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Author: Anna B. Warner; David R. McGuire; Mas Kawahima Meter: 7.7.7.7 with refrain Appears in 615 hymnals Topics: Songs with Signing or Motions First Line: Jesus love me, this I know Refrain First Line: Yes, Jesus loves me! Lyrics: 1 Jesus loves me, this I know, for the Bible tells me so. Little ones to him belong; they are weak, but he is strong. Refrain: Yes, Jesus loves me! Yes, Jesus loves me! Yes, Jesus loves me! The Bible tells me so. 2 Jesus loves me--he who died, heaven's gate to open wide. He will wash away my sin, let his little child come in. (Refrain) 3 Jesus loves me, this I know, as he loved so long ago, taking children on his knee, saying, "Let them come to me." (Refrain) Japanese-- [Protected by copyright] Spanish-- 1 Cristo me ama, bien lo sé Su palabra me hace ver Que los niños son deAquel Quien es nuestro Amigo fiel Si, Christo me ama, (3x) LaBiblia dice así. Scripture: Jeremiah 31:3 Used With Tune: JESUS LOVES ME Text Sources: Himnarió Metodísta, Spanish tr.

Now Thank We All Our God

Author: Martin Rinkart; Catherine Winkworth Meter: 6.7.6.7.6.6.6.6 Appears in 688 hymnals Topics: Songs with Signing or Motions Lyrics: 1 Now thank we all our God with heart and hands and voices, who wondrous things has done, in whom his world rejoices; who from our mothers' arms has blessed us on our way with countless gifts of love, and still is ours today. 2 O may this bounteous God through all our life be near us, with ever joyful hearts and blessed peace to cheer us, to keep us in his grace, and guide us when perplexed, and free us from all ills of this world in the next. 3 All praise and thanks to God the Father now be given, the Son and Spirit blest, who reign in highest heaven-- the one eternal God, whom heaven and earth adore; for thus it was, is now, and shall be evermore. Scripture: 1 Chronicles 29:13 Used With Tune: NUN DANKET

Lift High the Cross

Author: George William Kitchin; Michael R. Newbolt Meter: 10.10 with refrain Appears in 95 hymnals Topics: Songs with Signing or Motions First Line: Come, Christians, follow where our Savior led Refrain First Line: Lift high the cross, the love of Chirst proclaim Lyrics: Refrain: Lift high the cross, the love of Christ proclaim till all the world adore his sacred name. 1 Come, Christians, follow where our Savior ledd, our King victorious, Jesus Christ, our Head. (Refrain) 2 All newborn servants of the Crucified bear on their brows the seal of him who died. (Refrain) 3 O Lord, once lifted on the tree of pain, draw all the world to seek you once again. (Refrain) 4 Let every race and every language tell of him who saves our lives from death and hell. (Refrain) Scripture: Matthew 1:21 Used With Tune: CRUCIFER

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Tunes

Tune authorities

[Peter and John went to pray]

Appears in 4 hymnals Composer and/or Arranger: Betty Pulkingham Topics: Songs with Signing or Motions Tune Key: G Major Incipit: 11117 76677 77765 Used With Text: Silver and Gold Have I None

[Only a boy named David]

Appears in 4 hymnals Composer and/or Arranger: Arthus Arnott Topics: Songs with Signing or Motions Tune Key: F Major Incipit: 11111 13111 23511 Used With Text: Only a Boy Named David

[Father Abraham had many kids]

Appears in 1 hymnal Composer and/or Arranger: Joyce Borger Topics: Songs with Signing or Motions Tune Sources: Traditional Tune Key: E Flat Major Used With Text: Father Abraham

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Instances

Published text-tune combinations (hymns) from specific hymnals

Father Abraham

Hymnal: Sing With Me #68 (2006) Topics: Songs with Signing or Motions First Line: Father Abraham had many kids Lyrics: 1 Father Abraham had many kids, many kids had Father Abraham. I am one of them, and so are you, so let's all praise the Lord. *Right arm! (clench fist, bend and extend right arm upward repeatedly throughout song) Repeat song, adding motions : 2 ... left arm! (add left arm in same motion as right) 3 ... right foot! (add right foot stepping up and down) 4 ... left foot! (add left foot stepping up and down) 5 ... chin up! (start a continuous chin-bobbing motion) 6 ... turn around! (add turning in place while continuing other motions) 7 ... sit down! (sit down) Scripture: Genesis 12:1-3 Languages: English Tune Title: [Father Abraham had many kids]

Sing Unto the Lord

Hymnal: Sing With Me #50 (2006) Topics: Songs with Signing or Motions First Line: Sing unto the Lord a new song Scripture: Psalm 96:1-4 Languages: English Tune Title: [Sing unto the Lord a new song]

The Butterfly Song

Author: Brian Howard Hymnal: Sing With Me #60 (2006) Topics: Songs with Signing or Motions First Line: If I were a butterfly, I'd thank you, Lord Scripture: Psalm 139:13-16 Languages: English Tune Title: [If I were a butterfly, I'd thank you, Lord]

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People

Authors, composers, editors, etc.

Anna Bartlett Warner

1824 - 1915 Person Name: Anna B. Warner Topics: Songs with Signing or Motions Author (st. 1-2) of "Jesus Love Me" in Sing With Me Warner, Anna, daughter of Henry W. Warner, and sister of Sarah Warner, author of Queechy, and other novels, was born near New York City about 1822. She is the author of the novel, Say and Seal, 1859, and others of a like kind. She also edited Hymns of the Church Militant, 1858; and published Wayfaring Hymns, Original and Translated, 1869. Her original hymns in common use include:— l. Jesus loves me, this I know. The love of Jesus. In Say and Seal. 1859. 2. 0 little child, lie still and sleep. A Mother's Evening Hymn. In Temple Choir. 1867. 3. One more day's work for Jesus. Evening. From Wayfaring Hymns. 1869. 4. The world looks very beautiful. A Child Pilgrim, circa 1860. [Rev. F. M. Bird, M.A.] -- John Julian, Dictionary of Hymnology (1907) Pseudonym: Amy Lothrop ================ See also in: Hymn Writers of the Church

Catherine Winkworth

1827 - 1878 Topics: Songs with Signing or Motions Translator of "Now Thank We All Our God" in Sing With Me Catherine Winkworth (b. Holborn, London, England, 1827; d. Monnetier, Savoy, France, 1878) is well known for her English translations of German hymns; her translations were polished and yet remained close to the original. Educated initially by her mother, she lived with relatives in Dresden, Germany, in 1845, where she acquired her knowledge of German and interest in German hymnody. After residing near Manchester until 1862, she moved to Clifton, near Bristol. A pioneer in promoting women's rights, Winkworth put much of her energy into the encouragement of higher education for women. She translated a large number of German hymn texts from hymnals owned by a friend, Baron Bunsen. Though often altered, these translations continue to be used in many modern hymnals. Her work was published in two series of Lyra Germanica (1855, 1858) and in The Chorale Book for England (1863), which included the appropriate German tune with each text as provided by Sterndale Bennett and Otto Goldschmidt. Winkworth also translated biographies of German Christians who promoted ministries to the poor and sick and compiled a handbook of biographies of German hymn authors, Christian Singers of Germany (1869). Bert Polman ======================== Winkworth, Catherine, daughter of Henry Winkworth, of Alderley Edge, Cheshire, was born in London, Sep. 13, 1829. Most of her early life was spent in the neighbourhood of Manchester. Subsequently she removed with the family to Clifton, near Bristol. She died suddenly of heart disease, at Monnetier, in Savoy, in July, 1878. Miss Winkworth published:— Translations from the German of the Life of Pastor Fliedner, the Founder of the Sisterhood of Protestant Deaconesses at Kaiserworth, 1861; and of the Life of Amelia Sieveking, 1863. Her sympathy with practical efforts for the benefit of women, and with a pure devotional life, as seen in these translations, received from her the most practical illustration possible in the deep and active interest which she took in educational work in connection with the Clifton Association for the Higher Education of Women, and kindred societies there and elsewhere. Our interest, however, is mainly centred in her hymnological work as embodied in her:— (1) Lyra Germanica, 1st Ser., 1855. (2) Lyra Germanica, 2nd Ser., 1858. (3) The Chorale Book for England (containing translations from the German, together with music), 1863; and (4) her charming biographical work, the Christian Singers of Germany, 1869. In a sympathetic article on Miss Winkworth in the Inquirer of July 20, 1878, Dr. Martineau says:— "The translations contained in these volumes are invariably faithful, and for the most part both terse and delicate; and an admirable art is applied to the management of complex and difficult versification. They have not quite the fire of John Wesley's versions of Moravian hymns, or the wonderful fusion and reproduction of thought which may be found in Coleridge. But if less flowing they are more conscientious than either, and attain a result as poetical as severe exactitude admits, being only a little short of ‘native music'" Dr. Percival, then Principal of Clifton College, also wrote concerning her (in the Bristol Times and Mirror), in July, 1878:— "She was a person of remarkable intellectual and social gifts, and very unusual attainments; but what specially distinguished her was her combination of rare ability and great knowledge with a certain tender and sympathetic refinement which constitutes the special charm of the true womanly character." Dr. Martineau (as above) says her religious life afforded "a happy example of the piety which the Church of England discipline may implant.....The fast hold she retained of her discipleship of Christ was no example of ‘feminine simplicity,' carrying on the childish mind into maturer years, but the clear allegiance of a firm mind, familiar with the pretensions of non-Christian schools, well able to test them, and undiverted by them from her first love." Miss Winkworth, although not the earliest of modern translators from the German into English, is certainly the foremost in rank and popularity. Her translations are the most widely used of any from that language, and have had more to do with the modern revival of the English use of German hymns than the versions of any other writer. -- John Julian, Dictionary of Hymnology (1907) ============================ See also in: Hymn Writers of the Church

Johann Crüger

1598 - 1662 Topics: Songs with Signing or Motions Composer of "NUN DANKET" in Sing With Me Johann Crüger (b. Grossbriesen, near Guben, Prussia, Germany, 1598; d. Berlin, Germany, 1662) Crüger attended the Jesuit College at Olmutz and the Poets' School in Regensburg, and later studied theology at the University of Wittenberg. He moved to Berlin in 1615, where he published music for the rest of his life. In 1622 he became the Lutheran cantor at the St. Nicholas Church and a teacher for the Gray Cloister. He wrote music instruction manuals, the best known of which is Synopsis musica (1630), and tirelessly promoted congregational singing. With his tunes he often included elaborate accompaniment for various instruments. Crüger's hymn collection, Neues vollkomliches Gesangbuch (1640), was one of the first hymnals to include figured bass accompaniment (musical shorthand) with the chorale melody rather than full harmonization written out. It included eighteen of Crüger's tunes. His next publication, Praxis Pietatis Melica (1644), is considered one of the most important collections of German hymnody in the seventeenth century. It was reprinted forty-four times in the following hundred years. Another of his publications, Geistliche Kirchen Melodien (1649), is a collection arranged for four voices, two descanting instruments, and keyboard and bass accompaniment. Crüger also published a complete psalter, Psalmodia sacra (1657), which included the Lobwasser translation set to all the Genevan tunes. Bert Polman =============================== Crüger, Johann, was born April 9, 1598, at Gross-Breese, near Guben, Brandenburg. After passing through the schools at Guben, Sorau and Breslau, the Jesuit College at Olmütz, and the Poets' school at Regensburg, he made a tour in Austria, and, in 1615, settled at Berlin. There, save for a short residence at the University of Wittenberg, in 1620, he employed himself as a private tutor till 1622. In 1622 he was appointed Cantor of St. Nicholas's Church at Berlin, and also one of the masters of the Greyfriars Gymnasium. He died at Berlin Feb. 23, 1662. Crüger wrote no hymns, although in some American hymnals he appears as "Johann Krüger, 1610,” as the author of the supposed original of C. Wesley's "Hearts of stone relent, relent" (q.v.). He was one of the most distinguished musicians of his time. Of his hymn tunes, which are generally noble and simple in style, some 20 are still in use, the best known probably being that to "Nun danket alle Gott" (q.v.), which is set to No. 379 in Hymns Ancient & Modern, ed. 1875. His claim to notice in this work is as editor and contributor to several of the most important German hymnological works of the 16th century, and these are most conveniently treated of under his name. (The principal authorities on his works are Dr. J. F. Bachmann's Zur Geschichte der Berliner Gesangbücher 1857; his Vortrag on P. Gerhard, 1863; and his edition of Gerhardt's Geistliche Lieder, 1866. Besides these there are the notices in Bode, and in R. Eitner's Monatshefte für Musik-Geschichte, 1873 and 1880). These works are:— 1. Newes vollkömmliches Gesangbuch, Augspur-gischer Confession, &c, Berlin, 1640 [Library of St. Nicholas's Church, Berlin], with 248 hymns, very few being published for the first time. 2. Praxis pietatis melica. Das ist: Ubung der Gottseligkeit in Christlichen und trostreichen Gesängen. The history of this, the most important work of the century, is still obscure. The 1st edition has been variously dated 1640 and 1644, while Crüger, in the preface to No. 3, says that the 3rd edition appeared in 1648. A considerable correspondence with German collectors and librarians has failed to bring to light any of the editions which Koch, iv. 102, 103, quotes as 1644, 1647, 1649, 1650, 1651, 1652, 1653. The imperfect edition noted below as probably that of 1648 is the earliest Berlin edition we have been able to find. The imperfect edition, probably ix. of 1659, formerly in the hands of Dr. Schneider of Schleswig [see Mützell, 1858, No. 264] was inaccessible. The earliest perfect Berlin edition we have found is 1653. The edition printed at Frankfurt in 1656 by Caspar Röteln was probably a reprint of a Berlin edition, c. 1656. The editions printed at Frankfurt-am-Main by B. C. Wust (of which the 1666 is in the preface described as the 3rd) are in considerable measure independent works. In the forty-five Berlin and over a dozen Frankfurt editions of this work many of the hymns of P. Gerhardt, J. Franck, P. J. Spener, and others, appear for the first time, and therein also appear many of the best melodies of the period. 3. Geistliche Kirchen-Melodien, &c, Leipzig, 1649 [Library of St. Katherine's Church, Brandenburg]. This contains the first stanzas only of 161 hymns, with music in four vocal and two instrumental parts. It is the earliest source of the first stanzas of various hymns by Gerhardt, Franck, &c. 4. D. M. Luther's und anderer vornehmen geisU reichen und gelehrten Manner Geistliche Lieder und Psalmen, &c, Berlin, 1653 [Hamburg Town Library], with 375 hymns. This was edited by C. Runge, the publisher, and to it Crüger contributed some 37 melodies. It was prepared at the request of Luise Henriette (q.v.), as a book for the joint use of the Lutherans and the Re¬formed, and is the earliest source of the hymns ascribed to her, and of the complete versions of many hymns by Gerhardt and Franck. 5. Psalmodia Sacra, &c, Berlin, 1658 [Royal Library, Berlin]. The first section of this work is in an ed. of A. Lobwasser's German Psalter; the second, with a similar title to No. 4, and the date 1657, is practically a recast of No. 4,146 of those in 1653 being omitted, and the rest of the 319 hymns principally taken from the Praxis of 1656 and the hymn-books of the Bohemian Brethren. New eds. appeared in 1676, 1700, 1704, 1711, and 1736. [Rev. James Mearns, M.A.] -- Excerpt from John Julian, Dictionary of Hymnology (1907) ======================= Crüger, Johann, p. 271, ii. Dr. J. Zahn, now of Neuendettelsau, in Bavaria, has recently acquired a copy of the 5th ed., Berlin, 1653, of the Praxis. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907)

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