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The hymn "When I Survey the Wondrous Cross" was written by Isaac Watts, and published in Hymns and Spiritual Songs in 1707. It is significant for being an innovative departure from the early English hymn style of only using paraphrased biblical texts, although the first couplet of the second verse paraphrases Galatians 6:14a and the second couplet of the fourth verse paraphrases Gal. 6:14b.
In later years he attributed his hymn-playing technique to the influence of Bach and the study of classical music. [5] As a 17-year-old in 1929, he began playing the piano regularly for Paul Rader when the Chicago evangelist started a Tabernacle in Los Angeles. It was the first time young Atwood had the thrill of playing a concert grand piano. [6]
Miller arranged the tune Rockingham as a hymn tune in 1790, to which Isaac Watts' hymn "When I Survey the Wondrous Cross" is sung. [1] Miller also wrote the tune Galway, to which Charles Wesley's hymn "A charge to keep I have" is sung. [2] He died at Doncaster on 12 September 1807. [5]
A hymn tune is the melody of a musical composition to which a hymn text is sung. Musically speaking, a hymn is generally understood to have four-part (or more) harmony, a fast harmonic rhythm (chords change frequently), with or without refrain or chorus.
3. Well-known hymnists with pages of their own pretty much deserve to have their best-known, best-loved hymn in the Wiki. Now, obviously, there's an issue of taste here, but I would suggest that "When I survey" is certainly a strong contender for that place. In opposition to point 3, I accept that, for instance, Joy to the World has an article.
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Friday the 13 th didn’t spook investors with U.S. stocks little changed on the day as investors bided time until the Federal Reserve meeting on Wednesday.. The broad S&P 500 index dipped 0.16 ...
Four-voice texture in the Genevan psalter: Old 124th. [1] Play ⓘ. Four-part harmony is music written for four voices, or for some other musical medium—four musical instruments or a single keyboard instrument, for example—for which the various musical parts can give a different note for each chord of the music.
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