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The Power of the Cross - Vocal Solo, key of C
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Arr. by
Lloyd Larson
Ten hymns by
Keith Getty
&
Kristyn Getty
Item #:
9039
Release Date:
01/01/2020
Difficulty: Easy-Moderate
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Near the Cross w/The Power of the Cross - SATB
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Arr. by
Joel Raney
Lenten anthem
Item #:
C5686
Release Date:
01/01/2011
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Gethsemane w/The Power of the Cross - SATB
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Arr. by
Lloyd Larson
Passionate hymn by
Keith Getty
&
Stuart Townend
Item #:
C5744
Release Date:
01/01/2012
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All Hail the Power of Jesus' Name - 3-5 Oct
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Arr.
Lloyd Larson
Level 2
Classic Hymn
Item #:
3054
Release Date:
01/01/2024
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I Sing the Mighty Power of God - Organ/Piano Duet
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Arr. by
Joel Raney
A festive prelude
Item #:
8195
Rank:
50
Release Date:
01/01/2005
Difficulty: Moderate-Advanced
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The Life Laid Down Is Taken Up Again
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Words By
Carl P. Daw, Jr.
The life laid down is taken up again, the power of sin and death has lost its hold, and we are reconciled to God through Christ: Alleluia! Though doubts and fears beset our hearts and minds, the risen, wounded Savior knows our needs and comes to meet ...
Item #:
HW2303
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Hymn
God the Spirit, Guide and Guardian
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Words By
Carl P. Daw, Jr.
God the Spirit, guide and guardian, wind-sped flame and hovering dove, breath of life and voice of prophets, sign of blessing, power of love: give to those who lead your people fresh anointing of your grace; send them forth as bold apost...
Item #:
HW3103
Release Date:
01/01/1989
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Hymn
With Shouts of Praise Let All the Earth
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Words By
Carl P. Daw, Jr.
As with the psalm that precedes it, the Hebrew superscription for Psalm 66 inscribes it to “the [musical] leader” or “choirmaster” and describes it as “a song,” but the superscription lacks any refer- ence to David. That absence may be connected with the psalm’s structure, which clearly consists of two parts: a choral hymn (represented here by stanzas 1–3) and an individual song of thanksgiving (stanza 4 here). Stanza 1: Songs of thanksgiving characteristically begin with such universal invitations to praise God. Stanza 2: God’s power is epitomized in taking control of the waters of chaos: first in creation, espe- cially in the deliverance from Egypt, and eventually at the crossing of the Jordan. Stanza 3: The imagery of this stanza seems to conflate the trials of bondage in Egypt and the ordeal of the forty-year wandering in the wilderness. Stanza 4: Whether an individual psalmist has recalled a choral hymn as a prelude to a personal thanksgiving or a later editor has joined the p
Item #:
HW9086.16
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06/01/2020
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Hymn
Hear Us, O Shepherd of the Faithful
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Words By
Carl P. Daw, Jr.
The Hebrew superscription for Psalm 80 attributes the psalm to Asaph and inscribes it to “the [musical] leader” or “choirmaster.” Between these two familiar elements are two others that have varying interpretations: one is shoshannim (see the discussion of this tern at Ps. 69). The other is eduth, a term that may mean “testimony.” There is no real scholarly consensus concerning what crisis may have been the original occasion of this communal prayer song, and the recurring refrain (occurring here at the conclusion of stanzas 1, 2, and 4) suggests that it was adopted and adapted for liturgical purposes. Stanza 1: In effect, the opening of the psalm establishes God’s relationship to the faithful, God’s deity, and God’s power. Stanza 2: The reference to “bread and drink” represents a continuation of the Shepherd imagery, because the Hebrew word for “shepherd” includes the meaning “one who feeds or nourishes.” Stanza 3: This allegory of the vine is one of the most memorable parts of this
Item #:
HW9086.30
Release Date:
06/01/2020
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Hymn
God Reigns! Let all the Earth Rejoice
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Words By
Carl P. Daw, Jr.
Psalm 97 is another “enthronement psalm” (see the discussion of this group at Ps. 93) that lacks a Hebrew superscription. Stanza 1: The universality of God’s just reign is attested by a cosmic theophany marked by clouds and lightning, to which the earth fearfully responds with earthquakes and volcanic eruptions. Stanza 2: False gods (and those who worship them) are disgraced, but the Holy City and the surrounding dependent towns (the Hebrew idiom is “daughters of Judah”) joyfully acknowledge God’s sovereignty. The psalm ends with a return to the emphasis that justice is an integral part of God’s power. The tune CreaTion, adapted from a chorus in Joseph Haydn’s oratorio The Creation, has served as a hymn tune for over two hundred years. Such associations enhance its appropriateness as a setting for this paraphrase.
Item #:
HW9086.47
Release Date:
06/01/2020
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Hymn
Beneath the Proud Hill's Shadows
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Words By
Carl P. Daw, Jr.
Like the previous and succeeding pilgrimage psalms, Psalm 121 carries a superscription identifying is as “A song of ascents.” It is a familiar psalm, though one that has often been misunderstood. Stanza 1: The hills circling Jerusalem are both physically and symbolically intimidating. In addition to the challenge the terrain presents for travelers approaching or returning from the Temple, the greater height of the surrounding peaks also implies the spiritual superiority of the various gods worshipped on each of them. Yet God the Creator, the God of Israel, who needs no such status symbol, is greater than them all. Some commentators assume that the promises forming most of the psalm must be spoken by a priest or other liturgical person. Such conjecture unnecessarily makes human intervention essential. It deprives the Creator God of the power to communicate care and protection of human beings through their receptive attention to the created world. Stanzas 2–3: The general assurance of
Item #:
HW9146.21
Release Date:
01/01/2022
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Hymn
How Glad I Was to Hear Them Say
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Words By
Carl P. Daw, Jr.
In addition to the designation “A song of ascents” shared by all the pilgrimage psalms, the Hebrew superscription for Psalm 122 also includes an attribution to David. This is a classic example of the honorific rather than factual nature of many such ascriptions, given that the Temple did not yet exist in David’s lifetime. Stanza 1: Anyone accustomed to thinking that the familiar opening verse of this psalm is an invita-tion to local worship needs to be reminded that this psalm assumes only one house of God, the Tem-ple in Jerusalem. Memory of the invitation to undertake the journey to this sacred place is triggered by arrival at the gates of the Holy City. Besides being an important religious center, Jerusalem was also the site of judicial and political power, a somewhat complicating consideration unexplored in this para-phrase. Instead, the focus remains on the intense spiritual joy unleashed at the moment of reaching the city’s gates. Stanza 2: Throughout the second half of this p
Item #:
HW9146.22
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01/01/2022
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Hymn
O Praise the Sovereign Name of God
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Words By
Carl P. Daw, Jr.
Psalm 135 has no Hebrew superscription, perhaps because it comprises numerous paraphrases and occasional verbatim quotations of other psalms and scripture passages. Stanza 1: The reference to standing in God’s house echoes similar language in Psalm 134 and may have been a factor in the adjacent ordering of these two psalms when the Book of Psalms was com-piled. This firm location in the Temple strengthens the plausible conjecture that Psalm 135 represents a set of materials brought together for liturgical use. The fifth line of this stanza reflects what Robert Alter calls an idiomatic conjunction in biblical Hebrew of the roots z-m-r (“hymn,” “sing,” “make music”) and the root n-‘-m (“sweet” or “pleasant”). Stanza 2: The direct address to the assembly in the first stanza transitions to evidence of God’s sovereignty, as manifested in creation and in history. First of all, God’s power and prerogative as Creator of all things demonstrate superiority to all other gods. Stanza 3: Second
Item #:
HW9146.35
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01/01/2022
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Hymn
By the Waters of Babylon
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Words By
Carl P. Daw, Jr.
No Hebrew superscription appears with Psalm 137, which seems to have been written soon after the Judeans were deported to Babylon in 586 BCE. This poignant communal lament weaves together a mixture of general and particular concerns that even now continues to speak to refugees and displaced persons. The paraphrase offered here represents my expansion of a well-known single-stanza canon that seems to have been in existence long before the first known printing of the associated tune in the 18th century. I have retained the archaic language of that traditional text, partly to imply the historical dis-tance of the event it recreates and partly because “thee” is more pleasant to sing and hear than is “you.” Much of the emotive power of the traditional stanza comes from its effective use of repetition, and I have attempted to retain that pattern as much as possible. Stanzas 1, 6: Robert Alter points out that the first Hebrew noun is generally translated “rivers” (as in KJV and many recent
Item #:
HW9146.37
Release Date:
01/01/2022
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Hymn
I Beheld a Stream of Water
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Words By
Carl P. Daw, Jr.
I beheld a stream of water flowing from the Temple's side, from the right side forth proceeding in a pure life-giving tide: Alleluia, alleluia, risen is the Lamb who died. And all they to whom that water with its cleansing power came knew the blessing...
Item #:
HW2284
Release Date:
01/01/2005
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Hymn
Splendor and Honor
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Words By
Carl P. Daw, Jr.
Splendor and honor, majesty and power, are yours, O Lord God, fount of every blessing, for by your bidding was the whole creation called into being. Praised be the true Lamb, slain for our redemption, by whose self-offering we are...
Item #:
HW2792
Release Date:
01/01/1990
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Hymn
Restore in Us, O God
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Words By
Carl P. Daw, Jr.
Restore in us, O God, the splendor of your love; renew your image in our hearts, and all our sins remove. O Spirit, wake in us the wonder of your power; from fruitless fear unfurl our lives like springtime bud and flower. Bring us...
Item #:
HW3059
Release Date:
01/01/1989
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Hymn
Soaring Spirit, Set Us Free
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Words By
Carl P. Daw, Jr.
Soaring Spirit, set us free From the tyranny of fear; Life of glorious liberty, Let your promised power appear: Drown the noise of Babel's tongues In the murmur of the dove; Burn away our wasting wrongs With the healing fire of love. Unseen Member...
Item #:
HW3075
Release Date:
01/01/1990
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0 Reviews
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Hymn
Splendor and Honor, Majesty and Power
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Words By
Carl P. Daw, Jr.
Splendor and honor, majesty and power, are yours, O Lord God, fount of every blessing, for by your bidding was the whole creation called into being. Praised be the true Lamb, slain for our redemption, by whose self-offering we are made God's peop...
Item #:
HW3091
Release Date:
01/01/1990
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Hymn
Why Do You Boast, You Wicked Fraud?
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Words By
Carl P. Daw, Jr.
The Hebrew superscription of Psalm 52 identifies it as being for the [musical] leader” or “choir- master,” labels it a maskil (a psalm category combining elements of artistic craft and the teaching of wisdom), and attributes it to David. The indicated origin of this psalm in the events of 1 Sam. 21–22 is not a convincing fit. When David was fleeing from Saul and took refuge with the priest Achimelech in Nob, Doeg the Edomite informed Saul what David had done. Saul responded by killing all the priests of Nob. Although Doeg’s report caused harm, it was not deceitful or untrue, nor was he a person with sufficient power to wreak havoc. Stanza 1: Despite the particulars of the superscription, it is more helpful to think of the person described in the first stanza as archetypal than as a reference any specific person. Stanza 2: The pretender to power is defeated by the true power of God, and the faithful are vindi- cated. Stanza 3: Finally using the first-person singular, the speaker is m
Item #:
HW9086.02
Release Date:
06/01/2020
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Hymn
Save Me by Your Name, O God
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Words By
Carl P. Daw, Jr.
The Hebrew superscription identifies Psalm 54 as being inscribed to “the [musical] leader” or “choirmaster,” categorizes it as a maskil (see the explanation of this term in the note for Psalm 52), and indicates that it is to be accompanied on stringed instruments. It also identifies the occasion of the psalm as “when the Ziphites went and told Saul, ‘David is in hiding among us.’” Once again, an effort to connect the psalm with an event in David’s life [see 1 Sam. 23] fails to agree with various details in the language (e.g. David’s enemy is not a stranger). So it is better to think of this as a gen- eral lament applicable to many situations. Stanza 1: Invoking God’s (unsayable) Name is equivalent to invoking all the power implicit in that Name, as the parallel second line makes clear. This stanza then establishes the circumstances that compel the psalmist to seek God’s help. Stanza 2: This stanza is an expression of confidence in God’s ability to defeat the psalmist’s oppres- sors.
Item #:
HW9086.04
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06/01/2020
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Hymn
Hear Me, O God, as I Voice My Lament
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Words By
Carl P. Daw, Jr.
The Hebrew superscription for Psalm 64 is starkly minimal: inscribing the psalm to “the [musical] leader” or “choirmaster” and attributing it to David. The absence of situational entanglements helps to make the psalm seem more immediate and more broadly applicable. Stanza 1: The opening of the psalm establishes the essential trajectory from initial distress to prom- ised deliverance. It also identifies the nature of the situation as being verbal and mental oppression rather than actual physical harm. Stanza 2: Although “psychological warfare” is a term devised much later, this part of the psalm effectively describes how unfounded rumors work like weapons and how they are deployed reck- lessly and shamelessly. Stanza 3: The imagery of hunting that shapes this stanza essentially dehumanizes the victim to the level of an animal. Stanza 4: God’s justice is described as defeating the wicked with more powerful versions of their own weapons (“arrows” and “noose”). Stanza 5: The psalm com
Item #:
HW9086.14
Release Date:
06/01/2020
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Hymn
Let Hymns Rise from Reverent Silence
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Words By
Carl P. Daw, Jr.
After repeating the two elements used with the previous psalm, the Hebrew superscription for Psalm 65 adds “a song,” underscoring that it is intended to be sung. Differences in both meter and content indicate that the first part of the psalm is a song of praise for God’s creative and saving power, while the latter part celebrates God’s nourishing gift of rain. It is therefore likely that the sec- ond part has in the course of time been grafted onto the first part. In order to give some unity to this bipartite text, the opening sentence has been treated as an antiphon to begin and end this paraphrase. Stanza 1: The first part of the psalm emphasizes how human beings are drawn to God through the holiness of God’s house. Stanza 2: Attention then turns to celebration of God’s activity, evident in God’s dealings with humanity and with creation. Stanza 3: The mute praise of a flourishing creation is complemented by the vocal praise of God’s people. This text works well with C.H.H. Parry’
Item #:
HW9086.15
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06/01/2020
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Hymn
O God, Be No Longer Silent
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Words By
Carl P. Daw, Jr.
In addition to attributing this psalm to Asaph, the Hebrew superscription for Psalm 83 labels it as “a song.” Although the original psalm lists a number of hostile powers in varying degrees of proxim- ity, scholarly efforts to correlate these enumerated enemies with any particular historical situation have failed to reach a satisfying consensus. It is most likely these are simply some of Israel’s tradi- tional foes who have been grouped together for poetical purposes and whose names would not add conviction for present-day readers and singers. So no attempt has been made to include them in this paraphrase. Stanza 1: This is an almost comic scenario: the omnipotent God is silent, while the weak and unsuc- cessful antagonists make a great deal of noise. Stanza 2: This stanza is a mirror image of the first stanza: stanza 1 begins with a petition, then describes the threatening situation, while stanza 2 elaborates on the widening threat before conclud- ing with a petition. Stanza 3: The
Item #:
HW9086.33
Release Date:
06/01/2020
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