure of the second verse, this rendition expresses the sentiment, "Swift to its close ebbs out life's little day." The ensuing long phrases are connected by gentle passing and neighboring tones to encourage singers to express complete thoughts. For the third verse, the organist may play the soprano and alto parts an octave lower with the right hand on a prominent manual using the traditional voicing from the hymnal.
#169 As Now We Take the Sacrament
This hymn, with its references to forgiveness, grace, service, and gratitude, gives meaningful form to our thoughts as we prepare to partake of the sacrament.
When Daniel Carter heard a congregation sing the hymn for the first time, before the meeting he had a sudden feeling of self-doubt when he saw it listed on the program. "But," he reported, "as the hymn was sung, I was overcome with peace, and I felt the same things I felt the night it was composed. There was no doubt whether the hymn was good enough to sing, because I felt it came from the Lord."
#170 God, Our Father, Hear Us Pray
This simple yet graceful prayer hymn requests the Lord's grace and approval as we partake of the emblems of the sacrament. Annie Pinnock Malin's poignant text asks for the Father's smile to shine upon us, for His spirit to linger near, for our faults to be pardoned, and for a blessing on our daily efforts.
This setting, if played in its entirety, will be successful as an introduction to the singing of the hymn or as an offertory after the singing while the bread is finished being broken.
NOTE: If playing this on manuals with no pedal, play the tenor "Bs" in measures 2 and 10 with the right hand; don't omit them!
#171 With Humble Heart
"With Humble Heart" is a reminder that the Sacrament of the Lord's Supper offers opportunities for spiritual renewal and growth "to be like Thee."
This setting provides a thoughtful introduction to the singing of the hymn, an accompaniment to unison singing, or a prayerful organ voluntary. An optional version has been added to the PDF download that includes an introduction, accompaniment for part of verse three, and a complete revised accompaniment for verse four.
#172 In Humility, Our Savior
"This reverent hymn emphasizes both the blessings and duties of the covenant of the sacrament. In the form of a prayer, the hymn asks the Lord to bless us with sincere devotion and remembrance. It is also a gentle reminder that the Savior's sacrifice should call forth forgiveness and tolerance among his children" Karen Lynn Davidson.
This setting can be used effectively as a long introduction to the singing of the hymn, an accompaniment for the last verse, and as an offertory while the emblems of the sacrament are finished being prepared.
Chorus-Style Version
#173 While of These Emblems We Partake
SAUL
"The words are outstanding in poetic beauty. The contemplation of such thoughts is a religious duty asked of Latter-day Saints at the time of partaking of the emblems of the Lord's supper" J. Spencer Cornwall.
Refer to the text in the hymnal and note the comma after "grave" at the end of the third verse. The sentence continues through to the fourth verse, assuring that it is "man" who will "rise triumphant from the tomb...freed from the power of death and pain, with Christ, the Lord, to rule and reign!"
Two versions are offered here: the first in chorale style and the second in solo style, making either of them a solemn organ introduction to the singing of the hymn or an offertory while the emblems of the sacrament are finished being prepared.
Solo-Style Version
#174 While of These Emblems We Partake AEOLIAN
This hymnbellishment offers a solemn accompaniment for the second verse. The right hand plays an octave lower on the prominent manual, and the left hand plays the "tenor" on a solo manual. When played in this fashion, the setting depicts the dark phrases in the second verse: "the blood of Christ was shed," "for us on Calvary's cross He bled," "the awful gloom," and doom that creation would have brought without the Atonement of the Savior.
#175 O God, the Eternal Father
The tune of this worshipful hymn is the beautiful Mendelssohn melody, which was originally the setting for a poem titled "Farewell to the Forest."
This setting makes a reverent introduction to the singing of the hymn or can be played to accompany the singing of the last verse.
#176 'Tis Sweet to Sing the Matchless Love MEREDITH
Fughetta
This hymn honors the holy sacrifice that we commemorate through the sacrament each week, but it also gives thanks for the ceremony of the sacrament itself: "Oh, blessed hour! communion sweet!"
It is presented here as a fughetta, "a short fugue with exposition plus only a few restatements of the subject." It is useful in worship services as a reverent offertory or as a solemn introduction to the singing of the hymn.
#177 'Tis Sweet to Sing the Matchless Love (HANCOCK)
This hymn honors the holy sacrifice that we commemorate through the sacrament each week, but it also gives thanks for the ceremony of the sacrament itself: "Oh, blessed hour! communion sweet!" Two tunes are offered in the 1985 Latter-day Saint hymnal. This tune, because of its gospel-song energy, has great appeal.
This setting features undulating counter-melodies in the alto and tenor lines that are created by using mostly whole-step neighboring and passing tones, thus allowing the singers to sing the four voice parts presented in the hymnal. The short, one-measure appearance of unison notes in the chorus are also harmonized for heightened effect.
#178 O Lord of Hosts
"The Savior's example of compassion and forgiveness should be ever in our minds, to help us live with one another in love and union. Particularly, as we prepare to take the sacrament, as we ask theLord to cleanse our hearts and prepare our minds, we should feel at one with our brothers and sisters. Such is the message of this peaceful, elegant sacrament hymn" Karen Lynn Davidson.
This setting provides three versions, which enable the organist (if he or she so desires) to play a simple accompaniment for the brief soprano/alto duet; to feature a tenor "solo" in the fourth verse; and to express the "union...and perfect harmony" indicated in the text of the fifth verse. In March 2021 a canonic introduction was added to the download.
#179 Again, Our Dear Redeeming Lord
"A person in a truly penitent and worshipful frame of mind will find this hymn a beautiful reflection of his or her feelings in preparation to partake of the sacrament" Karen Lynn Davidson.
Although dubbed as "not the easiest of sacrament hymns," this organist has found that playing the complete hymn for the introduction provides the necessary exposure to the tune for the congregation to sing it successfully. Use this hymnbellishment for a voluntary-like introduction and to accompany the last verse. The undulating neighboring tones allow four-part singing.
#180 Father in Heaven, We Do Believe
This lovely hymn was first written as a baptismal hymn, but, with some alteration, was included in the 1985 HYMNS of The Church of Jesus Christ of Latter-day Saints as a new sacrament hymn. In it we confidently pledge our worthiness to partake of the emblems of the Lord. It can be used effectively as an introduction or accompaniment to one of the verses.
#181 Jesus of Nazareth, Savior and King
This setting can enhance the worshiper's thoughts and emotions before and during the singing of this sacramental hymn. Use it as an introduction or as a last-verse accompaniment to encourage sacred meditation. The gently moving quarter notes at phrase endings direct the singers onward and encourage them to exert more energy for the longer notes.
#182 We'll Sing All Hail to Jesus' Name
FUGHETTA
Karen Lynn Davidson attributes this hymn as one that "perhaps more beautifully than any other sacrament hymn..., focuses on the Savior's triumph over sin and death." This hymn affords its singers the opportunity to offer praises for the Atonement.
This "fughetta" setting is useful in worship services as a reverent offertory or as a solemn introduction to the singing of the hymn. A melodic fragment, heard alone, may make a particular impression, but when it is heard simultaneously with other melodic ideas or combined in unexpected ways with itself, as in a canon or fugue, surprising new facets of meaning are revealed to the listener as more profound than a merely pleasing melody.
#183 In Remembrance of Thy Suffering
In the words of J. Spencer Cornwall, "Evan Stephens shows his ability as a poet in this very lovely sacramental hymn. The rhythmical flow of the music...induced by the ever-recurring triplets, makes it a likable song to sing as well as to hear."
This setting features a solo tenor line that can be played on a separate manual with a prominent 8-foot solo combination. It is also effective played on one manual in chorus style. Use a slightly brighter registration to emphasize the third-verse text, "When Thou comest in Thy glory to this earth to rule and reign...."
#184 Upon the Cross of Calvary FUGHETTA
Because this hymn is short and only contains three verses, this "fughetta" setting is useful as a solemn introduction to the singing of the hymn and a reverent offertory after its conclusion while the sacramental bread is finished being broken.
#185 Reverently and Meekly Now
It is the point of view of this hymn that is both startling and effective. Instead of our petitioning the Lord, He is pleading with us to remember His sacrifice, to be prayerful, and to be peaceable and forgiving toward one another.
Part of this setting could be played as an introduction or as an accompaniment to one of the verses. It would also be effective as a prelude or postlude to the service.
#186 Again We Meet Around the Board
This meditative sacrament hymn culminates with a solemn prayer, petitioning that we may realize the complete significance of the Savior's gift of sacrifice. A full harmonization accompanies the lyrical four-measure soprano and alto duet in this setting.
#187 God Loved Us, So He Sent His Son
Karen Lynn Davidson writes: "If we had only the first line of this hymn, we would have an eloquent sermon on the meaning of the sacrament and the Atonement." The text focuses on the Savior's missions of atonement, teaching, and showing by example. It emphasizes our responsibility to repay God's abiding love through bending our will to His.
This is a chorale-style hymn. The fermatas indicate the ending of each phrase; they do not necessarily mean to hold "at will." A full beat on each half note, followed by another full beat for a breath, is sufficient. Directors would do well to conduct each fermata measure in the three-beat pattern.
#188 Thy Will, O Lord, Be Done
This hymn offers a uniquely Latter-day Saint perspective on the Savior's sacrifice, focusing on the premortal selection of Jesus for this role. J. Spencer Cornwall said of this hymn: "What a field for contemplation is opened here for heart and mind to enter while the sacred emblems of the body and blood of the Sinless One are being [prepared]!" The words spoken by the Savior, "Thy will, O Lord, be done," conclude each verse of this hymn. As we contemplate the Savior's sacrifice and prepare ourselves to partake the bread and water that are its symbol, His words become our words (Davidson).
#189 O Thou, Before the World Began
The earthly mission of Jesus Christ was part of an eternal plan, established before our earth was created, to ensure the resurrection and redemption of mankind. This belief is central to the restored gospel's perception of the Savior's sacrifice, which continues anew; it is efficacious for all time.
This is a sacramental hymn and should be played in a prayerful manner. Consider a "modified" flute chorus with an 8' flute, 4' principal, and a light 2' flute coupled from the swell. With this combination, an 8' principal and 16' subbass or bourdon are suitable for the pedal.
#190 In Memory of the Crucified
"According to the composer of this hymn, it is a sacramental hymn, directing us to the emblems and thoughts which should be in our minds at that time. Calm, not rousing to action, but rather inviting to contemplation of divine qualities" J. Spencer Cornwall. The melody is written in the style of the old German chorale. The fermatas indicate the ends of the phrases and are not necessarily meant to hold at will. A thoughtful reading of the text will guide the musical interpretation.
#191 Behold the Great Redeemer Die
When the word Behold is used in hymns or holy writ without a comma following it, it means to "look," to "see." In this hymn we are asked to become eyewitnesses to the Savior's crucifixion, insults, and suffering. After the sorrow and grief of Christ's death have ended, the final verse of the hymn exclaims that "He lives–he lives!" Likewise, the final verse solely mentions the sacred symbols of the sacrament. Unfortunately, all too often the fifth and sixth verses are omitted.
This hymnbellishment can be used as the introduction or as an accompaniment to one of the verses. It would work well for the fifth verse, followed by the sixth verse with a brighter organ registration to express the joy of the Savior's resurrection and the simplicity of partaking of the sacred symbols of the sacrament.
#192 He Died! The Great Redeemer Died
"This powerful sacrament hymn juxtaposes the two emotions we feel as we contemplate the Savior's sacrifice: on the one hand, grief that it was necessary for Him to suffer torture and humiliation; on the other hand, joy at the miracle of His resurrection. The tears of verse one give way to "sudden joys" and the triumphant, welcoming shouts of angels" Karen Lynn Davidson.
#193 I Stand All Amazed
"Many people are quick to condemn themselves because of their own unworthiness. Yet the Savior's atonement extends to everyone. As we sing this hymn, we express our gratitude for the great gift of the Atonement, which far exceeds anything we can do to deserve it. We acknowledge our weakness and at the same time pledge our faith and everlasting gratitude" Karen Lynn Davidson.
This hymnbellishment solos out the melody with a somber tone (heralding back to the original 1909 setting), "a musical effect which was very pleasing and unusual in hymn writing" J. Spencer Cornwall. The chorus is played on the main manual with a brighter registration.
#194 There Is a Green Hill Far Away
"This hymn is a gentle and beautiful preparation for the sacrament. Rather than emphasizing the details of Christ's suffering, it reminds us that the Savior's love for us motivated His sacrifice; in return, our love for Him should motivate us as we reaffirm our commitment of obedience and service." Karen Lynn Davidson
This setting makes a lovely, extended introduction to the singing of the hymn or a quiet offertory at the conclusion of the hymn singing while the bread is finished being broken. If the organist does not need the additional measures at the end, they may be omitted.
#195 How Great the Wisdom and the Love
In dignified and memorable phrases, this beautiful sacrament hymn tells the story of the sacrificial offering of Jesus Christ. Because of the exceptional beauty of this text, all six verses should be sung whenever possible, noting that the emblems of the sacrament are not mentioned until verse five. Verses five and six focus on the meaning of Christ's mission in our own lives.
#196 Jesus, Once of Humble Birth
By setting up a repeated "Once..., Now..." sequence, the author of this text structured a series of poetic contrasts. Once, the poverty, pain, and submissiveness of the Savior's life; and now, his sovereignty and power, and the miracle of his atonement and resurrection (Karen Lynn Davidson).
This setting is useful as a contemplative introduction to the singing of the hymn, an offertory during the breaking of the bread, or as a poignant accompaniment for the third verse. Note the low "D" in the second measure of the pedal part; it is notated here to emphasize the word "groaned" in "Once he groaned..." at the beginning of the third verse.
#197 O Savior, Thou Who Wearest a Crown
"For Easter season, or in preparation for the sacrament, this hymn gives an opportunity to meditate upon the suffering and sacrifice of the Savior. Even those who betrayed and tortured Jesus at his crucifixion are still within the embrace of his atonement" Karen Lynn Davidson.
There are two versions offered here: 1) a chorus-style rendition for prelude, postlude, hymn introduction, or accompaniment for unison singing and 2) a solo-style version, adapted from J.S. Bach's chorale prelude, BWV 727, for a meditative voluntary preceding the singing of the hymn.
#198 That Easter Morn
"The joyful message of Easter is that Christ has conquered death in our behalf. Anxieties concerning death, extinction, oblivion, or separation need have no place in our thoughts. Because of the resurrection of our Lord Jesus Christ on that first Easter morning long ago, we may truly "conquer fear" Karen Lynn Davidson.
Consider NOT observing the fermata in the hymn book. (The fermata has been omitted in the hymnbellishment.) The congregation will breathe anyway, so why not keep it moving? The music director and organist should rehearse carefully, so that the distinctive instrumental passages sound natural and convincing.
#199 He Is Risen!
This joyful hymn is an Easter proclamation, announcing to the world that Jesus Christ has risen from the dead, a miracle that embraces all mankind.
This setting features ascending musical scales, symbolizing both the rising of Christ from the tomb and the future resurrection of all mankind. Because Jesus has triumphed over death, we will be lifted from "sin's dark prison...to a holier state."
#200 Christ the Lord Is Risen Today
This hymn is most likely the favorite Easter hymn of the Latter-day Saints. With exultation and many Alleluias, it encapsulates the redeeming work of the triumphant Savior over the sting of death and the victory of the grave. It invites all to joyfully raise their voices high in reply to the angel choirs.
If used for congregational singing, it is intended as an accompaniment for unison singing on the final verse.
#201 Joy to the World
"Joy to the World" was intended by its writer to be a millennial hymn, but is used by the Christian world today mainly as a Christmas carol. This organ setting, with a principle chorus organ registration, including mixtures and reeds, will joyfully lift heavy hearts and edify weary souls, when sung in a December worship service.
#203 Angels We Have Heard on High
This traditional French Christmas carol tells the story of the angels' appearance to the shepherds in the fields of Bethlehem. No one knows the date of the carol's origin, its author, its composer, or the translator of our English version.
Singers of this delightful carol are charmed by the intimate narrative of the angels and the shepherds. The harmonically engaging chorus uses the Latin translation of the words of the angels: "Gloria in excelsis Deo" (Glo-dee-ah een ex Chel seese Deh o), which means "Glory to God in the highest." Use this hymnbellishment with a bright registration and a reed in the pedal for solid clarity on the final verse.
#204 Silent Night
This setting features an introduction with verse one in the traditional four-part setting, verse two with a composed tenor line for soloing out, an interlude, and a final verse with a "free" harmonic accompaniment, which requires the congregation to sing the melody in unison. Verses one and two can be sung in four parts. Fingering, pedaling, and registration suggestions are also included.
#205 Once in Royal David's City
This popular children's carol is enjoyed by both children and adults. It tells the Christmas story in simple terms and answers the basic questions one might have of the birth of the Savior.
This setting was composed to accompany the singing of the verse beginning with the words "He came down to earth from heaven," a truth that is expressed with the downward-moving notes in the first measure.
#206 Away in a Manger
This famous Christmas carol is enjoyed by children and adults alike. The simple yet dignified hymn tune by William J. Kirkpatrick has been modified here so that the organist can play the second-verse melody in the tenor range, thus exuding the lowing of the cattle and the baby awaking in the darkness. For the third verse a simple accompaniment is provided without pedal to suggest the gentle prayer of a frightened child, asking for the Lord Jesus to "stay by my cradle till morning is nigh."
#207 It Came upon the Midnight Clear
This fervent Christmas hymn sings of the angels' message at the time of the birth of the infant Jesus and its implications to the entire human race. The hymn text is concerned with this message not just as a one-time event but as an announcement that continues today to float "o'er all the weary world,' proclaiming a new age of peace and joy.
#208 O Little Town of Bethlehem
"This carol takes us back two thousand years to the 'little town of Bethlehem,' where a miraculous gift has just been given to the world.... As Christians, we look back on that night in awe and expectation.... In 1868 Phillips Brooks, a Harvard-trained minister, wrote this hymn text, which embodies his lifelong devotion to the divine sonship of Jesus Christ" Karen Lynn Davidson.
This setting can be used as the introduction to the singing of the hymn or to accompany the poingant words of the third verse, "How silently, how silently the wondrous gift is given...."
#209 Hark! the Herald Angels Sing
"This favorite Christmas carol is an invitation to all people to join with the angels in their joyous song: Glory to the newborn King!" -Karen Lynn Davidson.
This hymnbellishment is intended for use as a final-verse accompaniment for unison singing. It may also be used effectively for a postlude to a Christmas service or program.
#210 With Wondering Awe
"In this appealing carol, the Christmas star becomes a symbol of peace throughout the world.... As Christians remember the Christmas story and the message of the angels, their hearts are turned toward the Christ child. Like the wise men, they wish to seek him." -Karen Lynn Davidson.
This joyful hymnbellishment can be played as a last-verse accompaniment for unison singing.
#211 While Shepherds Watched Their Flocks
"While shepherds watched their flocks" is a poetic rendering of the visit of the angels to the shepherds as told in Luke 2:8-14. The shepherds were amazed and delighted to hear the announcement of the Christ child's birth. We love to think on the nature of a Father who would choose lowly shepherds to receive this announcement.
#213 The First Noel
"The First Noel," as it appears in the hymnal of The Church of Jesus Christ of Latter-day Saints, is a simple telling in two verses of how the shepherds in the fields outside Bethlehem were the first ones to hear the Christmas story and see the Christmas star.
This rendition is for unison singing with the melody in the tenor range and the tune of "Silent Night" in the treble. The left-hand melody should dominate.
#214 I Heard the Bells on Christmas Day
With such hate and conflict in the world, how can the listener of the Christmas bells trust the message of "Peace on earth, good will to men"? Verse three of Longfellow's original poem has been made the final verse of this carol; thus, two positive verses conclude the carol and instill a feeling of faith and optimism.
Two hymnbellishments are provided to express the emotions in verses three and five, with melody bell parts included in the download for verses one and four with the original four-part harmony.
#215 Ring Out, Wild Bells
"Ring in the Christ that is to be"! Oh, how I love that text. The New Year should never pass us by without singing this powerful hymn in our worship service. This
hymnbellishment is meant to accompany unison singing on the last verse. Use a full "pleno" registration with mixtures, reeds and a strong 16' reed in the pedal. It will not disappoint!
#216 We Are Sowing
In this hymn seeds represent our words, thoughts, and deeds, and the harvest - or lack of it - symbolizes the consequences of those words, thoughts, and deeds. It expands upon the teaching found in Galatians 6:7: "Whatsoever a man soweth, that shall he also reap." The hymn tune gives the melody to the altos and a parallel harmony duet to the tenors in the third line.
#220 Lord, I Would Follow Thee
"'Lord, I Would Follow Thee' is the prayer of someone who seeks to love and emulate Jesus Christ. To help another in misfortune, to refrain from judging unrighteously, to heal and comfort - as we sing this hymn we ask the Lord to bless us with the opportunity and the willingness to fulfill these Christlike roles" Karen Lynn Davidson
The hymn tune is simple and easily remembered, a favorite among Latter-day Saints. A somewhat simplified version is included in the download.
#221 Dear to the Heart of the Shepherd
Praising the watchfulness and compassion of the Savior, this hymn pictures Him as the Good Shepherd. The text asks, "Will you not seek for my lost ones...?" and answers in the affirmative. We are among the disciples, the "undershepherds," ready to answer the call of Jesus to seek out those who have wandered and are lost.
This setting works beautifully as an accompaniment to the singing of the hymn.
#227 There Is Sunshine in My Soul Today
"This is a gospel song with its characteristic verse and chorus. It is popular because of its 'catchy' melody and joyful text"
J. Spencer Cornwall.
The idea behind this bubbly setting is attributed to David Chamberlin. Every phrase ending continues with the dotted rhythm, which emphasizes the expressions of happiness that come to a follower of the teachings of Jesus Christ.
#225 We Are Marching on to Glory
"This vigorous hymn invites us to imagine ourselves as members of a great host of righteous Saints, part of a grand procession toward a heavenly goal" Karen Lynn Davidson. Thus, the downward, stepwise bass line, which suggests marching.
#228 You Can Make the Pathway Bright
This simple hymnbellishment (or part of it) can be used at the end of the introduction for a more interesting harmony to the otherwise mundane repeated notes. Also use it at the end of the last chorus for the same reason and to end the hymn with a feeling of completion and resolve.
#235 Should You Feel Inclined to Censure
This hymn in the gospel-song tradition cautions against the tendency to find fault in others. The music by Philip Paul Bliss is the same that is used in #335, "Brightly Beams Our Father's Mercy." The two hymnbellishments may be interchanged, but the organist should be aware of the change in melody on one note in two places at the ends of the second and fourth lines.
#237 Do What Is Right
Although the music cannot be termed as "noble," it nevertheless has etched a place in Mormon hymnody that cannot be erased. The text rings true to Mormon theology with the phrases "faithful and fearless," "truth goeth onward," and "onward, press onward."
So, have fun with this accompaniment for the final verse! Use a bright registration with a reed in the pedal combination, and alert the singers to sing the melody in unison.
#238 Behold Thy Sons and Daughters, Lord
Although little known and seldom sung, this hymn is a profound prayer, asking for beautiful blessings upon the heads of those who have just been baptized. The straightforward words bless the new members with peace, joy, love, purity, fellowship, faith, hope, and spiritual guidance. This setting should be used as the introduction to the singing of the hymn
#239 Choose the Right
After singing the phrase "choose the right" 16 times, this setting is a refreshing culmination and commitment to actually do it! Written for the missionaries at the Provo Mission Training Center on May 12, 2019, the melody is prominent, as in most of the hymn accompaniments on this site.
#241 Count Your Blessings
"'When upon Life's Billows' is a hymn for the moralist. Its value cannot be gainsaid, because many a worshipper on hearing or singing it is induced to contemplation on the blessings with which he is surrounded" J. Spencer Cornwall.
This is an accompaniment for unison singing on the last verse. The organist may play the last line of the hymnbellishment as an "interlude" and a way of slowing down the tempo in preparation for a broader, more deliberate tempo for the last verse. The congregation will need to be notified to sing in unison or it will sound like a harmonic train wreck!
#242 Praise God, from Whom All Blessings Flow
"For more than three hundred years, Christians the world over have worshiped Heavenly Father by means of this dignified and concise hymn of praise" Karen Lynn Davidson.
This majestic organ introduction and accompaniment for congregational singing is very effective when used as a closing hymn at Thanksgiving time. The fanfare passages in the introduction recall melodic fragments from the hymn, "Come, Ye Thankful People, Come."
#243 Let Us All Press On
This is a hymn of the gospel-song type, with vigorous rhythms that correlate well with the vitality of its message. Evan Stephens usually sought to write hymns that would be especially appealing to youth. He knew that the vision of a mighty army, with its connotations of courage, loyalty, bravery, and glory, would serve his purposes in this hymn.
Use this arrangement to accompany the singing of the last verse, but use measures 8 and 9 on all verses to spur the singers on to the enthusiastic chorus.
#246 Onward, Christian Soldiers
This vigorous, appealing tune and powerful, metaphoric text combine to make this one of the most popular hymns among many Christian denominations. J. Spencer Cornwall observed that in the case of this hymn it is impossible to know whether Sabine Baring-Gould (the poet) or Sir Arthur S. Sullivan (the composer) made the more important contribution (see Stories of Our Mormon Hymns, p. 133).
This hymnbellishment provides an optional introduction (printed on the third page) and two renditions: one for verse three and one for verse four. March onward!
#247 We Love Thy House, O God
"We Love Thy House, O God" is a hymn addressed to God, an expression of gratitude for sacred edifices that have been consecrated to the Lord. The hymn says nothing about the beauty of the physical structures; they have value and importance because "thou, O Lord, art there."
#250 We Are All Enlisted
This vigorous hymn conveys the enthusiasm and dedication of an army of righteous followers of Christ and asks, "Who'll volunteer?"
Use this setting to accompany the singing of the final verse. Measures 9-16 may be played on more or all verses.
#251 Behold! A Royal Army
"Many hymns of exhortation have in them a militant connotation to establish an atmosphere of conquering determination in worshipers. Such an one is 'Behold the Royal Army' with its 'Victory, Victory,' chorus" J. Spencer Cornwall.
Here we have a hymnbellishment for the chorus only. It features a counter-melody in the left hand, similar to what one hears in the marches of Sousa! Play the counter-melody on another manual with a bright reed combination.
#252 Put Your Shoulder to the Wheel
This hymn's message will never be out of date. Every willing worker is needed for the cause of righteousness and is admonished to be "anxiously engaged in a good cause." President David O. McKay said, "Let us teach [our children] to work and to realize that the privilege to work is a gift, that the power to work is a blessing, and that the love of work is success."
#254 True to the Faith
"[The 'Mormonistic' in music is] that which breathes optimism and not pessimism; music in which the sombre must not predominate, but be used only as a means of contrast to heighten the effects of the bright" Evan Stephens.
Evan Stephens, the writer of the text and music of this hymn, loved the youth of the Church. He dedicated "True to the Faith" as his spiritual advice to them. "[This song] contains more of the composer's emotional enthusiasm than any other of his writings" George D. Pyper.
And so, here is a bright, energetic setting of this song for use in accompanying unison singers on the last verse. At the chorus, emphasize the tenor counter-melody with a bright reed.
#258 O Thou Rock of Our Salvation
King David exulted: "The Lord is my rock, and my fortress, and my deliverer (2 Sam. 22:2). This hymn is a call to battle, in which the leader of the army is a "rock," unconquerable and firm.
Use this hymnbellishment to accompany the singing of the final verse.
#259 Hope of Israel
The youth of the Church are the "Hope of Israel." As they enlist in the Lord’s battalion and help gather Israel, youth of the Church have the opportunity to be “part of something big, something grand, something majestic,” President Russell M. Nelson said during a special worldwide youth devotional on June 3, 2018. And so, he said, “I am inviting every young woman and every young man between the ages of 12 and 18 in The Church of Jesus Christ of Latter-day Saints to enlist in the youth battalion of the Lord to help gather Israel.”
#260 Who's on the Lord's Side?
This song is an example of the adaptation of a popular tune to gospel-song use. Many will already know this melody by its original title: "A Life on the Ocean Wave," first published in 1839. Use this setting to accompany the singing on the last verse. Ahoy!
#264 Hark, All Ye Nations!
A hymn of strong rhythms and fervent declaration, "Hark, All Ye Nations!" expresses the vitality of a devoted convert and missionary. Those who have the gospel long to share it with "every land and people," and in this hymn we call on the world to listen to our message (Karen Lynn Davidson).
#269 Jehovah, Lord of Heaven and Earth
Prophecies such as Habakkuk 2:14 make it clear that one day the gospel will spread throughout the world: "For the earth shall be filled with the knowledge of the glory of the Lord, as the waters cover the sea." This majestic hymn petitions the Lord to hasten the day when "every tongue" will join in his praise.
There are two settings here: one for the penultimate verse and one for the final verse. This hymn should be sung broadly, building up to a coronational registration.
#270 I'll Go Where You Want Me to Go
This has been a popular Christian gospel song since its publication in 1899. Editor Homer Rodeheaver wrote in the 1920s: "Mrs. Rounsefell (composer)...used to do evangelistic work, and accompanied her singing with an old-fashioned zither. One day a friend handed her the words of this hymn and immediately a tune came to her and she struck a chord on her zither and sang the song."
This setting is intended for the third verse (or possibly second and third, if you like it well enough!). It features more moving eight notes, but the singers can still sing parts. Brief obligatos heighten the climaxes.
#277 As I Search the Holy Scriptures
This hymn is a moving, personal prayer for the Spirit of the Lord to accompany scripture study. Each verse cites a different blessing that comes from searching the scriptures: wisdom, knowledge, understanding life's mysteries, comfort, healing of wounds, soothing the troubled spirit, and spiritual guidance in following the path to life eternal.
Blind since birth, the author/composer's goal was to write a "meaningful, singable text, one that would be easy to remember." First printings of the hymnbook gave a tempo range of 76-92, but in subsequent printings this range was changed to 66-88 to correspond more closely with Marianne Fisher's suggestion that it be sung prayerfully.
#281 Help Me Teach with Inspiration
Composer Lorin F. Wheelwright aptly said of this hymn: "The phrases form a prayer ascending and a blessing descending."
The first version of this setting makes a thoughtful introduction and possibly final verse accompaniment. Version two was written to play the melody an octave lower for the second verse text: "Help me reach a friend in darkness...."
#280 Welcome, Welcome, Sabbath Morning
J. Spencer Cornwall called "Welcome, Welcome, Sabbath Morning" undoubtedly [one] of the most popular Sunday School songs in the Latter-day Saint hymnal. "The vigorous rhythms and the cheerful text embody the sense of joy and purpose that underlie an ideal Sunday School experience" Karen Lynn Davidson.
#285 God Moves in a Mysterious Way
This hymn "is the finest expression in Christian hymnody of an important and comforting truth: The darkest events and circumstances may in fact turn out to be a blessing, even though God's purposes, at the time, are difficult to discern" Karen Lynn Davidson. Use this dignified setting as the organ introduction and to accompany the singing of the last verse.
#292 O My Father
"The glorious truth of celestial parentage, including specifically both a Father and a Mother, is heralded forth by song in one of the greatest of Latter-day Saint hymns, 'O My Father' by Eliza R. Snow" (Bruce R. McConkie).
This setting was written specifically for the third verse: "I had learned to call thee Father, Thru thy Spirit from on high; But until the key of knowledge was restored, I knew not why. In the heav'ns are parents single? No, the thought makes reason stare! Truth is reason; truth eternal Tells me I've a mother there." The interplay between the two inner voices conveys a feeling of unity, portraying the harmony between Celestial parents. Solo out the left hand with strong, foundational 8-foot stops.
#293 Each Life That Touches Ours for Good
"This hymn is appropriate for any occasion honoring friends or friendships.... If verse three sounds too funereal, it can be omitted" Karen Lynn Davidson.
While practicing this hymn for a friend's funeral, I suddenly heard an obligato emerging from the melody. I jotted it down in my hymnal and played it for the funeral the following day. It created an emotional surge in the singing (MC).
#294 Love at Home
"Love at Home" is a hymn in praise of the earthly blessings of a happy, loving home. It is a description of the beautiful influences that emanate from a happy home.
This setting was written for Fathers Day services in 2018. It can be played as a prelude to the service, as an introduction to the singing of the hymn, or as an accompaniment for the singing in unison of the last verse.
#298 Home Can Be a Heaven on Earth
The husband and wife team that wrote this hymn were criticized by a few people who were skeptical of the hymn's optimism. But, even though "not all of my children may choose to remain faithful, I must continue to teach and show the way, providing loving moments when we work, play, and pray together," the writer of the text stated.
This setting would be an effective introduction to the singing of the hymn and/or an accompaniment for the final verse, with four-part singing.
#299 Children of Our Heavenly Father
"The words and melody of this beautiful hymn work gogether so effectively to convey a spirit of sweet comfort that it is difficult to know which plays the more important role. In simple but convincing tones, the hymn bears witness of the constant, unfailing watchfulness of the Father" Karen Lynn Davidson.
The lush deep tones of this setting will provide a lovely accompaniment for the final verse of this hymn.
#301 I Am a Child of God
This setting was written to accompany the congregation on the last verse for a conference in the Lindon Utah Central Stake. While the congregation sang the parts in the hymnal, the sopranos and tenors in the choir sang a descant based on the highest treble line.
#302 I Know My Father Lives
"Both the words and music of this song further Reid Nibley's stated purpose: 'to express a testimony as a child would.' The simple statement of faith in the most elementary gospel truths is movingly paired with an equally simple tune" Karen Lynn Davidson.
For the introduction, play the hymn in its entirety from the hymnal with a moderately soft registration on a manual. Then add an 8' foundation stop to accompany the singers on the first verse, again on a manual from the hymnal. Then play this hymnbellishment for the second verse with the pedal. The original music has not been changed at all; only a part for the pedals has been added.
#304 Teach Me to Walk in the Light
"This unusual and effective song conveys its message through a dialogue. The first verse, a child's simple request for guidance, calls forth the response of teacher or parent in verse two. Verse three is a combined prayer of gratitude" Karen Lynn Davidson
This setting includes a simple introduction on the manuals, followed by an equally simple accompaniment without pedals for children on the first verse. The second-verse accompaniment is for parents and teachers in unison, with an accompaniment inspired by Robert Manookin. After a brief interlude, everyone joins together for the third verse.
#335 Brightly Beams Our Father's Mercy
A favorite of men's quartets, this hymn is often used in funerals and as special musical selections in The Church of Jesus Christ of Latter-day Saints. The text has nothing to do with leaving this earth life or living as a spirit in the after life. Instead, it focuses on the responsibility the Lord gives us to metaphorically keep the lower lights of the gospel burning brightly for those who wish to find the safety of the harbor and head back in the right direction.
This setting is excerpted and slightly altered from Mike Carson's organ solo arrangement, which is available for sale at www.WardOrganist.com. The tenor solo line reminds us of the "lower lights" that we are admonished to keep burning for those who need the gospel light rekindled in their lives.
#338 America the Beautiful
This hymn is a striking combination of patriotic feeling and religious feeling. The words allude to blessings, heroes, patriots, and pilgrims, as well as the scenic wonders of America: the skies, fields, mountains, and cities. It is a tribute to the people of America's past who "more than self their country loved."
#339 My Country, 'Tis of Thee
"...The universal passion for 'sweet freedom, sweet land of liberty,' and God's mighty protection forever with which the hymn is imbued, makes it a vital, living essence of patriotism" (J. Spencer Cornwall).
This setting can be used for many purposes in worship but is most powerful as the accompaniment to the final verse.
#340 The Star-Spangled Banner
What began as a drinking song has become a stirring and dignified patriotic anthem. The words symbolize for all Americans not only the sacrifices that have been made for freedom but also the vigilance with which this blessing must be guarded (Karen Lynn Davidson).
This setting was written as an accompaniment for the singing of the final verse.