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Holy Manna is the hymn tune originally written for "Brethren, We Have Met Together", which is one of the oldest published American folk hymns. Holy Manna is a pentatonic melody in Ionian mode . It was originally published by William Moore in Columbian Harmony , a four-note shape-note tunebook , in 1829, and is attributed to him.
Out of this feeling came the hymn, ‘Follow On.’ It was written with the prayer and the hope that some heart might by it be led to give up all for Christ. Much of the power and usefulness of the hymn, however, are due to Mr. Lowry, who put it into song. [3]
Hymnary.org is an online database of hymns, hymnodists and hymnals hosted by Calvin University's Calvin Institute of Christian Worship and Christian Classics Ethereal Library. The searchable database contains over one million hymn tunes and texts and incorporates the Dictionary of North American Hymnology. The oldest hymnals in the database are ...
The following lists contains all the hymns composed by Sankey that are found in the "1200" edition of Sacred Songs and Solos. Many of these hymns are also found in the six-volume collection, Gospel Hymns and Sacred Songs , which Sankey edited with Philip Bliss and others, which was published in the United States between 1876 and 1891.
Wesley wrote a unique piece of music entitled "Soldiers of Christ" for the hymn to be set to. [1] However the hymn has been set to other tunes as well. One of several tunes for the hymn is by William P. Merrill (1867–1954). However, in the United States the main alternative piece of music that is used for the hymn is "Diademata" by George Job ...
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to you and all the nations upon earth: this day hath God fulfilled his promised word, this day is born a Saviour, Christ the Lord.' He spake; and straightway the celestial choir in hymns of joy, unknown before, conspire; the praises of redeeming love they sang, and heaven's whole orb with alleluias rang: God's highest glory was their anthem still,
Musically, the work is notable for the parallel descending thirds and sixths that shift from part to part. Some renditions of this hymn (for example, the practice of Sacred Harp singer) follow a practice recommended by Billings, [1] with some male singers on the treble, singing an octave down, and some female singers on the tenor part, singing an octave higher.
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