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"God Is Working His Purpose Out" is an English Christian hymn. It was written in 1894 by Arthur Campbell Ainger as a tribute to the Archbishop of Canterbury, Edward White Benson. [1] The original music for the hymn was written at the same time by Millicent D. Kingham but a number of other pieces of music have been used for the hymn in recent times.
The New Century Hymnal is a comprehensive hymnal and worship book published in 1995 for the United Church of Christ.The hymnal contains a wide-variety of traditional Christian hymns and worship songs, many contemporary hymns and songs, and a substantial selection of "world music" selections (hymns and worship songs from non-European-American) origin, a full lectionary-based Psalter, service ...
The has been and is published in more than fifty hymnbooks, including those of a number of significant denominations, such as the Church of England; [1] the United Church of Canada [1] and the Presbyterian Church in Canada (Book of Praise 1972 version, as Thy hand, O God, has guided; [2] and the current Book of Praise 1997 version, as Your hand, O God, has guided [3]); the Evangelical Lutheran ...
These are often designated "gospel songs" as distinct from hymns, since they generally include a refrain (or chorus) and usually (though not always) a faster tempo than the hymns. As examples of the distinction, "Amazing Grace" is a hymn (no refrain), but "How Great Thou Art" is a gospel song. During the 19th century the gospel-song genre ...
Praise for Creation and Providence" (better known as "I sing the mighty power of God") is now a hymn sung by all ages. [4] "Against Idleness and Mischief" and "The Sluggard" (better known as "How doth the little busy bee" and "'Tis the voice of the sluggard") were both meant to teach children the importance of hard work, and were extremely well ...
Methods that establish the key for a particular piece can be complicated to explain and vary over music history. [citation needed] However, the chords most often used in a piece in a particular key are those that contain the notes in the corresponding scale, and conventional progressions of these chords, particularly cadences, orient the listener around the tonic.
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The vi chord before the IV chord in this progression (creating I–vi–IV–V–I) is used as a means to prolong the tonic chord, as the vi or submediant chord is commonly used as a substitute for the tonic chord, and to ease the voice leading of the bass line: in a I–vi–IV–V–I progression (without any chordal inversions) the bass ...