Often mistaken as a traditional spiritual, “Sweet Little Jesus Boy” was composed in 1934 by Robert MacGimsey who intentionally wrote the song in this style. It harkened back to his youth in Louisiana where he was steeped in the deep tradition of African American gospel music. In this culture, Christmas was a time to draw closer to God through personal prayer and meaningful songs, which was a stark contrast to what he observed in New York when he penned the song.

Written during the depression, “Sweet Little Jesus Boy” quickly became a standard Christmas tune, along with several other songs written at this time. Recorded by many artists over the years, the soulful recording by Mahalia Jackson in 1955 is perhaps the most famous.

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.

“All My Heart I Give Thee” was the first song ever written by Harry Davis, and it was published in The War Cry in 1880, set to a tune by Robert Lowry.

The lyrics of this song express devotion to serving God in everything. This ensemble arrangement uses the text of the first verse and chorus and takes its title from the last line of the verse.

Jesus, precious Savior, thou hast saved my soul,

From sin’s foul corruption made me fully whole;

Every hour I’ll serve thee, whate’er may befall,

Till in Heaven I crown thee King and Lord of all.

All my heart I give thee,

Day by day, come what may.

All my life I give thee,

Dying men to save.

“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.

This bright, up-tempo march is based on two melodies for the carol “It Came upon a Midnight Clear” – “Noel” by Arthur Sullivan (1874) and “Carol” by Richard Willis (1850). These words, written by Edmund Sears in 1849, beautifully describe the scene when the angels declared to the world that a savior had been born.

“Bringing in the Sheaves” is a joyful, lilting tune by George Minor (1880) which has been in use for more than 140 years. The text by Knowles Shaw (1874) evokes a harvest scene, as expressed in the first verse:

Sowing in the morning, sowing seeds of kindness,

Sowing in the noontide and the dewy eve;

Waiting for the harvest, and the time of reaping,

We shall come rejoicing, bringing in the sheaves.

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.”

ily of God!”

“I was glad when they said to me, ‘Let us go to the house of the Lord’” (Psalm 122:1). Fanny Crosby’s hymn, “Come with Happy Faces,” once appeared in the Youth section of The Salvation Army Song Book. It has since been moved to address us all in “Our Response to God, Worship, Meeting Together,” and carries this universal summons:

“With a grateful spirit, now our voices raise; Thank him for his goodness in a song of praise.”

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.

Originally written as the first movement of an instrumental suite, Mouret’s Rondeau has remained his most popular work. It is frequently heard at weddings and other ceremonies. A rondeau is a form of dance music that contains an initial theme that is reiterated throughout the piece.

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.

When Jesus visited Mary and Martha in Bethany, he brought assurance both of communion with him and of his resurrection. It is quite fitting, therefore, that Lowell Mason should name his hymn tune “Bethany” to remind us of that assurance through the hymn’s well-loved text, “Though it be a cross that raiseth me, still all my song shall be, nearer, my God, to thee!”