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"This is the day that the Lord hath made", a song by John W. Peterson; This is the day which the Lord hath made or Wedding anthem for Princess Anne; See also
"This Is the Day" is a song written by Matt Johnson and originally released as a single by his band The The on 2 September 1983. [3] It reached number 71 on the UK Singles Chart . [ 4 ] A version of the song was included on the band's debut album Soul Mining , released in October 1983.
The text was written by Heinrich Bone (1813–1893), [2] a pedagogue who is known for his hymnal Cantate! of 1847. When his song was included in the Gotteslob of 1975, Friedrich Dörr (1908–1993) added two stanzas from 1972 to the original three stanzas.
Retrieved from "https://en.wikipedia.org/w/index.php?title=This_is_the_day_which_the_Lord_hath_made_(Handel)&oldid=609385641"
"The Guitar Man" is a song written by David Gates and originally recorded by the rock group Bread. It first appeared on Bread's 1972 album, Guitar Man . It is a mixture of the sounds of soft rock , including strings and acoustic guitar, and the addition of a wah-wah effect electric guitar, played by Larry Knechtel .
The Wedding anthem for Princess Anne, HWV 262, This is the day which the Lord hath made, is an anthem for vocal soloists, chorus and orchestra by George Frideric Handel. It was written for the wedding of Anne, Princess Royal and Prince William of Orange and was first performed during their marriage at the French Chapel in St James's Palace ...
Godspell is a musical in two acts with music and lyrics by Stephen Schwartz and a book by John-Michael Tebelak. [1] The show is structured as a series of parables, primarily based on the Gospel of Matthew, interspersed with music mostly set to lyrics from traditional hymns, with the passion of Christ appearing briefly near the end.
The progression is also used entirely with minor chords[i-v-vii-iv (g#, d#, f#, c#)] in the middle section of Chopin's etude op. 10 no. 12. However, using the same chord type (major or minor) on all four chords causes it to feel more like a sequence of descending fourths than a bona fide chord progression.