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"Rejoice in the Lord alway" (c. 1683–1685), Z. 49, sometimes known as the Bell Anthem, is a verse anthem by Henry Purcell. It was originally scored for SATB choir, countertenor, tenor and bass soloists, and strings, though it is also sometimes performed with organ replacing the strings. [ 1 ]
The exact origin of preaching chords being played in African American Baptist and Pentecostal churches is relatively unknown, but is mostly believed to have started in either the early or mid-20th Century, at a time when many African-American clergymen and pastors began preaching in a charismatic, musical call-and-response style. [3]
The writer James T. Lightwood said of it: "there is probably no tune in Christendom so universally sung on any festal day as the Easter hymn, with its rolling "Hallelujah", on Easter morning." [18] "Christ the Lord Is Risen Today" also gained popularity as a children's hymn by editors of children's hymnals. This was attributed to the tune being ...
Jesus Christ Is Risen Today" is a Christian hymn. It was initially written in the 14th century as a Bohemian Latin hymn titled " Surrexit Christus hodie ". It is an Easter hymn referring to the Resurrection of Jesus and based on Matthew 28:6, Acts 2:32, 1 Peter 3:18 and Revelation 1:17-18.
"10,000 Reasons (Bless the Lord)" is a song by the English worship singer-songwriter Matt Redman from his tenth album of the same name (2011). He wrote it with the Swedish singer Jonas Myrin . [ 1 ] The track was subsequently included on a number of compilations, covered by other artists and included as congregational worship music in English ...
The melody is credited to Dorsey, drawn extensively from the 1844 hymn tune, "Maitland". [1] " Maitland" is often attributed to American composer George N. Allen (1812–1877), but the earliest known source (Plymouth Collection, 1855 [2]) shows that Allen was the author/adapter of the text "Must Jesus bear the cross alone," not the composer of the tune, and the tune itself was printed without ...
Here, the "worm" language sets up a contrast between the majestic "Sacred Head" of Christ and the hymn writer's (and singer's) own status as a creature that falls far short of the glory of God. The writer may have also had in mind Job 25:6 ("How much less man, that is a worm? and the son of man, which is a worm?") or Psalm 22:6 ("But I am a ...
There are few keys in which one may play the progression with open chords on the guitar, so it is often portrayed with barre chords ("Lay Lady Lay"). The use of the flattened seventh may lend this progression a bluesy feel or sound, and the whole tone descent may be reminiscent of the ninth and tenth chords of the twelve bar blues (V–IV).