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.

"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

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The pedal line in this hymnbellishment encourages a forward, marching movement, which aptly reflects the spirit of this hymn.

"'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.

"This hymn honors the power of truth. Truth will liberate, enlighten, and save" Karen Lynn Davidson.

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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.

"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.

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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.

"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!

"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.

"...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.

"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

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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.

"'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

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Written at the request of an organist friend, this hymnbellishment will elevate the singing of the final verse. Please consider singing all five verses!

"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.

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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!

"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.

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​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.

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.

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This accompaniment was written to commemorate the 200th anniversary of the Prophet's First Vision in the spring of 1820.

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.

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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."

"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.

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​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.

"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 Lynn Davidson).

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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!"

"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.

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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.

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 refuge from persecution; it speaks of their faith in the guiding hand of a watchful and protective Father.

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Accompany the congregation with full organ for a powerful and exuberant final verse.

"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

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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.

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.

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.

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.

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.

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This setting is to be used as a last-verse accompaniment with full organ.

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.

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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.

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.

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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!