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An alternative tune sometimes used for "My Hope Is Built on Nothing Less" is "Melita", composed by John B. Dykes.The advantage of "Melita" for "My Hope Is Built on Nothing Less" is that "Melita" automatically emphasizes the word rock (which is central to the lyrics) by dedicating one and one-half beats to that word (where in "Solid Rock" it has merely an eighth note).
The song lyrics were written in 1865 by Elvina M. Hall, a 45-year-old widowed congregant. [2] One Sunday morning, with an extremely long pastoral prayer, and a continuous sermon , Mrs. Hall's thoughts began to wander while sitting in a choir loft at the Monument Methodist Episcopal Church in Baltimore, Maryland .
Canticle of Simeon (Nunc dimittis); Canticle of the Blessed Virgin (Magnificat); Canticle of the Three Children; Careworn Mother Stood Attending; Come, Creator Spirit; Come Down, O Love Divine
The hymn, immensely popular in the nineteenth century, became a Gospel standard and has appeared in hymnals ever since.. A crowd of admirers in New Zealand sang the hymn in 1885 at the railway station to the departing American temperance evangelists Mary Greenleaf Clement Leavitt of the Woman's Christian Temperance Union and Blue Ribbon Army representative R.T. Booth.
The song has been covered by a variety of Christian recording artists, including Harvest Flight, Justin Unger, Jars of Clay, Rebecca St. James, Jason Upton, Lydia Walker, and For King & Country, which covered the song for the show "A.D.: The Bible Continues."
"Dem Bones" (also called "Dry Bones" and "Dem Dry Bones") is a spiritual song. The melody was composed by author and songwriter James Weldon Johnson (1871–1938) and his brother, J. Rosamond Johnson. [1]
Augustus Toplady. The text of this hymn from Toplady's July 1776 'alt' version has been substantially edited since its publication by different denominations over the years creating a number of versions of the hymn text used by different churches around the world.
Its sheet music sales made it one of the most commercially successful songs in the UK and United States around the beginning of the 20th century, and also "perhaps the most pirated musical piece prior to the Internet", according to copyright scholar Adrian Johns. [1]