“Wade in the Water” is a well-known spiritual that was one of the songs associated with the Underground Railroad. Since its first commercial recording in 1925 by the Sunset Four Jubilee Singers, it has been widely performed and recorded.

This arrangement stylistically emulates the theme of the popular 2017 television show The Chosen, which also uses this same spiritual. The title is taken from the last line of the song: “God’s gonna trouble the water.”

This version of the hymn “O Happy Day” is an international assemblage made over a period of almost 300 years. The original words to the song were written in the 18th century by Philip Doddridge, an Englishman. The spritely melody to this version was composed in the 20th century by Go¨sta Linstro¨m, a Swede. The arrangement of Lindstrom’s tune first appeared in the Musical Salvationist and was made by Emil Soderstrom, a Dane. The present arrangement for brass was made in the 21st century by an American. If nothing else, it shows that happiness is a good thing, and this melody shows how infectious it can be.

This version of the hymn “O Happy Day” is an international assemblage made over a period of almost 300 years. The original words to the song were written in the 18th century by Philip Doddridge, an Englishman. The spritely melody to this version was composed in the 20th century by Go¨sta Linstro¨m, a Swede. The arrangement of Lindstrom’s tune first appeared in the Musical Salvationist and was made by Emil Soderstrom, a Dane. The present arrangement for brass was made in the 21st century by an American. If nothing else, it shows that happiness is a good thing, and this melody shows how infectious it can be.

“New Name Written Down in Glory” is a rousing combination of a new contemporary Christian song by Charity Gayle and the old gospel song “A New Name in Glory” by C. Austin Miles. The words speak of the believer’s name being written in the Book of Life, referred to in Revelation, and receiving a new identity based in God’s love for us. The arrangement attempts to capture the joy of being adopted into the family of God.

“I Vow the Thee, My Country” is a British patriotic hymn based on a poem by Sir Cecil Spring Rice (1908). Gustav Holst wrote the tune “Thaxted,” which is taken from the “Jupiter” movement of his own suite The Planets (1917).

This is a straightforward presentation of a children’s chorus with an equally direct statement of faith: I believe God answers prayer, He’s answered mine before.

The “Warfare” section of The Salvation Army Song Book is full of battle songs that remind us that despite things such as trouble, calamity, persecution, hunger, poverty, danger – even unto death, etc., “overwhelming victory is ours through Christ, who loves us” (Romans 8:37 [NLT]). We are soldiers in an army that is already promised victory because of our captain, Christ himself!

This is a bright arrangement of one of these songs, “Happy Song” by William Bradbury (1867). The lyrics by Fanny Crosby (1867) remind us to “Shout for Joy!” as “we are marching on with shield and banner bright.”

The “Warfare” section of The Salvation Army Song Book is full of battle songs that remind us that despite things such as trouble, calamity, persecution, hunger, poverty, danger – even unto death, etc., “overwhelming victory is ours through Christ, who loves us” (Romans 8:37 [NLT]). We are soldiers in an army that is already promised victory because of our captain, Christ himself!

This is a bright arrangement of one of these songs, “Happy Song” by William Bradbury (1867). The lyrics by Fanny Crosby (1867) remind us to “Shout for Joy!” as “we are marching on with shield and banner bright.”

One of the more popular songs from the contemporary Christian band Passion, “Glorious Day” is an anthem that proclaims joy from this truth: because Jesus rose from His grave, we too can break free from the sin that imprisons us.

Throughout his life, Count Zinzendorf (1700-1760) focused not on what he was doing for Christ but on the sufficiency of what Christ had done for him. His song “Jesus, Thy Blood and Righteousness” (Translated by John Wesley,1703-1791) is an outstanding example of this.

Written by the Nigerian gospel singer Sinach, Waymaker became one of the few truly internationally known Contemporary Christian songs when it was released in 2015. It again became the most popular song in the CCLI catalogue in 2020 during the worldwide Covid pandemic, perhaps because of its hopeful and comforting message about God’s faithfulness and promise keeping in times of trouble.

“Sound the Battle Cry” was written by William Fisk Sherman (1826-1888) and published in Bright Jewels (1869). This energetic arrangement reflects the rousing call to action of the lyrics:

Rouse, then, soldiers, rally round the banner,
Ready, steady, pass the word along;
Onward, forward, shout aloud, Hosanna!
Christ is Captain of the mighty throng.

Though the historical background for the hymn tune “Beethoven” seems nebulous, it has been effectively paired with many hymn texts. Here, the composer’s Prelude is based on the thought-provoking text by Frances Ridley Havergal (1836-1879), “Lord, speak to me that I may speak.”

Prelude on “Beethoven” includes settings of two verses. The first instance utilizes the first verse of Havergal’s text in a sensitive, somewhat pastoral fashion, which is introduced by the composer’s original melodic material. The second setting, based on verse seven, reflects the climactic nature of the text.

Verse 1
Lord, speak to me, that I may speak in living echoes of Thy tone.
As Thou hast sought, so let me seek Thy erring children lost and lone.

Verse 7
O use me, Lord, use even me, Just as Thou wilt and when and where,
Until Thy blessed face I see, Thy Rest, Thy joy, Thy glory share.

This folksong-like melody has been appearing in hymnals for many years as “Jesus Walked This Lonesome Valley.” Its origins are shrouded in obscurity and can be traced to the Appalachian mountains of the southeastern United States.

The refrain of the song includes these words:

Jesus walked this lonesome valley; he had to walk it by himself.
Oh, nobody else could walk it for him; he had to walk it by himself.

One of the lesser-known American spirituals, “Listen To The Lambs,” was first published in 1914. Perhaps one of its most lasting recordings was made in 1955, sung a capella by the Tuskegee Institute Choir.

The text is drawn from an older spiritual, “I Want To Go To Heaven When I Die.” Here, it is given a rhythmic setting featuring a light Latin rhythmic backing to its haunting melody.

Based on the wonderful old gospel song, “‘Tis so Sweet to Trust in Jesus” by Louisa M.R. Snead (1850-1917) and William James Kirkpatrick (1838-1921), this solo with instrumental ensemble accompaniment features one verse and two choruses from the song.
After a brief introduction based on intervals from the song, the soloist plays an original melody by the composer prior to a light and energetic rendition of the first chorus. The verse appears in a more sustained style by the soloist, accompanied by a smooth, chorale-like background.
The second chorus is played by the soloist while the opening original theme is juxtaposed underneath. The introduction is reintroduced prior to an ascending finale by the soloist.