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Sufjan Stevens recorded a version for his Hark! Songs for Christmas album, which reached 122 in the US charts and is featured in the closing minutes of the season four premiere episode of Friday Night Lights. Gateway Worship performed the song on their album Living for You and added a chorus to the song, calling it "Come Thou Fount, Come Thou ...
Come, Thou Fount of Every Blessing is a religious album released by the Mormon Tabernacle Choir. It reached number one on the Billboard Top Classical Crossover Album chart. [ 1 ] The album includes two solos by Alex Boye .
Samuel Woolcock Christophers (Hymn-writers and Their Hymns, 1870) relates the story how a woman in a coach drew Robinson's attention to the hymn "Come Thou Fount of Every Blessing" and Robinson replied, "Madam, I am the poor unhappy man who wrote that hymn many years ago, and I would give a thousand worlds, if I had them, to enjoy the feelings ...
"Down in the River to Pray" (also known as "Down to the River to Pray," "Down in the Valley to Pray," "The Good Old Way," and "Come, Let Us All Go Down") is a traditional American song variously described as a Christian folk hymn, an African-American spiritual, an Appalachian song, and a Southern gospel song. The exact origin of the song is ...
"Come, Thou Long Expected Jesus" is a 1744 Advent and Christmas carol common in Protestant hymnals. The text was written by Charles Wesley . It is performed to one of several tunes, including "Stuttgart" (attr. to Christian Friedrich Witt ), [ 1 ] " Hyfrydol " (by Rowland Prichard ), [ 2 ] and "Cross of Jesus" (by John Stainer ).
The implementation of chords using particular tunings is a defining part of the literature on guitar chords, which is omitted in the abstract musical-theory of chords for all instruments. For example, in the guitar (like other stringed instruments but unlike the piano ), open-string notes are not fretted and so require less hand-motion.
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.
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 ...