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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" - Sufjan ... For the soundtrack's release, a new version of the music video for "Percussion Gun" by White Rabbits was made to ...
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 .
This article has a version of the hymn text with 5 verses, claimed to be the original version. Is there a reliable source for this being the original text, or that the original text had 5 verses? A few sources online say that Come, Thou Fount was first published in 1759 in “A Collection of Hymns for the Use of the Church of Christ.”
"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 ).
Suzannah Clark, a music professor at Harvard, connected the piece's resurgence in popularity to the harmonic structure, a common pattern similar to the romanesca.The harmonies are complex, but combine into a pattern that is easily understood by the listener with the help of the canon format, a style in which the melody is staggered across multiple voices (as in "Three Blind Mice"). [1]
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 ...