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SoftlyAndTenderly "Softly and Tenderly" is a Christian hymn.It was composed and written by Will L. Thompson in 1880. [1] It is based on the Bible verse Mark 10:49. [2]Dwight L. Moody used "Softly and Tenderly" in many of his evangelistic rallies in America and Britain.
Hymnary.org is an online database of hymns, hymnodists and hymnals hosted by Calvin University's Calvin Institute of Christian Worship and Christian Classics Ethereal Library. The searchable database contains over one million hymn tunes and texts and incorporates the Dictionary of North American Hymnology. The oldest hymnals in the database are ...
Wasting My Time" was originally composed in the key of D major and follows a chord progression of D sus9 –G sus9 in the verses and G 5 –B 5 –G 5 –A 5 in the chorus. [3] Smith's vocal range on the track spans one full octave, from A 4 to A 5. [3] Musically, the song features melodic verses of singing and clean, bright guitar picking.
Redeem'd from death, redeem'd from sin: S.F. Smith: 220: Praise the Lord and worship Him, a song prepare: F.J. Crosby: 231: Hark, hark, my soul! angelic songs are swelling: F.W. Faber: Arranged by Sankey and Charles Crozat Converse [6] 233: God is Love! His Word proclaims it: Julia Sterling* 234: Let us sing again the praise of the Saviour ...
Usually the organ accompaniment to the last verse of a hymn tune will be heavier (in musical terms) than the standard harmony.Typically it will include lower or more profound bass notes, which will almost certainly be played on the pedalboard, and more frequent use of secondary dominants, particularly over chromatic movement in the bass.
Christadelphian Youth Hymnal (1952) was compiled by a committee under the editorship of J Carter, some of the original hymns written for this hymnal included LG Sargent's High over lashing waves our God is throned and D Martindale's Angels did sing on Behl'ems hill set to the medieval VULPIUS tune. The major feature of this publication was the ...
A typical sequence of a jazz or rock song in the key of C major might indicate a chord progression such as C – Am – Dm – G 7. This chord progression instructs the performer to play, in sequence, a C major triad, an A minor chord, a D minor chord, and a G dominant seventh chord.
The Second Hymn is composed in a different key from the First Hymn. The central note (mese) of the first section is D (in conventional notation), rather than C, making it the (Greek) Lydian mode. [20] Below the mese are the notes A and B ♭, and above it are E, E ♭, F, and G. The notes used in the second section are different from the first ...