Praise, Lament, and Prayer - Hope Publishing

Praise, Lament,and Prayer

Carl P. Daw, Jr.

A Psalter for Singing

Volume 1

8933_Praise, Lament, and Prayer_Layout 1 4/23/2018 4:30 PM

HO PESince 1892

Publishing CompanyCarol Stream IL 60188

www.hopepublishing.com800-323-1049

Code No. 8933

Copyright © 2018 Hope Publishing Company, Carol Stream, IL 60188International Copyright Secured. All Rights Reserved.

Warning: It is illegal to copy any portion of this book.

Praise, Lament,and Prayer

Carl P. Daw, Jr.

A Psalter for Singing

Volume 1

Praise, Lament, and Prayer A Psalter for Singing, Vol. 1

Hymns of Carl P. Daw, Jr.

Published by Hope Publishing Company

380 South Main PlaceCarol Stream, IL 60188

(800) [email protected]

Code #8933

ISBN# 978-1-933710-18-1First Published in 2018

1 3 5 7 9 10 8 6 4 2

No part of this book may be reproduced in any manner whatsoever without written permission of the copyright owners.

© 2018 Hope Publishing Company, Carol Stream, IL 60188International copyright secured. All rights reserved.

Printed in the USA.

— v —

Introduction

Early in the “Introductory” chapter of his Reflections on the Psalms, C.S. Lewis firmly states: “the Psalms are poems, and poems intended to be sung.”1 Those same convictions underlie and moti-vate the present collection.

Each psalm paraphrase appears here in two forms: initially as a poetic text, then interlined with a public domain tune. I hope the poetic version will prove useful for reflective reading, which may be enhanced by the notes provided after the last psalm. The sung versions offer a means of gaining further appreciation of psalm texts that have been read or sung in worship, especially as appointed in the Revised Common Lectionary.

At first consideration, the prospect of adding a paraphrase of a psalm already being read or sung in a standard translation might seem unnecessary or at least redundant. Yet it is nearly always pos-sible for a paraphrase to enable worshippers to notice some aspect of the psalm that was not evident in the customary translation. A key example of this sort occurs with the familiar paraphrase of Psalm 23, “The King of Love my Shepherd Is,” by Henry Williams Baker. Baker’s poetic rendering has clearly been influenced by the Oxford and Cambridge movements: it’s like a pre-Raphaelite ver-sion of the psalm. Such influence is particularly evident in the lines that ordinarily read, “You anoint my head with oil and my cup runs over.” For those phrases, Baker uses very churchy words: “Thou spread’st a table in my sight; / thy unction grace bestoweth;/ and O what transport of delight / from thy pure chalice floweth!” With words like “unction” and “chalice,” he very definitely gives an ecclesiological slant to the psalm.

By providing such a very particular perspective on a given biblical text, paraphrases derive much of their power and benefit: they give us the ability to interpret the psalm text anew, providing it with qualities of immediacy and application that it otherwise might not have if we simply read a literal translation. Paradoxically, the more immediacy we can give a psalm paraphrase, the more that

1 Reflections on the Psalms (New York: Harcourt, Brace & World, Inc., 1958), 2.

— vi —

paraphrase contributes a sense of timelessness to the psalm. While each paraphrase inevitably carries features that locate it at the time of its making,, the whole chain of paraphrases connected with a particular psalm adds to the sense that its timelessness continues into the present day.

In constructing the paraphrases offered here, I often begin by writ-ing out a prose paraphrase. How would I say this now if I were simply trying to express what the psalm says? Then I try to look for what I call “bridge” words: words that reflect the psalm as we have received it but also relate to events and concerns in contemporary life. Where a psalm mentions an unjust king, for example, that reference might well become “tyrant” or even “dictator,” depend-ing on the scansion. “Unjust king” doesn’t connect to us now in the way that “tyrant” or “dictator” does, because (alas) we have recent examples of these latter words that make the effect of the idea far greater for us. Similarly, a phrase like “the poor” may not be as immediate for us as “homeless people.” I try to find a phrasing that is true to the intention of the psalm yet also communicates to audi-ences now in language that is familiar and engaging. This is a mode of translation familiar to biblical and liturgical translators and is customarily called “dynamic equivalence.”

I am mindful that many people have longstanding attachments to existing translations, especially older ones such as the Authorized/King James Version. In such traditional biblical language, whole phrases act for us simply as linguistic units, partly because long use has worn away the textures that were once evident. As a result, such blocks of received language can become impediments to understanding. This is how we can get dangerously close to treat-ing language as an idol of sorts: enshrining a text in one version, to the point that it feels unchangeable.

The alternative to revering one version of a text as an idol is to see each version as an icon. John Baldovin has a very fine article2 distinguishing between idol and icon in the discussion of liturgical language; I think that distinction applies to the language of hymns and psalm paraphrases as well. If we can see through the words

2 John F. Baldovin, SJ, “Idols and Icons: Reflections on the Current State of Liturgical Reform,” Worship 84:5 (September 2010). 386–402.

— vii —

themselves into what they are trying to convey, rather than looking at the language itself, then we can get closer to the true intention. A psalm paraphrase is useful because it can, in fact, increase the transparency of a text that may have been opaque to us before. To be able to see through the received language to the real concerns of the text deepens our appreciation of a psalm, and paraphrases in contemporary language can help us do that.

I also feel that the music joined with a metrical paraphrase can significantly help those who sing it to comprehend and appreci-ate the intentions of the biblical text. With each new paraphrase I customarily start out by identifying a meter that seems appropriate to the content, tone, and pacing of the text. After I get at least one stanza together, I look for tunes that might work with that meter. This process ensures that the latter part of the paraphrase will be informed directly by the tune. Once I have settled on a likely tune, I try to take its contours into account in the shaping of the paraphrase. For example, a series of ascending notes might suggest imagery related to rising up, rather than being joined with a phrase like “from the depths.” At the very least I try not to work against the music to which the text is going to be sung.

In preparing these paraphrases I have relied constantly on my grounding in the Psalter published in the 1979 Book of Common Prayer of the Episcopal Church. Nearly forty years of experiencing the Psalms in this translation have contributed immeasurably to my appreciation for them. In addition, I have been informed and inspired by consulting three principal resources: Robert Alter, The Book of Psalms: a Translation with Commentary (New York: W.W. Nor-ton & Co., 2007); Hans-Joachim Kraus, Psalms 1–59: A Commentary, trans. Hilton C. Oswald (Minneapolis: Augsburg Publishing House, 1988); and J. Clinton McCann, Jr., “The Book of Psalms: Introduc-tion, Commentary, and Reflections,” in The New Interpreter’s Bible, Vol. IV (Nashville: Abington Press, 1996), 641–1280. The work of these scholars has helped me to gain a deeper appreciation of these psalms and has furnished me with ample material from which to derive the notes I offer for each one.

* * * * *

— viii —

I am grateful to Hope Publishing Co., and especially to Scott Shorney, for encouragement to undertake this project of paraphras-ing the entire Psalter. Most of all, I am indebted to my wife, May Bates Daw, for many hours of reading and evaluation. She has been a constant advocate on behalf of those who will read and sing these texts, and her observations have smoothed numerous rough edges.

—Carl P. Daw Jr.

TABLE OF CONTENTS

PSALMS 1–50

NOTES 125–143

INDEXES

Index of Tunes 146Metrical Index 147Index of Composers, Arrangers, and Sources 148First Line Index 149

PSALM

1 How Blest Indeed Are You

How blest indeed are you if you have never walkedin wicked counsel’s ways, or stood where sinners talked,or sat with those who scoff,but find your true delightwhen you have God’s law on your lipsboth day and night.

You will be like a treeset in a stream-fed plotand bearing fruit amid green leavesthat wither not.Whatever you take onwill prosper day by day,while all the wicked will like chaffbe blown away.

The wicked dare not standin judgment, as they must,nor will the sinner find a placeamong the just.But God knows well the way of those who walk by faithand blesses them with daily bread,with life and breath.

Words © 2018 Hope Publishing Company

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How Blest Indeed Are You

WORDS: Carl P. Daw, Jr. MUSIC: Hebrew melody; arr. Meyer Lyon

LEONI6.6.8.4.D.


1PSALM

PSALM

Hear the turmoil of the nations!How earth’s peoples sigh and groan!Voices call for revolution; factions thrive, and threats are thrown.Few take time to seek God’s blessing,which some others falsely claim.God, whose will alone is sovereign, soon will turn their pride to shame.

God once set a model monarchfirmly on a royal throne,there to reign with might and wisdombearing witness to God’s own.When the heirs of all that greatnesstook for granted what God gave,God fulfilled the dormant promisein the One who came to save.

Listen, all who govern nations!Rulers of the earth, take heed!Trust no human scheme or systemto determine how you lead.Turn to God for strength and couragewhen your fears and doubts increase;in that longed-for place of refugefind in God your source of peace.

Hear the Turmoil of the Nations 2


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WORDS: Carl P. Daw, Jr.MUSIC: Thomas J. Williams

EBENEZER8.7.8.7.D.

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PSALM


How greatly, O my God, my enemies increase!How many rise to trouble meand take away my peace.

They say you will not heedmy cries of fear and dread;but you, my glory and my shield,will guard and lift my head.

If I call out in prayer,God answers faithfully.When I lie down, I sleep and wakewith God sustaining me.

Therefore I will not fearthough countless foes oppress,for God will save and set me free, will strengthen, calm, and bless.

3 How Greatly, O My God

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- - --

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How Greatly, O My God

WORDS: Carl P. Daw, Jr. MUSIC: Aaron Williams’ New Universal Psalmodist

ST. THOMASS.M.


3PSALM

PSALM


Give answer when I call, O God,for you alone defend my cause;you set me free from my distressand will not leave me as I was.I ask now for your mercy’s saketo hear the humble prayer I make.

Though mortal pride dishonors youand turns to vain and worthless things, your steadfast love remains alivedespite our willful wanderings.I know that you will hear and heedthe prayers of faithful souls in need.

With holy fear I keep your law;my heart recites it through the night.When many long for better times,I pray your face will give us light.You gladden me like crops’ increase;in you, O God, I rest in peace.

4 Give Answer When I Call

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Give Answer When I Call

WORDS: Carl P. Daw, Jr.MUSIC: Geistliche Lieder, 1539; harm. J. S. Bach

VATER UNSER8.8.8.8.8.8.

4


PSALM

PSALM


Before you, Sovereign God, I laymy morning sacrifice of prayer,beseeching you to hear and heedthe heartfelt faith my words declare.

I know you are a God who takesno pleasure in the ways of sin;wrongdoers cannot dwell with you nor even to your courts come in.

Therefore by your great mercy ledto pray within this holy place, I dare to ask you, faithful God, to guide me with your righteous grace.

Protect me from temptation’s wiles;with favor shield me all my days.So shall I, sheltered in your care,lift up my voice to sing your praise.

5 Before You, Sovereign God, I Lay

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Before You, Sovereign God, I Lay

WORDS: Carl P. Daw, Jr. MUSIC: Thomas Tallis

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PSALM

PSALM


Rebuke me not in anger, Lord,nor punish me in wrath.Have pity on my weakened frameand take the healer’s path.

No longer wait, but rescue me;in mercy, turn and save.Deliver me and spare me fromthe silence of the grave.

With moaning I grow weaker still; I flood my bed with tears.My eyes wear out from weariness,from endless griefs and fears.

Depart, you evildoers all!The Lord has heard my prayersand frustrates those who trouble me, confounding all their snares.

6 Rebuke Me Not in Anger, Lord

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Rebuke Me Not in Anger, Lord

WORDS: Carl P. Daw, Jr. MUSIC: William Tans’ur

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PSALM

PSALM


O Lord my God,I take refuge in you from my enemies;from this pack of pursuers, deliver me, lest they tear me like lions that shred their prey,with their mouths making mischief where none can seebut you, my God.

If I have wronged anyone, O my God, either friend or foe,if I blamed without cause or betrayed a trust;then let those who pursue me suppress my life,let them trample my soul into nameless dust,if I have sinned.

Rise up, O Lord,in your wrath stand against those who slander me.Let them fall in the pit dug with cunning art,but give judgment for me, show my innocence,for you test and examine both mind and heart,O righteous One.

O God my shield,the defender of all who are true in heart,show your strength, lest your servant be put to shame;then I gladly will tell of your righteousness, I will sing of your justice and praise your Name,O Lord Most High.

7 O Lord My God, I Take Refuge in You

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- -- - -

- - --

O Lord My God, I Take Refuge in You

WORDS: Carl P. Daw, Jr. MUSIC: Hannover, 1838; arr. Albert Gereon Stein

O JESU, ALL MEIN LEBEN BIST DU4.11.11.11.11.4.

7


PSALM

PSALM


O God, our Sovereign God, how glorious is your Name!Through all the earth resounds the praisethe heavens proclaim.Your praise on infant lipswill prove a potent shieldagainst the slander of your foesor lies they wield.

Amid the daunting heav’ns,the works your hands have made:the countless stars, the moon that leads their bright parade,why do mere mortals rateyour notice or your care?How can it matter in your sightthat we are there?

Yet you have given ussuch near-angelic pow’rsand trusted to our wayward carethis world of ours:things tiny to immense,all creatures, wild and tame.O God, our Sovereign God, we praiseyour glorious Name!

8 O God, Our Sovereign God

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O God, Our Sovereign God


LEONI6.6.8.4.D.


8PSALM

PSALM


Sing praise to God, whose mighty actsstill strong in mem’ry standto give us hope when evil seemsto gain the upper hand.Give thanks for deeds of steadfast love,for wonders new and old:for fire and cloud, for daily food, for mercies yet untold.

Though monuments of evil risein marble, gilt, and stone,time’s search will find their boasts untrue,their makers’ names unknown.Mute avenues of ruins will markwhere once proud cities stood,but from destruction God will savethe faithful, just, and good.

Rise up, O God, reclaim the pow’rusurped by mortal pride,deflate the hollow pomp of thosewhom rank and titles hide.Let not the needy cry unheard, the suff’ring hope in vain;restore fallen, bless the meek,till peace and justice reign.

9 Sing Praise To God, Whose Mighty Acts

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- - -- - -

- - -

Sing Praise To God, Whose Mighty Acts

WORDS: Carl P. Daw, Jr. MUSIC: Kentucky Harmony, 1816; harm. Songs for Liturgy and More Hymns and Spiritual Songs, 1971

SALVATIONC.M.D.

9


PSALM

PSALM


Why do you stand far off, O God,when we are in distress?How can poor suff’ring mortals reachyour holy hiddenness?See how the wicked prosper now;their evil ventures thrive, and in their pride they dare to doubtthat you are still alive.

We see them lurk in public squaresas if immune to laws,like lions waiting for their preywith fierce remorseless claws.They mock all codes of right and wrong;they curse, deceive, defame,make victims of the innocent, and have no sense of shame.

Rise up, O God, and bring reliefto those who suffer wrong:set free the needy and oppressed, bound in a wretched throng.True Helper of the helpless, come!Bring justice and release;set right the world you made and loveand turn our strife to peace.

10 Why Do You Stand Far Off, O God

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-- - -

Why Do You Stand Far Off, O God

WORDS: Carl P. Daw, Jr. MUSIC: Kentucky Harmony, 1816; harm. Songs for Liturgy and More Hymns and Spiritual Songs, 1971

SALVATIONC.M.D.

10


PSALM

PSALM

11 God Will Be My Constant Refuge

God will be my constant refuge; why then should I be afraid?Why believe the voices saying,“Fly away, your foes evade;for the wicked, armed and waiting,now against you are arrayed?”

God is still enthroned in glory,seeing every soul on earth. All our thoughts and deeds are witnessedfrom the moment of our birth:both the righteous and the wicked,known and weighed for their true worth.

God alone is truly righteousand delights in righteous waysbut abhors those who love havoc,purging them with scorching blaze.Yet God’s face will shine in blessing on the faithful one who prays.


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- - --- -

God Will Be My Constant Refuge

WORDS: Carl P. Daw, Jr. MUSIC: French melody, 17th c.; harm. Ralph Vaughan Williams

PICARDY8.7.8.7.8.7.

11


PSALM

PSALM

12 Save Us, O God!All the Faithful Have Perished

Save us, O God! All the faithful have perished;trust has collapsed; we are splintered in parts.Neighbors spread falsehoods about one another:smooth are their tongues and divided their hearts.

God will rise up and cut off all the smooth tongues, shut the proud lips that now slander and boast,rescue the poor from oppression and misery,rally with strength those who long for it most.

Steadfast and sure are the promises God makes,purer than silver refined with great skill.From all that threatens to render life worthlessGod will protect us and safeguard us still.


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- --

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Save Us, O God! All the Faithful Have Perished

WORDS: Carl P. Daw, Jr. MUSIC: Paris Antiphoner, 1681

O QUANTA QUALIA11.10.11.10.

12


PSALM

PSALM


How long, O God, will you forget,and hide your face from me?How long shall I be dazed by griefwhile foes claim victory?

Behold and answer me, O God,revive me when I call.Let not my enemies rejoiceand gloat to see me fall.

But in your mercy will I trust; my heart finds strength in you,and in your praise I lift my voicein songs that faith makes new.

13 How Long, O God, Will You Forget

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- --

How Long, O God, Will You Forget

WORDS: Carl P. Daw, Jr. MUSIC: A Supplement to the Kentucky Harmony, 1820

DETROITC.M.

13


PSALM

PSALM

14 The Fool Declares, “There Is No God”

The fool declares, “There is no God,”and sees no good in anything;but God beholds the selfish prideto which such vocal doubters cling.

For God surveys our wayward worldto learn of any who are wise,discerning, searching for the truth,receptive to divine surprise.

Yet narrow minds remain unmoved, absorbed in self-enriching goals, devouring those less fortunate,revering money more than souls.

In God’s good time the wheel will turn:the righteous poor will gain their voice,the dispossessed will find a home,and all God’s people will rejoice.


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- -- - - -

- --- -

The Fool Declares, “There Is No God”

WORDS: Carl P. Daw, Jr. MUSIC: Sarum plainsong, Mode IV, 9th c.

CONDITOR ALME SIDERUML.M.

14


PSALM

PSALM


Who will be welcome in God’s presence?Who in God’s house can claim a place?Those without blame who work for justice,who from the heart speak truth with grace.

Come, if you shun all words that slanderas well as wounding wink and nod;if you disdain all evildoersbut honor those who trust in God;

If you have sworn to leave wrongdoing and have not taken back your word;if unjust gain has not enriched you,nor greased your palm when bribes occurred.

All who abide by God’s commandmentsshall evermore remain secure;God will still be their strength and havenwith steadfast love that will endure.

15 Who Will Be Welcomein God’s Presence?

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---

Who Will Be Welcome in God’s Presence?

WORDS: Carl P. Daw, Jr. MUSIC: John S. B. Hodges

EUCHARISTIC HYMN9.8.9.8.

15


PSALM

PSALM


O God, protect me: I trust your great mightto be my refuge, my strength and delight.On those who honor you I bestow praisebut shun the foolish who follow false ways.

In you I find my full portion and cup;by your protection my life is held up.Broad are my borders marked out by your care,with means sufficient to live and to share.

By your wise counsel I learn what is right;for my heart teaches me, night after night.Guide me and shield me, my true All-in-all;with you beside me, I never shall fall.

My heart rejoices: my body and soulyou will not leave to death’s final control.You bestow pleasures no foe can destroy,for in your presence is fullness of joy.

16 O God, Protect Me

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O God, Protect Me

WORDS: Carl P. Daw, Jr. MUSIC: Irish melody; arr. Jack Schrader

SLANE10.10.10.10.

16

Words © 2001 Hope Publishing CompanyMusic arr. © 1989 Hope Publishing Company

PSALM

PSALM


Hear, O God, my plea for justice;listen to my prayerful song.Let your judgment vindicate me,for your eyes see right from wrong.If you weigh my heart and search it,if you question me by night,if you test me, nothing shames me;from my lips no lies take flight.

Keep my feet from wayward stumbling,set them firmly in your ways.Faithful God, who hears and answers,listen now to one who prays.Once again make known your mercyshown to those by foes oppressed.Guard me like the eye’s bright apple;let your wings protect my rest.

Rise, O God, confront the wicked;save me from their lethal stealth.Show how vain it is when peopleput their trust in fickle wealth.Bless all those whom you have shelteredwith abundance of your grace;grant that I may live in justicetill I wake to see your face.

17 Hear, O God, My Plea for Justice

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Hear, O God, My Plea for Justice

WORDS: Carl P. Daw, Jr. MUSIC: Dutch melody, 18th c.

IN BABILONE8.7.8.7.D.

17


PSALM

PSALM


O God my strength, my fort, my haven,my rock in whom I put my trust, you are my shield and my salvation:to sing your praise is right and just;for when I called in my distress,you did not leave me comfortless.

Torrents of death had overwhelmed me;destruction loomed on every side.Tangled in thoughts of hell and dying,with fear and dread to you I cried:you heard my prayer and gave a sign,making earth shake and darkness shine.

Out of deep waters God has saved me, rescued my life from mighty foes, from those whose strength and hate engulfed me,gave sure support through all my woes.In a broad place I am set freeknowing that God delights in me.

For to the faithful God is faithfuland to the blameless always true;so with the pure will God deal purely, but will the schemer’s craft outdo.All who are humble will endure, but for the haughty doom is sure.

O God, you brighten all my darkness;within my lamp you are the light.Armed with the shield of your salvation, I have prevailed through your great might.Let all the nations sing your worthand praise your Name through all the earth.

18 O God My Strength,My Fort, My Haven

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O God My Strength, My Fort, My Haven

WORDS: Carl P. Daw, Jr. MUSIC: Georg Neumark

NEUMARK9.8.9.8.8.8

18


PSALM

PSALM

God’s glory fills the heavens with hymns,the domed sky bears the Maker’s mark;new praises sound from day to dayand echo through the knowing dark.Without a word their songs roll on,into all lands their voices run.And with a champion’s strength and gracefrom farthest heav’n comes forth the sun.

God’s perfect law revives the soul:its precepts make the simple wise;its just commands rejoice the heart;its truth give light unto the eyes.Forever shall this law endure:unblemished, righteous, true, complete.No gold was ever found so fine,no honey in the comb more sweet.

God’s servant may I ever be:this world my joy, that word my guide.O cleanse me, Lord, from secret sin:deliver me from selfish pride.Accept my thoughts and words and deeds:let them find favor in your sight.For you alone can make me whole,O Lord, my refuge and my might.

God’s Glory Fills the 19Heavens with Hymns


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God’s Glory Fills the Heavens with Hymns

WORDS: Carl P. Daw, Jr. MUSIC: Scottish melody

YE BANKS AND BRAESL.M.D.

19


PSALM

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PSALM


No matter when the day of trouble comes,trust that the Holy One will answer you.Let the strong Name of Jacob’s God stand guardand keep you safe from harm in all you do.May God recall your many acts of praise,sustain your life, and grant you length of days.

May God be pleased to fill your heart’s desireand prosper all the works that you have planned.We will rejoice with you when what you seekhas been achieved by God’s almighty hand.Though worldly goods will fail to satisfy,upon the Name of God you can rely.

20 No Matter When theDay of Trouble Comes

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- --

No Matter When the Day of Trouble Comes

WORDS: Carl P. Daw, Jr. MUSIC: Orlando Gibbons

SONG 110.10.10.10.10.10.

20


PSALM

PSALM


Rejoicing in your strength, O God, and in your strength alone,the ruler of your people claimsno victory but your own.You have fulfilled the heart’s desirethrough answered prayers made known.

On those who seek your help you pourthe blessings of success:prosperity, and crowns of gold,long life, and fruitfulness.For all who put their trust in youwill find you sure to bless.

But those who set themselves againstyour true, life-giving wayswill never see their scheming thrivenor come to better days.Yet we will sing your gracious strengthin endless hymns of praise.

21 Rejoicing in Your Strength, O God

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Rejoicing in Your Strength, O God

WORDS: Carl P. Daw, Jr. MUSIC: Attr. Lucius Chapin

MORNING SONG8.6.8.6.8.6.

21


PSALM

PSALM


My God, my God, O why, O whyhave you forsaken me?Why do you send no saving helpin answer to my plea?

By day and night I cry to you, Great God of Israel, in whom our forebears put their trustthat they in peace might dwell.

But I am less than human now,by others scorned, reviled: “We doubt that God will save this fraudwho claims to be God’s child.”

You took me from my mother’s womband kept me on her breast;and now, O God, I call on youto save me when oppressed.

My troubles circle me like bulls;I faint and gasp for breath;with melting heart and aching bonesI feel the chill of death.

But you, O God, will rescue meand grant me length of daysto stand amid the faithful throng and once more sing your praise.

22 My God, My God, O Why, O Why

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My God, My God, O Why, O Why

WORDS: Carl P. Daw, Jr. MUSIC: William Tans’ur

BANGORC.M.

22


PSALM

PSALM


The Lord my Shepherd guards me well,and all my wants are fed:amid green pastures made to lie,beside still waters led.My careworn soulgrows strong and wholewhen God’s true path I tread.

Though I should walk in darkest waysthrough valleys like the grave,no evil shall I ever fear:your presence makes me brave.On my behalf your rod and staffassure me you will save.

For me a table has been spreadwhere all my foes can see;you bathe my head with fragrant oilto soothe and honor me.My heart and cupare both filled upwith joyful ecstacy.

Your steadfast love will follow meto shield me all my daysand bring me to your holy house,redeemed from error’s ways,my whole life long to join the songof those who sing God’s praise.

23 The Lord My Shepherd Guards Me Well

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-- - -

The Lord My Shepherd Guards Me Well

WORDS: Carl P. Daw, Jr. MUSIC: James Leith Macbeth Bain

BROTHER JAMES’ AIR/MAROSA8.6.8.6.4.4.6.

23


PSALM

PSALM


Know that the earth belongs to God, who made all things and called them good,gave life to creatures great and small,and laid firm land upon the flood.

Who can approach this awesome God?Who dares to stand before God’s throne? Whose hands are clean and heart is pure?Whose oaths no guile or fraud have known?

Whoever takes this godly pathwill share the way the blest have trod;such are the people led by faithto seek the face of Jacob’s God.

Lift up your heads, eternal gates,and let the King of Glory in.Who is this king? The One in whomall wonders have their origin.

24 Know That the Earth Belongs to God

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-- - -

Know That the Earth Belongs to God

WORDS: Carl P. Daw, Jr. MUSIC: Thomas Williams’ Psalmodia Evangelica, 1789

TRUROL.M.

24


PSALM

PSALM


And now, O God, I lift my heart,believing you can shield from shamecourageous souls who wait for you,devoted to your holy Name.Enable me to know your way,for in your paths new hope I find.Great God of faithfulness and love,hold not my youthful sins in mind.

Indeed, your good and upright willknows well how readily we stray,leads humble hearts along right paths,moves those who sin to turn and pray.No other choice can promise lifeor grant such blessings from above:perpetual is the covenantquick-binding us in cords of love.

Remember me, O Sovereign One;see how my sorrows have no end.Turn now your face and rescue me;upon your mercy I depend.Vindictive foes I will not fearwhen they attack with tongue or rod;yet to your people give once morezeal greater than our faults, O God.

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And Now, O God, I Lift My Heart

WORDS: Carl P. Daw, Jr. MUSIC: Scottish melody

YE BANKS AND BRAESL.M.D.

25


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--

-

PSALM

26 You Alone, O God, Can Judge Me

You alone, O God, can judge me:for you know I bear no blame,steady in my walk before you,trusting in your holy Name.Test my heart and mind completely;try them with your purging flame.

Steadfast love still goes before me,and I set my course by it.I avoid the seats of liarsand befriend no hypocrite;I detest all who do evil,shunning where the wicked sit.

But with clean hands and a clear heartI draw near your altar-throne,singing songs of glad thanksgiving.telling of your wonders shown. How I love the holy dwellingwhere your glory can be known.

Sweep me not away with sinners,those who thrive by evil ways. Let my sincere life plead for me;in your mercy, grant me grace.Standing firm on level footing,I will join to sing your praise.


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- - -- - -

- - -- -

You Alone, O God, Can Judge Me

WORDS: Carl P. Daw, Jr. MUSIC: John Francis Wade, c. 1750; harm. Hymns Ancient & Modern, 1861

ST. THOMAS (Wade)8.7.8.7.8.7.

26


PSALM

PSALM


My light and my salvation are both found in God;whom therefore shall I shrink from or fear?by God I am made strong and held my whole life long;of whom then shall my heart be afraid or dismayed,of whom then shall my heart be afraid?

When evildoers threaten to make me their prey,they are the ones who stumble and fall.No army circling near can fill my heart with fear,nor is my trust made weaker by war anymore,nor is my trust made weaker by war.

One thing have I desired you would grant me, O God:to dwell within your house all my days;there in that holy place to gaze upon your face,and sheltered on that rock raise a song sweet and long,and sheltered on that rock raise a song.

Hide not your face from me, unseen God whom I seek,nor let your servant lose your sure strength;all other help falls short or proves a weak support.Yet I shall wait in hope for your word to be heard;yet I shall wait in hope for your word.

27 My Light and My SalvationAre Both Found in God

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-

- -- -

-

My Light and My Salvation Are Both Found in God

WORDS: Carl P. Daw, Jr. MUSIC: Southern Harmony, 1835

WONDROUS LOVE12.9.12.12.9.

27


PSALM

PSALM

I call to you, O God my Rock;do not be deaf, but hear my cry,for if you fail to answer me,the Pit awaits me when I die.With lifted hands I pray that youwill hear my plea, preserve my life, and save me when smooth words of peacehide hate-filled hearts that foster strife.

Let not the wicked go unscathed but pay back every evil deed; nor fail to punish scheming mindsthat thrive on envy, pride, and greed.For they know not your ways, O God, but follow paths of harm and hate;they seek to spoil your handiwork,to tear down all that you create.

Now let your Name be blessed, O God,for you have heard my pleading voice; in you I find my strength and shield, the help that makes my heart rejoice.With thanks I raise a grateful songto you whose strength your people praise;with steadfast favor shepherd themand bear them up through all their days.

I Call to You, O God My Rock 28


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--

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I Call to You, O God My Rock

WORDS: Carl P. Daw, Jr. MUSIC: Irish melody; arr. Charles Villiers Stanford

ST. PATRICKL.M.D.

28


PSALM

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- -- - -

-

PSALM


Let all the heavenly beingsyield praise to God alone, ascribing strength and glorymuch greater than their own.God’s Name demands their reverence,their worship, and their praise,amid the royal beautyGod’s holiness displays.

God’s voice resounds like thunderabove the waters’ roar;with widening power and splendor,it echoes from the shore.It breaks the stately cedars, wields lightning like a scythe, sends tremors through the desert,and makes the oak trees writhe.

Enthroned above creation,God reigns for evermorewhere all are crying “Glory!”to honor and adore.God’s people will find blessingin strength that does not cease,and God will grant the faithfulthe precious gift of peace.

29 Let All the Heavenly Beings

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- - -- - -- -

- -

Let All the Heavenly Beings

WORDS: Carl P. Daw, Jr. MUSIC: Welsh folk melody; Llwybrau Moliant, 1872; harm. The English Hymnal, 1906

LLANGLOFFAN7.6.7.6.D.

29


PSALM

PSALM


I will exalt you, O God, for you saved me:foes left me crushed, but you lifted me up.You brought me back to the land of the living,spared me from tasting of death’s bitter cup.

Sing out, you faithful, that God’s Name is holy;short is divine wrath, but favor is long.Though night seems endless when stretched out by weeping,dawn brings new joy, fresh resolve, and glad song.

Once I felt certain that nothing could shake me,then God’s face hid, and what gloom filled my days!Wretched, I cried out, “O God, be my helper;keep me alive, for the dust cannot praise.”

God, you have turned all my wailing to dancing,stripped off my sackcloth, and clothed me with joy;therefore my heart sings to you without ceasingfar greater thanks than the words I employ.

30 I Will Exalt You, O God,for You Saved Me

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- --

- -- -

I Will Exalt You, O God, for You Saved Me

WORDS: Carl P. Daw, Jr. MUSIC: Paris Antiphoner, 1681

O QUANTA QUALIA11.10.11.10.

30


PSALM

PSALM

In you, O God, have I sought refuge;never let me be put to shame.Incline your ear to me and save me;lead me in ways that bless your Name.You are my stronghold, and you free mefrom snares prepared with stealth and sleuth.Into your hands I yield my spirit, for you redeem me, God of truth.

I trust in you, not in vain idols,for you will save me from disgrace;you do not leave me bound in tormentbut bring me to an open place.Though people shun me and ignore me,their whispered slurs I can withstand;in your sure strength, O God, my hope rests:I leave my future in your hand.

How vast, O God, is your great goodness laid up for those who honor you!You hide them, sheltered in your presence, where worldly strife cannot get through.Love God, you faithful, and be thankfulfor those through whom God’s care is shown;be strong, and let your hearts take courage,all you that wait for God alone.

In You, O God, Have I Sought Refuge 31


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WORDS: Carl P. Daw, Jr. MUSIC: Louis Bourgeois; Genevan Psalter, 1551

RENDEZ À DIEU9.8.9.8.D.

31


PSALM

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-- -

- -

PSALM


Happy are those who are forgiven,whose sin is put away!When I denied and hid my guilt,I ached and groaned all day,for your correcting hand, O God,upon my spirit lay.

Then I confessed my sin to you,my faults I did not hide. And in your mercy, you forgave:you set my guilt aside.Therefore the faithful turn to youand in your strength confide.

You will protect and shelter thosewho put their trust in you,preserve and guide them in your wayswith teaching sound and true, in greater wisdom leading usthan we ourselves would do.

Though for the wicked sorrows wait,the just have their reward:for endless mercy will enfoldall those who trust the Lord.Rejoice, and sing with thankfulnessof peace with God restored.

32 Happy Are Those Who Are Forgiven

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- --

- -- - -

Happy Are Those Who Are Forgiven

WORDS: Carl P. Daw, Jr. MUSIC: James Leith Macbeth Bain

BROTHER JAMES’ AIR/MAROSA8.6.8.6.8.6.

32


PSALM

PSALM


Sing forth with gladness, psalms and anthems raise;let harps and lyres repeat the soaring phrase.With skill and fervor bring a song to birth;sing of the One whose words and work we praise:God’s steadfast love with goodness fills the earth.

By God’s command were all the heavens made;by the Almighty’s breath were they arrayed.May the great Maker of the primal seathrough all the earth be worshipped and obeyed,whose potent word caused all that is to be.

Though nations flourish, seeming strong and sure,only God’s purpose will at length endure.Blest are the people that on God depend;when armies fail and walls prove insecure,God’s strength and wisdom still will have no end.

God watches over all who walk by faith,shielding their lives from famine and from death.Make our hearts glad, O God, our joy renew;with steadfast love uphold us by your breathfor we have put our hope and trust in you.

33 Sing Forth with Gladness,Psalms and Anthems Raise

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- -- -

- - -

Sing Forth with Gladness, Psalms and Anthems Raise

WORDS: Carl P. Daw, Jr. MUSIC: Genevan Psalter, 1551

OLD 124TH10.10.10.10.10.

33


PSALM

PSALM


At all times let me sing gladly,blessing God with heart and voice.Come and join me in proclaiming,doubling praise as we rejoice.Even when my fears were greatest,faithfully God heard my prayer.God is good (O taste and see it!);hallowed refuge waits us there.

If you trust in God with reverence,know your soul will be content.Listen well to holy wisdom;make your days on earth well spent.Never let your tongue speak maliceor your lips say things untrue.Practice good and turn from evil;quietness and peace pursue.

Resting in God’s ceaseless watching,saintly folk make known their prayer;they find shelter from life’s troubles,undergird by God’s sure care.Violence may bruise the body,wickedness may wound the soul;yet our God still shields the faithful:zeal and love will make things whole.

34 At All Times Let Me Sing Gladly

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- -- -- - -

-

At All Times Let Me Sing Gladly

WORDS: Carl P. Daw, Jr. MUSIC: Leavitt’s The Christian Lyre, 1830

PLEADING SAVIOR8.7.8.7.D.

34


PSALM

PSALM


Take my part, O God, against my enemies;let them be dispersed like chaff borne by the breeze.When my life’s foes are foiled and put to shame,then will I give thanks and bless your holy Name.

Turncoat witnesses accuse me wrongfully,saying untrue things that falsely slander me.When they were ill, I wept and prayed for them,but now all is changed: they shun me and condemn.

Be not far away, O God, but hear my cries!Let your love of justice waken and arise.Thwart those who crush our peaceful hopes and dreams;show how vain and doomed are all their cunning schemes.

Then will those who love you sing out joyfullywhen they see how you have set your servant free.Then will my tongue declare your righteousnessand your steadfast love I will forever bless.

35 Take My Part, O God,Against My Enemies

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--

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Take My Part, O God, Against My Enemies

WORDS: Carl P. Daw, Jr. MUSIC: French carol, 15th c.

NOËL NOUVELET11.11.10.11.

35


PSALM

PSALM


How a false, deceiving spirit takes all godly fear away,leaving hollow lawless peoplewho plot evil night and day!But your love, O God, still reachesfarther than the vaults of heavenand your care for all your creaturesis with endless kindness given.

Save us when the wicked threaten, crush, oppress, and tyrannize,let their evil schemes be thwarted;let them fall and never rise.But with you we find abundance, nourishment for soul and sight:from your joys streams forth life’s fountain;in your light can we see light.

When our mortal lives lose purpose,overwhelmed by earthly things,broken hearts and minds take refugein the shadow of your wings.Let your steadfast love continueto your people far and wideand with all who fear and serve youlet your saving help abide.

36 How a False, Deceiving Spirit

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- -

- -

--

How a False, Deceiving Spirit

WORDS: Carl P. Daw, Jr. MUSIC: Attr. B. F. White, The Sacred Harp, 1844; arr. Jack Schrader

BEACH SPRING8.7.8.7.D.

36


PSALM

PSALM


Abstain from rage when evil thrives,because it soon will fade.Commit your way to God alone;do good; live unafraid.Embrace your deep delight in God;find there your heart’s desire.God knows and blesses upright ways, heeds what our souls require.

In stillness wait for God’s good time;know that the meek are blessed.Like heirs they will dwell in the landmade fit to be possessed.No wickedness will prosper thereor threaten as before;perpetual peace will govern all,quite freed from ways of war.

Renounce all evil and do good;so shall your life be long.The law of God will make your heartunwavering and strong.Vain are the boasts of wickedness,which wither and decay;your God will shelter all who showzeal for the righteous way.

37 Abstain from Rage when Evil Thrives

&

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- -- - -

- -

-

Abstain from Rage when Evil Thrives

WORDS: Carl P. Daw, Jr. MUSIC: U.S.A. folk melody; arr. Daniel Charles Damon

RESIGNATIONC.M.D.

37


PSALM

PSALM


Let your fury turn, O God,and your wrath no more be shown;heavy weighs your hand on me, keenly all my sins I own.Broken is my body’s health,wracked with pain in every part;crushed and numb, I have no wordsfor the groaning of my heart.

All my longings you know well;you perceive each sigh and ache:how my strength and vision fail,how my one-time friends forsake.Some revile and slander me,yet I shun their noisy strife;for I trust in you, my God;only you can give me life.

Save me from the cynics’ gaze,gloating more as I grow weak,those who hate me without cause, who disdain the good I seek.Leave me not in my distress;be not far away from me;hasten to my aid, O God,who alone can set me free.

38 Let Your Fury Turn, O God

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--

- -

Let Your Fury Turn, O God

WORDS: Carl P. Daw, Jr. MUSIC: Joseph Parry

ABERYSTWYTH7.7.7.7.D.

38


PSALM

PSALM


I set my mind on keeping silent,muzzle my mouth to make no sound;lest my loose tongue prove my undoingwhile spiteful listeners are around.So I say nothing and keep still.restraining speech by force of will.

Yet all this time my heart is burning, until with fear my faint voice says:“Reveal to me, O God, my ending;what is the measure of my days?”Each fleeting breath betrays our trust,and earthly treasures turn to dust.

On you, O God, my hope is resting; deliver me from sin and shame.Ever a pilgrim and a stranger,I lift my prayer in your great Name.Soon let your righteous watching cease;then at the end, let me find peace.

39 I Set My Mind on Keeping Silent

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- - -- -

- - -

I Set My Mind on Keeping Silent

WORDS: Carl P. Daw, Jr. MUSIC: Georg Neumark

NEUMARK9.8.9.8.8.8

39


PSALM

PSALM


I waited patiently for God,who stooped to me and heard my cry, withdrew me from the miry pit,and gave me footing firm and dry.Then was a song put in my mouth, a newfound song of thanks and praise.Let many see and stand in aweand trust in God through all their days.

How happy those who trust in Godand are not swayed by pride and lies!For nothing is like you, O God, on earth below or in the skies.So many wonders have you done;such plans for those who love you well!Oh, that my tongue could make them known,but they are more than I can tell.

No ceremonial sacrificedoes all that you would have us do(as I was given ears to hear):so now I bring myself to you.Concerning me the scroll recordsa short but comprehensive part:“I love to do your will, O God;your law is deep within my heart.”

You know, O God, how I delight to learn your ways, which I declarewhen all the congregation meetsand tell your faithful goodness there.I know that you will not withholdyour saving help when life is hard:your mercies will direct my way;your steadfast truth will be my guard.

40 I Waited Patiently for God

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-

-- - -

I Waited Patiently for God

WORDS: Carl P. Daw, Jr. MUSIC: Day’s Psalter, 1562

TALLIS’ LAMENTATIONL.M.D.

40


PSALM

PSALM


How blest are you that showconcern for those in need;in times of trouble God will keep you safe indeed.For God will shield your life,prolong your earthly days,and transform even beds of painto cause for praise.

When I was gravely ill,I prayed to be made whole,asked God to heal my fevered frameand sinful soul.My gloating enemiestheir spite could not suppress,and former friends all turned awayfrom my distress..In God I put my trust;no other help I claim. For God alone can plead my causeand clear my name.God will defend all thosewho live in righteousness;let Israel this Holy Oneforever bless.

41 How Blest Are You That Show

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name...

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..

- -- - -- - - - -

How Blest Are You That Show


LEONI6.6.8.4.D.


41PSALM

PSALM


As panting deer desire the waterbrookswhen wandering in a dry and desert place,so yearns my thirsty soul for you, O God,and longs at last to see you face to face.

Both day and night my tears have been my foodwhile scoffers taunt me, “Where is your God now?”My soul dissolves as I recall the throngwhose pilgrim hymns I led to Zion’s brow.

Why are you heavy-hearted, O my soul?And why are you so weary and downtrod?Still hope in God, and wait to praise againthe One who is my Savior and my God.

Where Jordan’s sources spill down cataractsdeep calls to deep as wordless echoes roll;so floods God’s mercy over me by dayand breathes by night a prayer-song for my soul.

Still I am taunted by my enemies, who mock my faith and goad me endlessly. Worn down and wounded, do I dare to ask,“Has God, my Rock, indeed forgotten me?”


42 As Panting Deer Desire the Waterbrooks

&

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44

44

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ingandyou

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heart

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downmyed,

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&

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œœ œœsoMyStillsoWornStill

yearnssoulhopeoodsdownhope

mydisin

God’sandin

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_____

thirstsolvesGod,mer

woundGod,

yasandcyed,and

œ œ

œœ œœ œœn œœsoul

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odo

wait

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&

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bbb

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œœ œœand

whosetheand

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longspil

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atgrimwhobymywho œœ œœ

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œœ œœ œ œœlast

hymnsis

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toI

myainmy

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songforior

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wwface.brow.God.soul.me?”God.ww

- ---

- - --

As Panting Deer Desire the Waterbrooks

WORDS: Carl P. Daw, Jr. MUSIC: William H. Monk

EVENTIDE10.10.10.10.

42


PSALM

PSALM


O God, defend me; vindicate my cause.Save me from evil, cunning, and deceit.God of my refuge, why abandon meand let my foes rejoice at my defeat?

Send out your light and truth to bring me nearyour holy hill and your abiding place.O God my joy, your altar will I seekand with the lyre will sing before your face.


43 O God, Defend Me; Vindicate My Cause

&

?

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44

44

œœ œœ123

OSendWhy

God,outare

deyouryou œœ œœ

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œœ œœ œœ œœ

wwcause.nearsoul?ww

- - -

- - -

&

?

bbb

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œœ œœSaveyourAnd

mehowhy

fromlyare

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ehillyou

vil,andso

œœ œ œœ œœncunyourwea

ning,ary

andbidand

deingdown

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- - -- - -

- -

&

?

bbb

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œœ œœGodOStill

ofGodhope

mymyin

œœ œœœ œ

refjoy,God,

uge,yourand

œ œ

œœ œœ œœn œœwhyalwait

atarto

banwillpraise

donIa

.œ Jœœœ œœœ œ

wmeseekgain

w

ww

- - --

-

&

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bbb

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œœ œœandandthe

letwithOne

mythewho œœ œœ

œœ œœ œ œœfoeslyreis

rewillmy

joicesingSav

atbeior

œ

œœ œœ œœ œœ

myforeand

deyourmy. œ

wwfeat?face.God.

ww- -

--

O God, Defend Me; Vindicate My Cause

WORDS: Carl P. Daw, Jr. MUSIC: William H. Monk

EVENTIDE10.10.10.10.

43


PSALM

PSALM


How often have we heard the talesthat our ancestors told:of wondrous deeds you wrought, O God,in glorious days of old.With might you drove the peoples outand planted there your own;you scattered nations and gave usa land we had not known.

Such victories were never wonby human strength or skillbut only through your hand and armand by your gracious will.We dare not trust our swords or bows or armies that we raise, for you, O God, are our defense, and your great Name we praise.

Yet now you have abandoned us,left us to moan and weep.Disgraced and scorned, bereft of hope,we fall like slaughtered sheep.But we have not forgotten youor voided vows we made.Arise, O God, remember us,come quickly to our aid.

44 How Often Have We Heard the Tales

&

?

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44

44

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theer

doned

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thatbyleft

..œœ Jœœ

œœ œœn

œœ œœ œœ œœourhuus

anmanto

cesstrengthmoan

torsorand

œœ œœ œœ œœ

..told:skillweep.

..#- - -- - - -

- -

&

?

bb

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œofbutDis

œ œ

œœ#

œœ œœ œœ œœwonongraced

drouslyand

deedsthroughscorned,

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.œ jœ œœ œœwrought,handreft

Oandof

God,armhope,

inandwe

œ œ


œœ œœ œœ œœ#globyfall

riousyourlike

daysgraslaugh

ofcioustered

œœ œœ œœ œœ

..old.will.sheep...

- -- -

- - -

&

?

bb

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œœWithWeButœœ œœ

œœ œœ œœ œœmightdarewe

younothave

drovetrustnot

theourforœœ œ

œ œœ œœ œ

œœ œœ œœ œœpeoswordsgot

plesorten

outbowsyou

andororœœ œœ œœ œœ

œœ# œœ œœ œœplantarvoid

edmiesed

therethatvows

yourwewe

œ œ œœ œœ# œœœ

..own;raise,made.

œ#.

- --

- - -

&

?

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œyouforA

œ

œœ

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tionsarere

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gavedeber

usfense,us,

aandcome

œ œ

œ œœœ œ

œ.œ jœ

œœ œœ œœ œœ#landyourquick

wegreatly

hadNameto

notweourœœ œœ œœ œœ

..known.praise.aid...

- --

- - - -

How Often Have We Heard the Tales

WORDS: Carl P. Daw, Jr. MUSIC: Welsh folk melody; Llwybrau Moliant, 1872; harm. The English Hymnal, 1906

LLANGLOFFANC.M.D.

44


PSALM

PSALM


A noble theme has stirred my heartto sing loves human and divine.My tongue moves like a scribe’s swift pento choose each word and shape each line.

With comely grace and sovereign strength let mortal majesty appear,advancing truth, yet meek and just,with power that adversaries fear.

Know well, you earthly monarchs all,that God has placed you on your throneto rule with justice faithfullyand not for privilege alone.

Let beauty unto strength be wed;with joy adorn the right and good.Let God’s own love be seen and knownand ways of peace be understood.

In years to come those royal reignswill gain and keep the greatest famethat faithfully and justly ruledin their eternal Sovereign’s Name.

45 A Noble Theme Has Stirred My Heart

&

?

#

#

44

44

œœ12345

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LetInœœ

I

œœ œœ œœ œœno

comewell,beauyears

blely

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come

hasandlyto

thoseœœ œœ œœ œœ

II œœ œœ œœ œstirred

sovmon

strengthroy

myereignarchs

beal

heartstrength

all,wed;

reigns

toletthatwithwill

œ

œœ œœ œœ œœ

-- -

- -- -

-

&

?

#

#

œœ œœ œœ œœsingmorGodjoygain

lovestalhasa

and

humaj

placeddornkeep

manes

youthetheœœ œœ œ

œ œœ

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rightgreat

diap

yourandest

vine.pear,

thronegood.fame

Myadto

Letthatœœ œœ œœ œœ

- -- - - - -

--

&

?

#

#

œœ œœ œœ œœtonguevancrule

God’sfaith

movesing

withownful

liketruth,jus

lovely

ayetticebe

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swiftandfulandly

penjust,ly

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towithandandin

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-- - -

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#

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œ œœ œœ œœchoosepower

notwaystheir

eachthatforofe

wordad

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ter

andveri

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sarlegeun

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line.fear.lone.stood.Name.

œœ œœ œœ

- - -- - -

- -- - -

A Noble Theme Has Stirred My Heart

WORDS: Carl P. Daw, Jr. MUSIC: Thomas Tallis

TALLIS’ CANONL.M.

45


PSALM

PSALM

With God our refuge and our strength, our help in all adversity,we will not fear though earth be movedand mountains fall into the sea,though waters surge and threaten harmand looming hills seem ominous:among us dwells the Holy One;the God of Jacob shelters us.

Pure streams make glad the citadel God chooses for a dwelling-place;God’s strong abode will not be movedbut with each dawn will know new grace.The nations rage, and realms collapse;God thunders; life seems perilous:among us dwells the Holy One;the God of Jacob shelters us.

Behold the works of God on earth:the scourge of war and balm of peace,the broken bow, the shattered spear,the shields burned up to make war cease.“Be still,” says God, “and know I AM,both mighty and mysterious.”Among us dwells the Holy One;the God of Jacob shelters us.

With God Our Refuge and Our Strength 46


&

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ouraon

œœ

œ œ

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ourGodthe

. .

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inesof

..

.. .

-- - -

-

&

?

bb

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œ œ œœœallforwar

ada

and

œ œ

œœver

dwellbalm

siingof

œ œ

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œœœty,

place;peace,

weGod’s

the

œœ œ

.œ jœ œ œwillstrongbro

notaken

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œœœ œ œ

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thoughwillthe

œ

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- - -- - -

-

&

?

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œœearthnotshat

bebe

tered

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œœ œœœ œœ œœmovedmovedspear,

andbutthe


œ œmounwith

shields

tainseachburned

œ

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œœ œœ œœfalldawnup

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&

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œœthough

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y

.

..

.

- - -- - -

-

With God Our Refuge and Our Strength

WORDS: Carl P. Daw, Jr. MUSIC: Irish melody; arr. Charles Villiers Stanford

ST. PATRICKL.M.D.

46


PSALM

&

?

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œ œ œœœhillslifeand

seemseemsmys

.. .

œœœomperte

iilri œ

œ

œnous:ous:ous.”

aaA

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.œ jœ œ œmongmongmong

ususus

.

..

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thethethe

œ

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- - -- - -

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&

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œHoHoHo

lylyly

œ

œ œ

œœ œœ œœ œœOne;One;One;

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œ œGodGodGod

ofofof

œ

œ œ œ

œœ œœ œœJaJaJa

cobcobcob

œœœœ œ œ

œœshelshelshel

terstersters

œœ œ

us.us.us.

-- -- - -- - -

PSALM


Let all the nations clap their handsand sing aloud God’s worth:almighty, great, and holy One,true Sovereign of the earth.

For God subdued our enemieswith mastery divineand chose for us a heritagethrough Jacob’s well-loved line.

God has gone up with festal shoutamid the ram horn’s blast!Lift up a new and noble psalm for triumph unsurpassed.

God reigns supreme throughout the worldwhile mortal monarchs fall.Our true and sovereign God remains exalted over all.

47 Let All the Nations Clap Their Hands

&

?

44

44

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œœ

œœ œ œœ œœallGodhasreigns

thesubgonesu

naduedup

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through

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œœ œœ œœ œœclapenfesout

theiretalthe

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andwitha

while

œœ œ œœ œœœ

œœ œœ œœ œœ#singmasmidmor

aterthetal

loudyrammon

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horn’sarchsœ

œ œœ œœ œœ

..worth:vineblast!fall...

- -- - - - - -

- -- - - -

&

?

œœalandLiftOur

œœ

œœ œœ œœ œœmightchoseuptrue

y,foraand

great,usnewsov

andaandereign

œœ œœ œœ œœ

œ œ œœ œœhohernoGod

lyiblere

One,tagepsalmmains

truethroughforex

.œ Jœ

œœ œœ œœ# œœn

œœ œœ œœ œœSovJatrialt

ereigncob’sumphed

ofwelluno

thelovedsurver

œ œœ œœ œœ œ

..earth.line.

passed.all.

..

- - - -- - - -- - - -

- - - - -

Let All the Nations Clap Their Hands

WORDS: Carl P. Daw, Jr. MUSIC: Attr. William Croft

ST. ANNEC.M.

47


PSALM

PSALM


Great and praiseworthy God of all dominion,blessed in the city on your hallowed mountain: lofty and splendid, joy of all creation,stands holy Zion.

Guarding its ramparts, you make it a refuge;when hostile armies first behold its grandeur,they are astonished and fall back, discouraged,fleeing in terror.

Thus we have witnessed how you love your city, and in your temple we recall your mercies.As your Name reaches to the earth’s ends, O God,so may your glory.

Be glad, O Zion, and you towns of Judah!Sing from your towers, telling of God’s judgments;let future ages know that God will still beour guide and guardian.

48 Great and PraiseworthyGod of All Dominion

&

?

b

b

44

44

œœ œœ1234

GreatGuardThusBe

andingweglad,

praiseitshaveO

œœ# œœ

#worramwitZi

thyparts,nessedon,

.œ jœœ# œœ œœGodyouhowand

ofmakeyouyou

allitlovetowns

doayourof

.œ

..œœ Jœœ œœ œœ

œœ œœ# minrefcitJu

ion,uge;y,dah!

œ œ

- - -- -

--

----

&

?

b

b

œœ œœblessedwhenandSing

inhosinfrom

thetileyouryour

œœ# œœ

#citartemtow

ymiespleers,

..œœnjœœ œœ œœn

onrstwetell

yourbereing

halholdcallof

loweditsyourGod’s

.œ Jœœ œ œœ.œ œ

œ œn moungranmerjudg

tain:deur,cies.ments;

œ œ#

- - -- - - -

- - -- - -

&

?

b

b

œœ œœlofttheyAslet

yareyourfu

andas

Nameture

œœ œœ

œ œ splentonreacha

did,ishedesges

œ œ


joyandtoknow

offallthethat

allback,earth’sGod

credisends,will

..œœ Jœœ œ œœœ

- --- --

-- -

&

?

b

b

œ œ acourOstill

tion,aged,God,be

œ œ

œ œstandseesoour

hoingmayguide

lyinyourand

œ œ

œœ œ

œ

#Zitergloguard. œw

won.ror.ry.ian.

w

ww

- - -- - -

--

Great and Praiseworthy God of All Dominion

WORDS: Carl P. Daw, Jr. MUSIC: Poitiers Antiphoner, 1746

ISTE CONFESSOR11.11.11.5.

48


PSALM

PSALM


Let people everywhere,of every land and nation,give heed to wisdom meantfor every rank and station.Let rich and poor no moretheir rivalry prolongbut listen for the truthsconveyed in sacred song.

Why should we cringe in fearof menacing aggressionsby those who trust in wealthand boast of their possessions?For no one can bribe God,nor can mere mortals saveenough to ransom lifeand never see the grave.

Both wise and foolish die, alike we all will perish;nor can we take with usthe earthly things we cherish.Though some prize pompous speech,their claims are empty breath; for God alone has powerto rescue us from death.

So do not envy thosewhose fleeting wealth increases;their grandeur will not last,for at the grave it ceases.Beware of tempting schemesthat earthbound hearts devise;but find your life in God:through faith be truly wise.

49 Let People Everywhere

&

?

44

44

œœ1234

LetWhyBothSo

œ œœ

œœ œ œ œ œœpeoshouldwisedo

pleweandnot

evcringefoolen

eryinishvy

œ œ œ


.. œwhere,feardie,those

ofofawhose

œ œ

.. œœ#

œ œœ œœ œœevmenlikeeet

eryacweing

landingall

wealth

andagwillin

œ œ

œ œ œœ œœœ œ

œœ œœ œœnagrespercreas

tion,sionsish;es;

.œ jœ œœœ œ

- -- -

-

- - -- -

- - -- - -

&

?

œœgivebynortheir

œœ

œœ œœ œ œœheedthosecangran

towhowedeur

wistrusttakewill

dominwithnot

œœ

œ œ œ œ œ œ œ œœ œ œ œ

.. œmeantwealthuslast,

forandthefor

œ

.. œœ

œ œœ# œœ œœev

boastearthat

eryoflythe

ranktheirthingsgrave

andposweit

œ


œ œ œ œœstasescherceas

tion.sions?ish.es.

œœœ œ#œœ

- - -- -

- -- -

&

?

œœLetForThoughBe

œ œœ

œœ œœ œ œœbrichnosomeware

andoneprizeof

poorcanpomtempt

nobribepousing

œ œ

œœ œœ œœ œœ œœ œ œœ

.. œœmoreGod,speech,schemes

theirnortheirthat.. œ œœ

œœ œœ# œœ œrican

claimsearth

valmereare

bound

rymoremphearts

protalstyde

œ œ

œœ œœ œœœœ

..longsavebreath;vise;..

- - --

- -- - - -

&

?

œbuteforbut

œ

œœ

œœ œ œ œlis

noughGodnd

tentoa

your

forranlonelife

thesomhasin

œ œ œ œ œ


.. œœtruthslife

powerGod:

conandtothrough

.. œœ œ

œœ œ œ œ œœveyednevresfaith

inercuebe

saseeustru

credthefromly

œ œ

œ œ œœ œœ œœ œœ œ œ

..song.grave.death.wise.

...

- - -- - -

- --

Let People Everywhere

WORDS: Carl P. Daw, Jr. MUSIC: Ahasuerus Fritsch; harm. J. S. Bach

DARMSTADT6.7.6.7.6.6.6.6.6.6.

49


PSALM

PSALM


God appears in Zion,perfect in its beautycalling all to heed their duty.To earth’s farthest corners, past sun’s rise or setting,thunder, fire, and storms begetting,God alone will be knownJudge of every nation,Sovereign of creation.

“Gather now, my faithful, listen to my speaking;turn from all your futile seeking.In vain sacrificesI derive no pleasure;I have creatures beyond measure.But through praisefaith displayssigns of holy livingin sincere thanksgiving.”

God rebukes the wicked:“Words your lips are saying you disdain by disobeying.You delight in eviland my laws have broken; blame no more can go unspoken.But to thosewhose life showsmarks of dedicationwill I grant salvation.”

50 God Appears in Zion

&

?

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bb

œœ œœ œœ œœ123

God“GathGod

aperre

pearsnow,bukes

inmythe

œœ œœ œ œœœ

Zifaithwick

on,ful,ed:

œ œ

œœ œœ œœ œœperlis

“Words

fecttenyour

intolips

itsmyareœœ œœ œœ œœ

beauspeaksay

tying;ing

œ œn

œœ œœ œœncallturnyou

ingfromdis

allalldainœ

œ œœ œ œœ- - - - -

- - - -- - - -

&

?

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God Appears in Zion

WORDS: Carl P. Daw, Jr. MUSIC: German melody

TYSK6.6.8.6.6.8.3.3.6.6.

50


PSALM

NOTES ON THE HYMNS

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Psalm 1 How blest indeed are you

A primary consideration in translating or paraphrasing this psalm centers on how to deal with the nouns and pronouns. The Hebrew clearly uses a singular male reference for the righteous person, who is set against the decidedly plural wicked. In order to avoid a gendered reference, many recent translations (including the NRSV) have pluralized “the man” into “those.” As a result, the psalm ends up as a comparison between two groups—the righteous and the wicked, when it was intended to celebrate the individual observant person who feels outnumbered by all those who do not keep divine law. I have therefore chosen to use the second person singular for the righteous person and the third person plural for the unrighteous. In addition to avoiding a contest between two groups of people, this strategy has the further advantage of bringing this psalm closer to the language of Jesus’ beatitudes (Matt. 5:3–12; Luke 6:20–23), which have their roots in the psalms of blessing.

Stanza 1: Worth noting here is the pattern “walked/stood/sat” as a way of tracing increased involvement in evil ways, which are described as features of an external environment. These entice-ments are contrasted with an internal devotion to God’s ways. The Hebrew verb often translated as “meditate” literally means “murmur,” a reminder of a culture in which both reading and praying were vocalized; hence the line “have God’s law on your lips.”

Stanza 2: Once again, this stanza is organized around a contrast: the living, rooted, fruitful tree vs. the dead, separated, and useless chaff. It serves as a reversal of the apparent dominance of the wicked in the first stanza.

Stanza 3: The reversal of the isolation of the righteous is accomplished in this stanza, where the assembly is not groups of sinners and scoffers (as in stanza 1) but the congregation of the righteous (“among the just”). Furthermore, the righteous person is no longer seen alone but is one of “those who walk by faith.”

The tune Leoni has been chosen for this paraphrase because of its associations with the Yigdal, a set of thirteen articles of Jewish faith. written down in the 12th century by Moses Maimonides and versi-fied circa 1400 by Daniel ben Judah.

Psalm 2 Hear the turmoil of the nations

This psalm is classified as a royal psalm and may have been written in connection with a corona-tion. The initial theme of discontent among Israel’s subject nations has been used here as a bridge between the biblical context and the political unrest evident in the world today.

Stanza 1: In both the ancient world and the modern one, people consider their own desires and aspirations without considering what God’s will might be. Yet God’s purposes will always be achieved.

Stanza 2: The psalm’s present-tense formulas for the ruler’s adoption by God are here adjusted to a past-tense narration, and the anointed ruler’s role in personifying God’s sovereignty is ultimately fulfilled in the coming of the Messiah.

Stanza 3: Like the closing verses of the psalm, this final stanza is addressed to the leaders of the nations, warning them to turn to God and promising that they will be blessed by God.

The Welsh tune ebenezer was chosen for this psalm because its constant movement seems to pro-vide a musical expression of the world in turmoil.

Psalm 3 How greatly, O my God

In the biblical text, Psalms 3–41 are called Psalms of David and are often correlated with some event in David’s life. In the case of Psalm 3, it is said to have been written when David was fleeing from the rebellious forces led by his son Absalom (2 Sam. 15–16). Such an association is no longer assumed, though it is illustrative of the agitation with which the psalm opens.

Stanza 1: The description of the petitioner’s plight is, of course, no news to God, but it is important in identifying the extent of the petitioner’s need of God. The intensity of the situation is increased through direct address to God.

Stanza 2: Continuing the direct address to God, this stanza sets the taunts of the enemies against

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the petitioner’s confidence in God’s protection.Stanza 3: Changing to third person narrative allows the speaker’s voice to describe God’s custom-

ary faithfulness.Stanza 4: The recollection of God’s faithfulness allows the speaker to affirm confidence in the midst

of the current circumstances (“countless foes” is a much calmer description of the situation described in Stanza 1). Engagement in a pattern of remembrance that strengthens faith lies at the very heart of worship.

The major tonality of the tune St. thomaS (WiLLiamS) conveys a sense of confidence appropriate for this text.

Psalm 4 Give answer when I call

Like several of the other psalms attributed to David, this one bears an inscription “to the [music] leader” and specifies the use of stringed instruments. Such annotations suggest that it might have been used for Temple worship in Jerusalem.

Although the biblical psalm weaves together various voices and shows several changes of intended hearer, it seemed desirable for this sung paraphrase to be continually addressed to God.

Stanza 1: The urgent address of the petitioner at the beginning of this psalm is rooted in previous experience of God’s deliverance. Knowing how God has responded in the past provides a basis of confidence for making this new appeal.

Stanza 2: The inconstancy of human loyalties is here contrasted with the steadfastness of God, whose providential care is not dependent on our changeable attachments.

Stanza 3: By learning how to reflect God’s constancy through faithful living, the agitated petitioner at the beginning of this psalm has become a person whose rest is peaceful and undisturbed.

Because it is associated with a metrical version of the Lord’s Prayer, Vater unSer seemed an appro-priate tune to carry this prayerful psalm.

Psalm 5 Before you, Sovereign God, I lay

The traditional assignment of this psalm to David is clearly contradicted by the mention of the Temple, which was not built until after his lifetime. Like several other psalms, it is identified as “for the [music] leader” or “choirmaster,” suggesting that it was used in Temple worship.

Stanza 1: This prayer for help begins with an affirmation of God’s sovereignty as a means of giving validity to a plea for help: a God who reigns is a God with power.

Stanza 2: A petitioner praying within the Temple precincts cannot be an evildoer, because the unrighteous are not admitted to this hallowed place.

Stanza 3: The divine grace that has led the petitioner into God’s house becomes the basis of confi-dence for asking God’s continual leading.

Stanza 4: The sense of God’s protection naturally leads to thanksgiving and to sung praise.The directness and simplicity of this psalm make taLLiS’ Canon a fitting tune to carry this para-

phrase.

Psalm 6 Rebuke me not in anger, Lord

This is the first of seven psalms identified very early in Christian tradition as a set of penitential psalms. The other six are Psalms 32, 38, 51, 102, 130, and 143. Paraphrases of the first two psalms from this list are included in this volume; the others will appear in subsequent volumes. In the medieval church, they were appointed for use on Fridays in Lent, and in the English Book of Common Prayer they are used on Ash Wednesday. Among other qualities, each of the seven penitential psalms was thought to counter one of the Seven Deadly Sins. Psalm 6, for example, was regarded as a warning against wrath. Numerous Catholic and Protestant poets created metrical paraphrases of them during the Renaissance, and these poems were often given musical settings by composers of the day.

Traditionally regarded as a psalm of David, Psalm 6 seems to be connected with worship in the

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Temple at Jerusalem because it bears a superscription usually translated “for the choirmaster” or “for the [music] leader.”

Stanza 1: As the third line indicates, this psalm is regarded as a prayer for recovery from serious illness, which can be understood either literally or metaphorically. Although the sin that might have provoked God’s anger to visit the petitioner with illness is never specified, the assumption of some implicit fault seems necessary to justify calling this psalm penitential. More important, however, is the speaker’s certainty that God is in control of everything, whether bad or good. This unwavering trust in God’s sovereignty is the unifying theme of this psalm.

Stanza 2: A significant aspect of the horror of the grave is that it is understood to be “silent,” i.e. a place where there is no worship of God.

The tune bangor has been selected as an appropriately somber tune for this penitential psalm. Although its origins are English, it became very popular in North America after being introduced via publications in Boston in the 1760s.

Psalm 7 O Lord my God, I take refuge in you

As a plea for deliverance from persecutors, Psalm 7 resonates with many situations in the lives of individuals and of worshiping communities. By tradition it is regarded as a psalm of David, though the circumstances of the superscription associating it with the Benjaminite Cush apparently belong to a legend not included in biblical narrative.

Stanza 1: The opening of the psalm suggests the practice of fleeing to the Temple courts to seek judgment from God against one’s pursuers. The animal imagery of this stanza connects the mouths of ravenous beats with the savage accusations coming from the mouths of those who besiege this petitioner.

Stanza 2: The conditional statements of this stanza are an indirect assertion of innocence.Stanzas 3–4: The defeat of the pursuers will have the double effect of showing God’s strength and

of manifesting the petitioner’s innocence. The vindicated servant of God (whose defeat would also impugn God’s honor) will celebrate God’s righteousness in song.

This paraphrase was commissioned by Fr. Anthony Ruff, OSB, of St. John’s Abbey, Collegeville, MN, in 1999 for use with Anton Heiler’s setting of the chorale tune o JeSu, aLL mein Leben, used here in a 19th-century arrangement.

Psalm 8 O God, our Sovereign God

Although the biblical superscription attributes this psalm to David, its content and style make it more likely to have been created in postexilic Jewish worship, possibly for some festival at night (because of the references to stars and moon).

This psalm is a remarkable blend of majesty and intimacy. The majesty comes from the scope of the created order surveyed here. The intimacy is communicated both conceptually by the tenderness of the human search for relationship with God and grammatically by the use of second-person verbs throughout (a rare feature in the biblical psalms). In the Hebrew text, the paired opening and closing statements are plural (suggesting that they were sung by the whole congregation), while the middle section—which may have been sung by one or more cantors—is cast in the first person singular (what has been called a “representative I” or an “exemplary I”). Because the paraphrase printed here is intended for congregational singing throughout, everything is made plural.

Stanza 1: The juxtaposition of the cosmic and the minuscule is especially evident here in a way that is found nowhere else in Hebrew scripture. These extremes of sound, the farthest and the faintest, come together in the praise of God and form an impregnable defense against all the forces that seek to defame God.

Stanza 2: The previous stanza was based on hearing; this one is based on seeing. Poetic heightening is achieved though an evidently nighttime reflection. Despite all the artificial illumination found in our modern environment, we still know how very insignificant a person can feel on a starlit night in the middle of a vast open space. These ancient questions remain with us.

Stanza 3: The abilities and duties entrusted to humankind provide an experiential affirmation of the scriptural assurance that we have been made in the image and likeness of God (Gen. 1:26). In the

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Hebrew text, the opening and closing acclamations are identical; this paraphrase comes as close to that form as metrical considerations will allow.

As with two other psalms in this volume (Pss. 1 and 41), the tune Leoni has been chosen for this paraphrase because of its associations with the Yigdal, a set of thirteen articles of Jewish faith. written down in the 12th century by Moses Maimonides and versified circa 1400 by Daniel ben Judah.

Psalm 9 Sing praise to God, whose mighty acts

It is now generally agreed that Psalms 9 and 10, attributed to David, were originally one psalm. (It is notable that the Septuagint, the pre-Christian Greek version of the Hebrew scriptures, combines them.) But the history of their transmission has been disorderly, obscuring what originally would have been an acrostic organization by omitting some letters and by interposing lines that break up the sequential pattern. So there has been no attempt to present the English version as an acrostic (as is done with the intact acrostic psalms).

Stanza 1: The beginning of the psalm indicates that it was originally conceived as a thanksgiving psalm voiced by an individual; it is here presented in the plural as more appropriate for congre-gational use. Such an understanding is consistent with the direction of the original psalm, which follows instances of personal gratitude with examples of God’s protection as recalled in the corporate memory.

Stanza 2: The eventual destruction and decay of the monuments created by once-powerful mortals provide testimony of God’s righteous sovereignty.

Stanza 3: The affirmation of God’s ultimate triumph gives way to an urgent prayer that God will accomplish these purposes decisively and soon.

The aptly-named American folk melody SaLVation has been chosen to set this paraphrase. The tune is credited to Robert Boyd, a captain in the militia of Blount County, Tennessee. It was published in the first Southern shape note tune book, Ananias Davisson’s Kentucky Harmony (Harrisonburg, VA, 1816).

Psalm 10 Why do you stand far off, O God

For a brief discussion of the relationship between Psalms 9 and 10, see the notes to Psalm 9.Stanza 1: The backward-looking survey of the demise of evil in Psalm 9 gives way here to an

anguished appeal for God to act against arrogant and oppressive people who have no regard for God’s way.

Stanza 2: This stanza catalogs the behaviors of the lawless oppressors, who are described in subhu-man terms as being like lions that prey on the weak.

Stanza 3 The closing plea for God’s intervention is filled with both implicit and explicit references to God’s nature and God’s power: Bringer of relief, Liberator of the needy and oppressed, Helper of the helpless, Righteous Judge, Creator, Peacemaker.

This psalm is also set to SaLVation in order to indicate the continuity between Psalms 9 and 10.

Psalm 11 God will be my constant refuge

Traditionally attributed to David, this psalm is inscribed “to the [music] leader” (or “choirmaster”). In terms of form, it can be classified as a “prayer song,” though it prefaces the formal prayer with a personal narrative.

Stanza 1: The individual voice at the beginning of the psalm affirms that God’s protection (found through asylum in the Temple) is more reliable than the possibly proverbial strategy of fleeing from one’s pursuers the way a bird escapes by flying off to a distant mountain.

Stanza 2: Here the actual prayer song begins, and the references move from singular to plural, from individual experience to corporate affirmation.

Stanza 3: Such praise of God as a righteous judge is sometimes called “judgment doxology,” and is often found in the Psalms. The concluding promise of God’s shining face is reminiscent of the Aaronic

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blessing (Num 6:24–26).The tune PiCardy was chosen to set this text because its sonic associations with worship help to

locate it appropriately. Also be attentive to the correspondence between each stanza’s recurring first word “God” and the foundational tone with which each stanza begins and ends (and which can also be used as a drone throughout).

Psalm 12 Save us, O God! All the faithful have perished

This is another psalm attributed to David and inscribed to the “[music] leader” or “choirmaster.” A further direction is generally understood to mean that it is to be accompanied on an eight-string instrument of some sort. Because it contains elements of both petition and prophetic utterance, Robert Alter describes it as a “prophetic supplication.”

Stanza 1: The disunity of the covenant community is so thorough that it not only separates one per-son from another but even extends to divided loyalties within individuals (hence “double hearts”).

Stanza 2: God’s promised help is the center of this psalm, prepared for by the opening description and celebrated in the closing thanksgiving.

Stanza 3: The dependability and worth of God’s word provides a stark contrast with the unreliabil-ity and triviality of human utterances.

o quanta quaLia is one of the few well-known dactylic tunes. That longer metrical foot works effec-tively to give a sense of urgency to this text.

Psalm 13 How long, O God, will you forget

This relatively brief psalm is inscribed to “the [musical] leader” or “choirmaster” and is tradition-ally attributed to David. It is generally regarded as an example of a lament or complaint.

Stanza 1: The opening questions establish the context of the psalm, evoking a longstanding sense of abandonment by God similar to that at the beginning of Psalm 22. It is significant that this sense of divine neglect is intensified by the fact that other people (here called “foes”) are not suffering in the same way.

Stanza 2: The questions of the opening stanza give way to a series of imperative pleas for God’s action on behalf of the petitioner. There is a subtle suggestion in the second half of the stanza that God’s reputation, as well as the petitioner’s, is involved in the outcome.

Stanza 3: The notable shift in tone in this stanza is accompanied by focusing entirely on the experi-ence of God without the distracting concern of other people’s opinions or actions. When God is encountered this way, the natural human response is to praise God, especially in song.

This text needs a resilient tune to accommodate the shifts in tone, and the shape note tune detroit (with its four distinct phrases) serves that requirement well.

Psalm 14 The fool declares, “There is no God”

This psalm, attributed to David, is inscribed to “the [musical] leader” or “choirmaster.” Because it is neither praise nor prayer, this psalm is sometimes characterized as prophetic exhortation and sometimes as a wisdom psalm; it contains elements of both kinds. A nearly identical version of this psalm appears as Psalm 53.

Stanza 1: This stanza juxtaposes two distinct viewpoints. The initial declaration comes from the person who foolishly discounts God when God fails to act as that person desires. Contrasted with this limited perspective is God’s penetrating gaze that perceives how self-centered this person is.

Stanza 2: The psalm’s opening quotation from someone who denies God’s activity is refuted here by affirming God’s continual and detailed scrutiny of humanity.

Stanza 3: The self-centeredness of the wicked stands in stark contrast to God’s nature and activity.Stanza 4: This final stanza is both a prayer and a hope for the accomplishment of God’s purposes.The dimensions of this psalm that connect it with the wisdom tradition help it to work well with

the plainsong melody Conditor aLme Siderum.

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Psalm 15 Who will be welcome in God’s presence?

Although this psalm is traditionally attributed to David, its references to the Jerusalem temple indi-cate that it must have been written later.

Stanza 1: In the biblical psalm, the first two questions here are directed to God, and the answers that form the remainder of the psalm are all third person singular and masculine. This stanza follows the NRSV in making the replies in this stanza plural. Although some scholars detect here possible remnants of an entrance liturgy for pilgrims seeking to go into the Temple in Jerusalem, the moral qualities enumerated in the psalm can equally well be understood as guidelines for daily living. It is notable that all the criteria concern how a person relates to other people rather than how a person relates to God. This focus has many biblical resonances regarding human worth, such as that human beings are created in God’s image and likeness (Gen. 1:26–27), that forgiving other people prepares us to receive God’s forgiveness (Matt. 6:12), that loving others is a measure of our ability to love God (1 John 4:20).

Stanzas 2–3: Please see the first part of the note at Psalm 1 for a discussion that also applies to how the pronouns in the second and third stanzas of this paraphrase were chosen. The repetition of “if” in these two stanzas is intended to convey the rhetorical effect of the catalog of considerations in the biblical psalm.

Stanza 4: The singular male pronoun of the psalm is here rendered as a plural in order to balance the plural form in the first stanza. Similarly, the last two lines have been added to mirror the attention to God in the opening two lines.

The sacramental associations of euChariStiC hymn give the singing of this paraphrase something of the character of the traditional invitation to Communion for those who are “in love and charity with your neighbors, and intend to lead a new life, following the commandments of God” (BCP, p. 330).

Psalm 16 O God, protect me

This psalm attributed to David is called a micktam, but there is no consensus about what this Hebrew term means. It may be connected with the themes of trust and confidence that recur through-out this psalm. This paraphrase was originally created for publication in The Selah Psalter (Kingston, NY: Selah Publishing Co., 2001).

Stanza 1: It is somewhat ambiguous whether the psalmist’s initial petition for protection is geo-graphical or metaphorical; in other words, does it reflect an attempt to gain asylum by fleeing to the Temple, or is it an expression of trust in God and a declaration of an intention to depend on God? The Hebrew behind the latter part of the stanza is similarly unclear; the interpretation followed here identifies true and false models for such a life: the “holy ones” vs. “the foolish.”

Stanza 2: Another literal/symbolic interplay is found in the language behind this stanza. For the psalmist to identify God as “portion” and “cup” may recall the division of land in the book of Joshua, where every Israelite is granted a share (Josh. 19:9). Because priests and Levites had no portion in the land but were told that God was their portion (Num. 18:20; Deut. 10:9, 12:12), this language may indi-cate that the psalmist was a priest or Levite serving in the Temple. On the other hand, these words and the related image of boundaries may be a symbolic affirmation of God’s provision for the faithful.

Stanza 3: The vulnerability of the heart at night (also alluded to in Psalm 17) is contrasted with the strength God provides.

Stanza 4: Although Christian readers and singers may detect hints of resurrection here, the psalmist would not have had such a theological framework for the affirmations of this stanza—which makes them all the more remarkable. Even without knowing how it will be accomplished, the psalmist’s delight in God’s presence and confidence in God’s power lead to the assurance that God’s protection will not be broken even by death.

The Irish folk tune SLane works well with this text and helps to suggest some of the affinities between this psalm and the lorica (breastplate or protection prayers) of Christian monastic tradition.

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Psalm 17 Hear, O God, my plea for justice

Identified in the Hebrew superscription as a prayer (telifah) rather than as a psalm (mizmor), this supplication is attributed to David.

Stanza 1: This stanza has two themes: God’s ability to judge rightly and the petitioner’s innocence. The latter theme is developed through reiterated kinds of testing that thwart pretence.

Stanza 2: In this stanza the psalmist asks for God’s continuing guidance and protection. The peti-tions gain strength by being so specific: to be guarded as carefully as one instinctively shields the apple (i.e. pupil) of the eye and to be overshadowed by God’s protecting wings. (The letter image may be drawn from the wings of the cherubim on the Ark of the Covenant and has suggested to some scholars that the entire psalm is set in the Temple precincts.)

Stanza 3: God’s roles, identified in the first two stanzas as judge and protector, combine here as God is urged to act as avenger against the wicked. The psalm achieves an envelope structure by returning to the theme of justice and the motif of vision found at its beginning.

The breadth and sturdiness of the Dutch tune in babiLone provide a fitting musical setting for this psalm.

Psalm 18 O God my strength, my fort, my haven

The Hebrew text of this psalm begins with an unusually long superscription. In addition to the cus-tomary inscription to “the [musical] leader” or “choirmaster” and an attribution to David, the psalm is identified as the song David sang “on the day when the Lord delivered him from the hand of all his enemies, and from the hand of Saul.” In corroboration of this assigned origin, an almost identical version of this psalm (with its superscription) appears at 2 Samuel 22:1–51. While the psalm may well have originated in David’s time, scholars find evidence that it has been adapted over time and may even have been created later.

Stanza 1: Much of this stanza is devoted to images of God’s protection, which are backed up by the narrative of the closing couplet.

Stanza 2: This is an especially vivid stanza, both in describing the despair of the psalmist and in telling of God’s saving help. In this stanza and the following one, the association of distress with deep water reflects the ingrained fear of a land-based people for what they understood as a sign of the chaos that preceded creation.

Stanzas 3–4: Although three of the five stanzas here are directed to God, these two are directed to other people. The third stanza is a narrative-based testimony of the psalmist’s deliverance, moving from smothering circumstances to a wide-open, life-giving space. The fourth stanza offers generaliza-tions derived from this personal experience.

Stanza 5: The final stanza returns to addressing God, and its descriptions of God as “light” and “salvation” are reminiscent of the opening of Psalm 27.

Both the melodic shape of Wen nur den Lieben gott and the associations of that tune’s original text offer suitable support for this paraphrase.

Psalm 19 God’s glory fills the heavens with hymns

This paraphrase was originally created for Alec Wyton to use in his musical work “Sing a New Song unto the Lord,” commissioned by the General Synod of the Associate Reformed Presbyterian Church for its Bicentennial Anniversary in 1982. The present form represents a 1988 revision prepared for Psalms for Today (London: Hodder & Stoughton, 1990). As indicated below, each stanza reflects a theme of the psalm.

Stanza 1: Attention here focuses on the ways God is revealed and celebrated through creation. That theme is announced by the opening words, “God’s glory.”

Stanza 2: The first three words, “God’s perfect law,” establish the theme of this stanza. In Jewish tradition, the giving of the law is second only to creation as a sign of God’s goodness, because it pro-vides a means of identity and purpose for God’s people.

Stanza 3: Becoming aware of God’s gifts of creation and law, human beings naturally respond with

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a desire to be “God’s servant,” as this stanza begins.The Scottish pentatonic melody ye bankS and braeS provides a mixture of angularity and tuneful-

ness that works well with this text.

Psalm 20 No matter when the day of trouble comes

This psalm is traditionally attributed to David and is inscribed to “the [musical] leader” or “choir-master.” The content, however, classifies it as a royal psalm; in this case, it is a prayer for the king (in Hebrew the “you” here is consistently masculine singular). Although the original context seems to have been prior to the king’s engagement in warfare, this paraphrase would be appropriate for many kinds of sending forth or leaving-taking from a modern congregation.

Stanza 1: An important emphasis in this stanza focuses on the power of the Name of God, which acts as a shield against danger. Invoking the Holy Name is a means of activating God’s power. The stanza ends with an affirmation of God’s presence in the past (“recall”), the present (“sustain”), and the future (“length of days”).

Stanza 2: All three sentences of this stanza stress that human achievement depends on God’s favor and help.

Orlando Gibbons’ Song 1, carefully paced with one note per syllable, provides a supportive setting for this text.

Psalm 21 Rejoicing in your strength, O God

Traditionally attributed to David and inscribed to “the [musical] leader” or “choirmaster,” this is another royal psalm. Yet it is ultimately more about God (to whom it is addressed) than about a human monarch, because God is recognized as the source of the monarch’s victories and power.

Stanza 1: In contrast to Psalm 20, which seems to anticipate coming conflicts, this psalm appears to come after some royal victory. Because its tone is one of thanksgiving rather than of petition, it may also have been used to celebrate the anniversary of the ruler’s coronation. In this stanza, as well as in the two that follow, the last two lines provide a summary of what has come before them.

Stanza 2: The biblical psalm continues to focus on the monarch, but the religious principles involved can be given a more general application. It is important that worldly goods be seen as signs of God’s blessing rather than as ends in themselves.

Stanza 3: As frequently happens in the psalms, the blessings of the righteous are made brighter by setting them against the dark background of the punishment of those who set themselves in opposi-tion to God. The important consideration is to maintain an attitude of grateful praise.

The shape note tune morning Song / ConSoLation works well with this text because its ABB struc-ture strengthens the sense of the final two lines as a summary of each stanza.

Psalm 22 My God, my God, O why, O why

This psalm, traditionally attributed to David, is inscribed to “the [musical] leader” or “choirmas-ter” and carries a note that it is to be sung to the tune of an existing song called “The Doe of the Morning.” The opening verse is famous because Jesus quotes it on the cross (Matt. 27: 46 / Mark 15:34), but many readers of the Passion narrative fail to understand that this initial clause implies the recitation of an entire psalm that alternates between complaint and trust, where it concludes.

Stanza 1: The opening complaint of the psalm is intensified by multiple repetitive structures: repeated words and successive questions.

Stanza 2: The present sense of rejection and neglect is balanced by a recollection of trust in God’s protection.

Stanza 3: The psalmist’s current despised condition is intensified because supposedly righteous people assume that a person like this cannot enjoy God’s favor.

Stanza 4: Once again, a situation of abandonment is followed by a remembrance of God’s protec-tion and provision.

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Stanza 5: In the final and most intense expression of distress, the psalmist is brought to the brink of death.

Stanza 6: Beyond suffering lies the promise of God’s saving help, to which the response can only be praise.

Please see the note on the tune bangor at Psalm 6.

Psalm 23 The Lord my Shepherd guards me well

This is undoubtedly the best known and most beloved of the psalms traditionally attributed to David. This paraphrase was created to serve as the text for an anthem by David Ashley White com-missioned by St. Andrew’s Episcopal Church in Amarillo, Texas, for the midyear conference of the Region VII members of the Association of Anglican Musicians in January 1986.

Stanza 1: People who are uncomfortable with “Lord” in the opening line may sing “My God and Shepherd.” It is worth noting that lines 2–4 reflect a conscious effort to reclaim the “theological pas-sive” which implies divine action, since God is the ultimate source of all activity.

Stanza 2: The transition from third person narrative to second person address occurs frequently in the psalms, usually marking intensified engagement, as the additional ominous details also sug-gest. Even today in Israel/Palestine, shepherds must often lead their flocks to streams that flow between cave-riddled cliffs, which were frequently used in ancient times as hideouts for bands of robbers. These areas were so treacherous that even the Roman army pursued only the most desperate criminals that far. Because these water-carved valleys are usually deep and narrow, they are indeed in shadow most of the time. These pastoral images of God’s provision in the midst of adversity antici-pate and prepare for the feast in the midst of enemies described later.

Stanza 3: Anointing oneself with scented olive oil or other perfumed ointments was part of daily grooming for the rich in the ancient Near East (cf. Ruth 3:3). It was therefore a sign of favor towards an honored guest (Luke 7:46). Ointments, oils, and unguents were also prized for their cooling and pain-relieving effect in a hot and dry climate, and they were frequently used as part of medical treat-ment (Isa. 1:6; Luke 10:34).

Stanza 4: God’s faithful covenant love (hesed: NRSV “steadfast love”) is experienced most power-fully in the context of Temple worship.

The familiar tune brother JameS’ air (originally called maroSa by the composer) appears here in its original 1915 version rather than in one of the later arrangements.

Psalm 24 Know that the earth belongs to God

This psalm is traditionally ascribed to David, even though it seems to reflect some ritual associated with a Temple built after his lifetime.

Stanza 1: In preparation for the entrance liturgy that concludes this psalm, the sovereignty of God over all creation is established by affirming that God made all things.

Stanza 2: The questions in this stanza concern the requirements for participating in this liturgy as well as the qualities of a life lived under God’s sovereignty. Particularly challenging is the third ques-tion concerning both outward behavior (“clean hands”) and inner intention (“pure heart”).

Stanza 3: Anyone who meets the requirements of the second stanza joins the company of God’s faithful people.

Stanza 4: Here is the moment the rest of the psalm has prepared for: reverence for God’s presence symbolized by the entry of the Ark of the Covenant into the Temple precincts as it moves towards its resting place in the Holy of Holies. This is the only place in the Bible where the title “King of Glory” is used. Rather than emphasizing the militaristic imagery found in the biblical psalm, this paraphrase returns to the imagery of God as Creator with which the psalm began.

The choice of the tune truro was dictated in part because it is especially effective in setting the final stanza, which is the goal and high point of the psalm.

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Psalm 25 And now, O God, I lift my heart

Psalm 25, traditionally attributed to David, is one of seven psalms that survive as acrostics. (The combined Psalms 9 and 10 apparently had an acrostic organization originally, but that feature has been greatly obscured in transmission.) The acrostic pattern may have been adopted as an aid to memory when the psalms were used in liturgical contexts. In an effort to evoke this quality in the Hebrew original, this English paraphrase has been constructed as an alphabetical acrostic (omitting only the letters J and X).

Stanza 1: The first part of this psalm centers on the psalmist’s awareness of sin, especially the sins of youth.

Stanza 2: The central section of the psalm has a corporate rather than an individual orientation. Especially important here is the emphasis on the divine initiative in drawing people into God’s ways, particularly as they are set out in the Covenant.

Stanza 3: The individual petitions for forgiveness and for rescue return in the final stanza, yet the concluding prayer is once again set in the context of the entire people of God.

The Scottish pentatonic melody ye bankS and braeS is spacious enough to carry this text without giving undue attention to the acrostic pattern.

Psalm 26 You alone, O God, can judge me

Traditionally attributed to David, Psalm 26 shows affinities with Psalms 7 and 17, in which the psalmist also seeks justice and expresses a willingness to be tested and examined by God.

Stanza 1: The psalmist’s attitude in approaching God is not one of boastfulness but of quiet confi-dence. The reliance on the conventional metaphor of walking securely in God’s ways helps to convey the lack of pridefulness here.

Stanza 2: The expressions of innocence in this stanza are very similar to those offered at the begin-ning of Psalm 1.

Stanza 3: The imagery of this stanza has occasionally led scholars to speculate that this psalm may have been associated with some Temple ceremony, since only priests were actually permitted to come near the altar. In the context of the full psalm, however, it seems more appropriate to regard this language as figurative rather than literal.

Stanza 4: The final stanza returns to the opening stanza’s plea for God’s vindicating justice and closes with an echo of similar steady assurance (‘standing firm on level footing”).

The tune St. thomaS was chosen for this text because its resolute and even forward movement seems an appropriate support for the confident tone of the psalm.

Psalm 27 My light and my salvation are both found in God

Traditionally attributed to David, Psalm 27 begins with a strong profession of faith in God but shifts just before its midpoint to a prayer for guidance and deliverance. Drawing on the imagery of the psalm, this paraphrase tries to reflect how often human enumerations of distress are multiple examples of the same problem.

Stanza 1: From the beginning the imagery here is both visual and tactile, which gives the psalm a remarkable sense of immediacy and credibility. In this stanza each positive statement is followed by an essentially rhetorical question that serves to strengthen the force of each affirmation.

Stanza 2: It is not clear whether the language of physical threat and warfare is to be understood lit-erally or metaphorically. Even if the original situation involved literal violence, later uses of the psalm have been able to regard it as an effective expression of feeling besieged.

Stanza 3: The theme of a visual and a tactile connection with God recurs in this stanza. Again, whether the psalmist’s need for asylum in God’s house is literal or metaphorical does not interfere with the meaning this psalm has had for those who have recited it down through the centuries.

Stanza 4: The psalm’s catalog of abandonment by family, friends, and false witness is summarized here as “all other help falls short.” The only real hope is in God’s guidance.

The dual themes of this psalm, an affirmation of faith and a prayer for help, suggested the use of a

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rather intertwined setting, a quality that the hexatonic tune WondrouS LoVe amply displays. This tune contains long lines that need no rhymes as well as short lines that must rhyme, in addition to lines requiring internal rhymes.

Psalm 28 I call to you, O God my Rock

Psalm 28 is traditionally attributed to David, though no specific occasion from his life is identified with it. The psalm’s somewhat episodic movement from plea to thanksgiving presents it from being easily categorized as belonging to only one genre.

Stanza 1: The designation of God as Rock derives from ancient, pre-Davidic traditions, as is evident from multiple references (e.g. Deut. 32:4–37; 1 Sam. 2:2, 22:2–3, 32, 47, 23:3). But that image also came to be associated with the foundation of the Temple (as it is in Psalm 27). In this initial plea for rescue, the older divine association seems more likely.

Stanza 2: Those whom the psalmist calls “the wicked” demonstrate both in character and in deed that they have set themselves against God’s ways. Everything they do is destructive and antithetical to God’s goodness.

Stanza 3: By this point the psalm turns from petition and denunciation to thanksgiving because God has responded favorably to the psalmist’s prayer. The expansion from an individual to a corporate understanding of God’s protection at the end of the psalm may be a later addition, but it embodies a significant theological understanding that individuals discover their salvation through the redeemed community.

The reference to God as “strength and shield” partly suggested the appropriateness of the Irish lorica (breastplate) tune St. PatriCk, which conveys the resolve and energy in this psalm.

Psalm 29 Let all the heavenly beings

Although it is traditionally ascribed to David, Psalm 29 may well be the oldest of all the psalms. The rhetorical structures, the linguistic style, and the references to subservient deities connect it with much earlier Canaanite poetry, but these features may simply reflect an Israelite adaptation of the older style in order to affirm the superiority of their own true God.

Stanza 1: As befits the opening of a divine enthronement psalm, the first stanza is primarily con-cerned with inciting the heavenly beings to ascribe praise and glory to God.

Stanza 2: In the second stanza the principal sound is God’s powerful voice. This is an attribute of the Canaanite thunder-god Baal that has in part been appropriated to the God of Israel, but there are also echoes here of the generative power of God’s voice at creation (Gen. 1:1–2:3). Each of the chosen details affirms that God’s sovereignty is greater than chaos (represented by “the waters”) or the stron-gest trees (cedars and oaks) and that it extends through the skies (lightning) as well as the wilderness.

Stanza 3: Although the reference to “God’s abode” in the Hebrew version of this section of the psalm is sometimes taken as a reference to the Temple in Jerusalem, the celestial context established at the beginning seems to call for a non-terrestrial reading here as well.

The sturdy Welsh melody LLangLoffan provides an effective setting for this text.

Psalm 30 I will exalt you, O God, for you saved me

Though it bears a traditional attribution to David, Psalm 30 also carries a superscription identify-ing it with “the dedication of the temple.” Given its clearly individualistic tone, however, the psalm shows no indication of having been created for a dedicatory occasion. Because rabbinic sources iden-tify Psalm 30 with the Feast of Dedication (Hannukah), a likely means of reconciling these fragments of information would be to suppose that this traditional psalm about God’s rescue after a seeming time of absence became associated with the (re-)dedication of the Temple under the Maccabees in 165 BCE following its desecration by Antiochus IV Epiphanes. In this way the thanksgiving of an indi-vidual could be used to voice the whole community’s gratitude for a restored relationship with God.

Stanza 1: The opening of the psalm forcefully establishes the extremity of the psalmist’s situation,

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yet does not specify a particular malady or crisis. Because the language is more emotive than analyti-cal, it allows a reader or singer to become more fully engaged in the expressions of rescue and praise.

Stanza 2: The initial declaration is interrupted by an urgent invitation for the congregation to join in the song of thanksgiving, reflecting the psalmist’s heightened awareness that the purpose of human existence is to praise God.

Stanza 3: The second narration of deliverance again describes the psalmist’s sense of abandonment by God when confronted with unexpected adversity, but this retelling gains additional immediacy through the quotation of the actual prayer for God’s help.

Stanza 4: The final stanza gains vibrancy through multiple and contrasted kinds of imagery: actions (“wailing” to “dancing”), appearance (stripped of sackcloth and reclothed with joy), and sound (“my heart sings”).

The relatively long melodic line of o quanta quaLia allows that dactylic tune to convey the effective combination of energy and urgency present in this psalm.

Psalm 31 In you, O God, have I sought refuge

Although it is traditionally attributed to David and is inscribed to “the [musical] leader” or “choir-master,” Psalm 31 is not identified with any particular event in David’s life. In fact, commentators have often noted how many lines in this psalm, either identically or with minor variations, can be found in other psalms. More important than any attempt at narrative is the constant interweaving of petition and trust. This consistent duality needs to be kept in mind when recognizing that Jesus is reported (Luke 23:46) to have quoted the fifth verse of this psalm on the cross, a feature of the Cruci-fixion that is often overlooked.

Stanza 1: The urgency of the psalmist’s situation is communicated in several ways: through the re-use of lines from other psalms, through the series of petitions in lines 2–4, and through the mixture of military imagery (“stronghold”) and hunting imagery (“snares”). As noted above, the last two lines of this stanza paraphrase the portion of this psalm recited by Jesus on the cross.

Stanza 2: The unifying theme of this stanza is to affirm that God’s “sure strength” is greater than false gods (“vain idols”) or false opinions (“whispered slurs”). The psalmist’s experience of the free-ing power of God (“you …bring me to an open place”) gives rise to hope for the future.

Stanza 3: This final stanza can be thought of as having both vertical and horizontal dimensions. The first half is addressed to God, celebrating divine generosity and protection. The second half addresses faithful people, urging them to be thankful for all the means by which God’s care is made known and encouraging them to remain strong as they await the fulfilling of God’s purposes.

The well-known Genevan psalm tune rendez à dieu seems especially well suited to convey the strong sense of confidence that undergirds this psalm.

Psalm 32 Happy are those who are forgiven

Traditionally attributed to David, this is one of thirteen psalms identified as a maskil, a word whose precise meaning is unclear, though its related roots suggest combined elements of artistic skill and spiritual understanding. This is also the second of the seven penitential psalms of Christian tradition (see the note on Psalm 6).

Stanzas 1–2: These two stanzas need to be considered together in order to appreciate how they reflect the organization of the psalm. The first two lines of Stanza 1 and the last two lines of Stanza 2 make general statements. These general statements are illustrated and confirmed by the narrative of the psalmist’s experience described in the last four lines of Stanza 1 and the first four lines of Stanza 2.

Stanza 3: This stanza continues to address God, celebrating God’s protection and wisdom.Stanza 4: The final stanza offers words of wisdom to the faithful and encourages them to sing grate-

fully for the gift of forgiveness.Although it is classified as a penitential psalm, Psalm 32 is primarily concerned with the joy of

being reconciled with God after acknowledging one’s sins. For this reason, it is the only paraphrase of a penitential psalm in this collection that is set to a tune in a major rather than a minor key, brother JameS’ air.

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Psalm 33 Sing forth with gladness, psalms and anthems raise

Psalm 33 is unusual in lacking a superscription, which has led some scholars to suggest that it represents the song of praise the faithful are encouraged to voice at the end of Psalm 32. It is also notable for containing twenty-two lines, the equivalent of the number of letters in the Hebrew alpha-bet (thereby implying a quality of comprehensiveness); but it is not actually structured as an acrostic poem.

Stanza 1: This is the first psalm to mention the use of instruments as a support for vocal music. The Levitical musicians were expected to “prophesy with lyres, harps, and cymbals” (1 Chr. 25: 1, cf. 25:6–8). Line 4 introduces the dual theme of this psalm: the words and the work of God.

Stanza 2: This stanza celebrates God’s word, especially in its creative dimensions. In many ways this portion of the psalm functions like a synopsis of Gen. 1:1–2:3.

Stanza 3: Here the attention turns to God’s work, particularly as manifested in protecting the people who live in covenant relationship with God.

Stanza 4: The first two lines of this stanza summarize Stanza 3, while the final three lines follow a familiar pattern of turning directly to God in prayer. The two sections are thematically related, for the prayer requests the blessing described in the first two lines.

One of the most venerable of the Genevan psalm tunes (later used for English, Dutch, and Scottish versions of the same psalm) was the melody now known as oLd 124th, which contributes strength and dignity to this text.

Psalm 34 At all times let me sing gladly

Traditionally attributed to David, Psalm 34 is one of several surviving acrostic psalms (see the discussion of acrostic psalms included with the notes for Psalm 25). It also bears a rather puzzling superscription connecting this psalm with David’s escape from the Philistine king at Gath by feigning madness (1 Sam. 21:12–22:1). But that king’s name was Achish, not Abimelech, as the superscription reads. On the whole this seems to be a misinformed effort to identify the psalm with an incident in David’s life. Also, treating the psalm as a thanksgiving for deliverance may provide a context for the first part of the psalm, but it does not offer a rationale for the latter part’s resemblance to wisdom literature.

Stanza 1: The opening stanza shows evidence of personal experience that does not continue through the rest of the psalm. This shift may be a consequence of the acrostic structure, which lends itself more to adages than to narration.

Stanza 2: The tone of the central portion of the psalm is very reminiscent of wisdom literature.Stanza 3: The conclusion of the psalm moves from advice for pious living to assurances of God’s

care. In this way it gains something of an envelope structure by returning to an affirmation of God’s protection similar to the opening stanza.

The repetitive AABA structure of the pentatonic shape note tune PLeading SaVior works well with the succession of wisdom sayings in this text.

Psalm 35 Take my part, O God, against my enemies

Traditionally attributed to David, Psalm 35 is usually considered an individual lament or supplica-tion. Although the biblical psalm buttresses this complaint with various clusters of related imagery drawn from warfare and other contexts, this paraphrase focuses on the central plight of the psalmist caught in an agonizing legal case.

Stanza 1: The imagery of the adversaries being blown away like chaff is reminiscent of Psalm 1.Stanza 2: The testimony of false witnesses is made especially bitter because they were people the

psalmist helped during their own times of illness. (This allusion is sometimes taken to imply that the psalmist is now ill as well as vexed by this legal procedure.)

Stanza 3: Underlying this stanza is the assumption that those who set themselves against the ways of peace (shalom) are disrupting God’s intended patterns of justice/righteousness. In other words, to persecute those who love peace is to go against God’s intentions for how human beings should live.

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Stanza 4: Over against the multiple adversaries mentioned so far, this is the first indication that there are also God-loving people who support the psalmist’s cause. The second half of this stanza echoes the second half of the first stanza, giving the paraphrase an envelope structure.

The angularity of the French carol noëL nouVeLet helps to convey some of the tensions in this text.

Psalm 36 How a false, deceiving spirit

Like many other psalms, Psalm 36 is inscribed to “the [musical] leader” or “choirmaster,” and is attributed to David. But David’s name is here followed by the unusual descriptive phrase “the servant of the Lord,” perhaps to make clear that he is not one of the ungodly people described at the beginning of the psalm.

Stanza 1: This stanza affirms that God is not diminished by those who deny and defy God. In a sense it recalls and summarizes the spiritual history of humanity ever since the Garden of Eden: the eviscerating power of evil compared with the boundless love of God.

Stanza 2: The first half of this stanza is moved to this position from the end of the biblical psalm in order to provide a more satisfying shape to the paraphrase. The demise of the wicked also supplies a contrast with the flourishing of those who are blessed by God.

Stanza 3: Some rearrangement of the biblical order has also taken place here in order to form a stronger affirmative conclusion for the paraphrase.

Because the first half of the pentatonic shape note tune beaCh SPring is formed by using the same phrase twice, that musical structure fits well with this paraphrase, since the first half of each stanza develops a unified idea.

Psalm 37 Abstain from rage when evil thrives

Psalm 37 is another acrostic psalm (see the discussion of acrostic psalms included with the notes for Psalm 25). The acrostic structure provides a means of ordering a series of instructional exhorta-tions that do not necessarily follow each other in a logical sequence. Traditionally attributed to David, the psalm probably dates from a much later time, given its themes and resemblance to the wisdom tradition.

Stanza 1: The psalmist’s voice here is that of a older and wiser teacher who is addressing a younger person filled with moral indignation because the wicked seem to prosper. It is better, the sage says, to use that energy to embrace God’s ways.

Stanza 2: Behind this section of the psalm lies the assumption that the righteous will inherit the promised land because they will endure, while the wicked will perish.

Stanza 3: God will sustain and protect those who follow the way of righteousness, but wickedness offers only empty promises.

The successive imperatives of this text are somewhat softened by being set to the pentatonic shape note melody reSignation.

Psalm 38 Let your fury turn, O God

Traditionally attributed to David, Psalm 38 has a somewhat ambiguous further superscription (found also at Psalm 70) meaning “to cause to remember” or “to call to mind.” On the one hand, this could refer to the psalmist’s awareness of sin; on the other hand, it could be a plea to be remembered by God. In Christian tradition, this psalm is the third of the seven penitential psalms (see the note at Psalm 6).

Stanza 1: Like the rest of this psalm, this stanza reflects the ancient assumption (still held by some people) that illness is a punishment for sin. Because the symptoms described here are so general, the psalm really becomes a meditation on the experience of living with illness of any kind.

Stanza 2: The unreliability of false friends and callous companions makes dependence on God both evident and necessary.

Stanza 3: The petitionary tone of the first stanza returns here, but with the addition of the adverse

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social climate described in Stanza 2. This stanza ends as the first one began, with a direct address to God.

The rather churning qualities of the Welsh tune aberyStWyth help to convey some of the internal turmoil in this text.

Psalm 39 I set my mind on keeping silent

Traditionally attributed to David, Psalm 39 bears the familiar superscription to “the [musical] leader” or “choirmaster” but then continues “for Jeduthun.” This is the name of one of the Levites mentioned in 1 Chron. 9:16 and elsewhere, so this may be a particular application of the more general direction.

Stanza 1: The psalm opens with the psalmist’s remarkable resolve to keep silent, both in order to thwart the accusations of antagonists and to avoid offending God. It has often been noticed how similar this situation is to Job’s.

Stanza 2: After all the attention to maintaining silence, the request that emerges seems especially modest. An awareness of our own transience is an inevitable part of human life.

Stanza 3: The final stanza adopts a style reminiscent of many other petitionary psalms, yet it con-cludes with an unusual request that God “look away” (a verb that also occurs in Job 7:19 and other places in that book). Perhaps God’s gaze seems too demanding. The ultimate hope here is for the peaceful silence of death.

Georg Neumark’s tune Wer nur den Lieben gott has been used with many texts, and it effectively supports this somewhat enigmatic text.

Psalm 40 I waited patiently for God

Traditionally attributed to David and bearing a superscription to “the [musical] leader” or “choir-master,” Psalm 40 brings together several concerns. The initial section can be described as a thanks-giving psalm, and it is followed by several verses reminiscent of prophetic pronouncements. After this comes a psalm of supplication that subsequently appears almost verbatim as Psalm 70, so the paraphrase of that section appears at that later point in this psalter.

Stanza 1: Although the admonition to “wait for God” appears in many psalms, this is the report of someone who actually did so and now supplies details of being rescued. It is also significant here that the response to the experience of God’s saving help is to sing about it.

Stanza 2: The content of this stanza, especially after the shift to the second person, may well repre-sent the song of praise described in the previous stanza.

Stanza 3: Sounding much like passages in the prophets, the psalmist declares that God does not desire external observances but internal commitment. The reference to the law written on the heart is very similar to the language of Jer. 31:31–34.

Stanza 4: The first half of this stanza represents a classic expression of the understanding that spiri-tual insights bestowed on individuals are intended for the strengthening of the whole congregation. The second half is a statement of confidence in God’s faithfulness in the future, a projection of the report of God’s saving help at the beginning of the psalm.

Although taLLiS’ Lamentation is not now as widely known as some of that composer’s other tunes, it once enjoyed considerable popularity. It is easily learned and provides an effective setting for this text.

Psalm 41 How blest are you that show

Traditionally attributed to David, and bearing an inscription to “the [musical] leader” or “choir-master,” Psalm 41 is the last of the psalms in what is regarded as the first of the five books of the Psalms. This division into five books intentionally recalls the five books of the Torah.

Stanza 1: In effect, the opening beatitude here seems to operate as an indirect description of the psalmist’s own behavior. The second half of the stanza continues the pattern by providing a general-

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ized summary of the psalmist’s situation.Stanza 2: This middle portion of the psalm contrasts the faithfulness of God with the fickleness of

human helpers, who quickly turn from friends to enemies.Stanza 3: The disillusioning experience of unreliable human beings strengthens the psalmist’s

resolve to rely solely on God.This text has been set to Leoni, the same tune used for Psalm 1, in order to call attention to their

respective roles as the last and first of the first book of the Psalms.

Psalm 42 As panting deer desire the waterbrooks

Psalm 42 is another psalm inscribed to “the [musical] leader” or “choirmaster” and is described in the superscription as a maskil (see the discussion of this term in the notes to Psalm 32). This is the first psalm in the second book of the Psalms (Psalms 42–72) as well as the first of several (Psalms 42–49) attributed to the Korahites, one of the Levitical families associated with the leading of music in Temple worship (2 Chron. 20:19). The psalms now numbered 42 and 43 are generally considered to have been one psalm originally.

Stanza 1: In Christian tradition, this psalm has long been associated with baptism, and images of deer at fountains are among the oldest surviving decorations of baptisteries.

Stanza 2: The sense of isolation that begins this stanza is made more poignant by the remembrance of happier days when the psalmist led the singing of pilgrims as they made their way to the Temple.

Stanza 3: This stanza serves as a refrain for Psalms 42–43, and the tension between questions and affirmations lends psychological credibility to the sense of spiritual quest in this psalm.

Stanza 4: Scholars are divided in interpreting the references to the origins of the Jordan River. Do they indicate the location where the psalm has been created or are they simply evocative metaphors?

Stanza 5: The combination of an antagonistic social environment and the burden of bodily exhaus-tion understandably leads the psalmist to wonder whether God is still paying attention.

Stanza 6: This stanza repeats Stanza 3.To emphasize their continuity and unity, Psalms 42 and 43 are both set to the familiar tune eVen-

tide.

Psalm 43 O God, defend me; vindicate my cause

Psalm 43 has no superscription, which strengthens the opinion of most scholars that Psalms 42 and 43 were originally one psalm divided at some point by ancient editors for reasons that are not now apparent. That view receives further support from the recurrence of the prior psalm’s refrain-like stanza .

Stanza 1: As frequently happens in the psalms, the enemies mentioned in Psalm 42 are here treated as adversaries in a legal proceeding. The implicit reasoning here (much like that of Job’s “friends”) is that the psalmist’s suffering must be a punishment for some offense, and the antagonists are deter-mined to prove that view.

Stanza 2: Much as the Temple was a reference point for past happiness in Psalm 42, here the psalm-ist identifies those holy precincts as the place where God can best be known. Guidance and protection for the journey to that destination are made possible by God’s light and truth, further manifestations of the vindicating and rescuing activity implored in Stanza 1.

Stanza 3: This stanza repeats Stanza 3 of Psalm 42.To emphasize their continuity and unity, Psalms 42 and 43 are both set to the familiar tune eVen-

tide.

Psalm 44 How often have we heard the tales

The superscription describes Psalm 44 as a maskil for “the [musical] leader” or “choirmaster” and attributes it to the Korahites. (For a discussion of these terms, see the notes to Psalm 42). This psalm is ultimately a corporate prayer of supplication, rooted in a recollection of God’s saving deeds.

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Stanza 1: The initial emphasis on the oral transmission of corporate memory provides a significant context for the direction the psalm will take. This history of vocal communal remembering establishes the faithfulness of the people who will later voice their prayer for God to show comparable covenant faithfulness.

Stanza 2: The people attribute all their past victories and conquests to God’s activity and intentions.Stanza 3: Here it becomes apparent that former victories have given way to ignominious defeat,

which is taken as a sign that God is not guiding or supporting their armies. As a result, an urgent plea is made for God to come to the aid of those who offer this prayer.

The resolute Welsh melody LLangLoffan provides an effective setting for this text.

Psalm 45 A noble theme has stirred my heart

Psalm 45 begins with a mostly-familiar superscription, describing it as a maskil dedicated to “the [musical] leader” or “choirmaster” and attributing it to the Korahites (see the discussion of these terms in the notes to Psalm 42). But it is the only psalm called “a love song,” and it is apparently to be sung to an existing tune called “Lilies.” It is also unusual in several other ways. It is a royal psalm addressed to the king rather than to God, and it celebrates the marriage of some Israelite or Judean king to a princess from another country. After the monarchy disappeared, this psalm was interpreted messianically, first by Jews and later by Christians. In particular, the bride celebrated here was regarded by Christians as the Church, the Bride of Christ. The paraphrase offered here attempts to retain the royal dimension of the psalm but adapts it as a word of advice to earthy rulers: they govern best who acknowledge their dependence on God.

Stanza 1: This is the only psalm that begins with a reflection on the psalmist’s craft, and it is the only one to connect a vocal art (“tongue”) to a scribal art (“pen”).

Stanza 2: Rather than praising one particular king as the psalm does, the paraphrase identifies the qualities that are desirable in a human ruler.

Stanza 3: Sovereign power carries with it a responsibility to uphold justice, and its privileges are not bestowed for the sake of personal pleasure.

Stanza 4: The celebration of the bride in the original psalm has been adapted in the paraphrase to an appreciation of beauty and joy as attributes of sovereignty, and human love is understood as a reflection of divine love.

Stanza 5: The psalmist’s promise that the king’s name will be “celebrated in all generations” has here become a general word of advice to earthly rulers that they are most likely to be remembered when they follow God’s ways.

In order to honor the artful and ceremonial dimensions of this psalm, taLLiS’ Canon has been cho-sen as a means of supporting this text with stately beauty.

Psalm 46 With God our refuge and our strength

The superscription indicates that Psalm 46 is for “the [musical] leader” or “choirmaster” and attri-butes it to the Korahites. (For a discussion of these terms, see the notes to Psalm 42). It is also called “a song” and is specified to be sung “according to Alamoth,” an unclear term that occurs only here and in 1 Chron. 15:20. Whatever the musical expectations might have been, Psalm 46 is classified as a song of Zion, one of several psalms that celebrate God’s presence there.

Stanza 1: The first stanza affirms God’s reliable protection even when the natural world seems to be falling apart. This stanza, like the two that follow, is grounded in the refrain that forms the last two lines; the recurrence of this declaration helps to convey the centrality of this assurance of God’s presence and support.

Stanza 2: Here the context shifts from nature to humanity, from the physical world to concerns deal-ing with governance and power. Once again God is affirmed as being greater than such forces.

Stanza 3: God’s strength is made evident in the destruction of instruments of hostility and war. Contrary to the human impulse towards bluster and noise, God’s strength manifests itself in peace and stillness (cf. 1 Kings 19:11–12).

The description of God as “refuge and strength” partly suggested the appropriateness of the Irish lorica (breastplate) tune St. PatriCk, which conveys the resolve and energy in this psalm.

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Psalm 47 Let all the nations clap their hands

Psalm 47 bears a mostly-familiar superscription, describing it as dedicated to “the [musical] leader” or “choirmaster” and attributing it to the Korahites (see the discussion of this term in the notes to Psalm 42). It is also identified as a “psalm” with a Hebrew word implying that the singing would be accompanied instrumentally. This psalm’s emphasis on the exaltation of God has led some scholars to suggest that it was connected with an annual (specifically New Year’s) divine enthrone-ment ritual, but no evidence has been found that such a Jewish festival existed (though such ceremo-nies are known for Assyrian and Babylonian divinities).

Stanza 1: The psalm opens by affirming the universal sovereignty of God, which merits universal praise.

Stanza 2: God’s sovereignty has been demonstrated historically by the defeat of Israel’s enemies and the protection of Jacob’s line.

Stanza 3: Here the psalm turns from history to worship, though the shift could also be considered a ritual remembrance of history. In particular, there seems to be some allusion here to the bringing of the Ark to Jerusalem (also celebrated in Psalm 132). Because the Temple is regarded as the earthly counterpart of God’s heavenly sanctuary, a procession up to Zion can be considered at the same time as an ascent to the heights of heaven. In Christian tradition, this part of the psalm is often invoked in connection with the Ascension of Christ.

Stanza 4: The psalm concludes with a return to the themes of the first two stanzas.The associations of the tune St. anne with texts affirming God’s sovereignty make it an effective

setting for this paraphrase.

Psalm 48 Great and praiseworthy God of all dominion

The superscription of Psalm 48 attributes it to the Korahites (see the notes to Psalm 42), and labels it both a “song” and a “psalm.” Usually the Hebrew word translated “song” indicates primarily vocal music, while the one translated “psalm” implies that instruments will accompany the singing. One possible way to reconcile these designations may be to note that one suggestion for the meaning of the enigmatic term “Selah” (which occurs at the midpoint of this psalm) has been that it signals an instrumental interlude between sections of singing.

Stanza 1: This psalm continues the theme of God’s universal sovereignty found in Psalm 47 by celebrating the place from which God has chosen to rule, the holy city of Zion.

Stanza 2: Numerous efforts have been made to correlate this reference to invading armies with some particular historical event, but none have proved convincing.

Stanza 3: Because Zion has a dual nature as citadel and holy place, attention turns here from the former identity to the latter. There is a parallel shift from attention to God’s strength to celebration of God’s holiness, with a return to affirming its global recognition.

Stanza 4: The closing section of the psalm brings together images of Zion as fortress and recogni-tion of God’s righteousness. The backward-looking perspective of Stanza 3 (“we have witnessed”) now becomes forward-looking in the affirmation that “God will still be / our guide and guardian.”

Several of the French diocesan melodies are notable for their spirit of reverent grandeur, and rouen/iSte ConfeSSor [PoitierS] works well with this text.

Psalm 49 Let people everywhere

Psalm 49 bears the same superscription as Psalm 47; please consult the notes there. In consider-ing the matters discussed there, it may be significant that this psalm contains two designations of “Selah,” corresponding approximately to the ends of the second and third stanzas of this paraphrase. As its proverbial or aphoristic style suggests, Psalm 49 is classified as a Wisdom psalm.

Stanza 1: Unlike previous psalms that seek universal attention in order to affirm God’s sovereignty, this one calls for widespread consideration because it deals with matters of Wisdom that apply to everyone.

Stanza 2: Both in ancient times and now, wealthy people have always liked to act as if their assets

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endow them with godlike powers, but their riches can never be enough to ransom their lives.Stanza 3: This stanza effectively illustrates the style of Wisdom literature in its building up of paral-

lel statements.Stanza 4: This stanza reiterates the psalm’s theme that the inability to avoid death is the ultimate

example of mortal limitations, making a life of faith in God the only reliable path to wisdom.The German chorale o gott, du frommer gott works well with this text.

Psalm 50 God appears in Zion

The superscript attributes Psalm 50 to Asaph, the ancestor of one of the significant families (or guilds) of musicians and singers in the Temple (1 Chron. 6:39; 25:1–2; 2 Chron. 5:12). It is one of twelve psalms so attributed; the others Psalms 73–83) are all clustered at the beginning of the Third Book of Psalms. The prophetic style of the psalm is also unusual, focusing as it does on direct speeches from God in the midst of awe-inspiring phenomena.

Stanza 1: As God’s dwelling-place on earth, Zion is the appropriate location for an encounter with God, and the scope and power of the speeches that follow are enhanced by the wide-ranging and awe-inspiring descriptions in this stanza.

Stanza 2: In this stanza God dispels the superstitious view that sacrifices are needed to nourish God. What God wants instead is for people to accompany their thank-offerings with lives that fulfill the vows they have made.

Stanza 3: In a similar way God disdains empty, lying promises accompanied by sinful living but promises to save those who govern their lives according to God’s will.

This text was created specifically for use with the tune tySk.

INDEXES

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Index of Tunes

ABERYSTWYTH 38

BANGOR 6, 22

BEACH SPRING 36

BROTHER JAMES’ AIR 23, 32

CONDITOR ALME SIDERUM 14

DARMSTADT 49

DETROIT 13

EBENEZER 2

EUCHARISTIC HYMN 15

EVENTIDE 42, 43

IN BABILONE 17

ISTE CONFESSOR 48

LEONI 1, 8, 41

LLANGLOFFAN 29, 44

MAROSA 23, 32

MORNING SONG 21

NEUMARK 18, 39

NOËL NOUVELET 35

O JESU, ALL MEIN LEBEN BIST DU 7

O QUANTA QUALIA 12, 30

OLD 124TH 33

PICARDY 11

PLEADING SAVIOR 34

RENDEZ À DIEU 31

RESIGNATION 37

SALVATION 9, 10

SLANE 16

SONG 1 20

ST. ANNE 47

ST. PATRICK 28, 46

ST. THOMAS 3

ST. THOMAS (Wade) 26

TALLIS’ CANON 5, 45

TALLIS’ LAMENTATION 40

TRURO 24

TYSK 50

VATER UNSER 4

WONDROUS LOVE 27

YE BANKS AND BRAES 19, 25

Index of Tunes

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Metrical Index

Metrical Index

4.11.11.11.11.4. O Lord My God, I Take Refuge in You 7

6.6.8.4.D How Blest Indeed Are You 1O God, Our Sovereign God 8How Blest Are You That Show 41

6.6.8.6.6.8.3.3.6.6. God Appears in Zion 50

6.7.6.7.6.6.6.6.6.6. Let People Everywhere 49

S.M. How Greatly, O My God 3

7.6.7.6.D. Let All The Heavenly Beings 29

7.7.7.7.D. Let Your Fury Turn, O God 38

C.M. Rebuke Me Not in Anger, Lord 6How Long, O God, Will You Forget 13My God, My God, O Why, O Why 22Let All the Nations Clap Their Hands 47

C.M.D. Sing Praise To God, Whose Mighty Acts 9Why Do You Stand Far Off, O God 10Abstain from Rage when Evil Thrives 37How Often Have We Heard the Tales 44

8.6.8.6.4.4.6. The Lord My Shepherd Guards Me Well 23

8.6.8.6.8.6. Rejoicing in Your Strength, O God 21Happy Are Those Who Are Forgiven 32

8.7.8.7.D Hear the Turmoil of the Nations 2Hear, O God, My Plea For Justice 17At All Times Let Me Sing Gladly 34How a False, Deceiving Spirit 36

8.7.8.7.8.7. God Will Be My Constant Refuge 11You Alone, O God, Can Judge Me 26

L.M. Before You, Sovereign God, I Lay 5The Fool Declares, “There Is No God” 14Know That the Earth Belongs to God 24A Noble Theme Has Stirred My Heart 45

L.M.D. God’s Glory Fills the Heavens with Hymns 19And Now, O God, I Lift My Heart 25I Call to You, O God My Rock 28I Waited Patiently for God 40With God Our Refuge and Our Strength 46

8.8.8.8.8.8. Give Answer When I Call 4

9.8.9.8. Who Will Be Welcome in God’s Presence? 15

9.8.9.8.D. In You, O God, Have I Sought Refuge 31

9.8.9.8.8.8. O God My Strength, My Fort, My Haven 18I Set My Mind on Keeping Silent 39

10.10.10.10. O God, Protect Me 16As Panting Deer Desire the Waterbrooks 42O God, Defend Me; Vindicate My Cause 43

10.10.10.10.10. Sing Forth with Gladness,

Psalms and Anthems Raise 33

10.10.10.10.10.10. No Matter When the Day of Trouble Comes 20

11.10.11.10 I Will Exalt You, O God, for You Saved Me 30Save Us, O God! All the Faithful

Have Perished 12

11.11.10.11 Take My Part, O God, Against My Enemies 35

11.11.11.5. Great and Praiseworthy God of All Dominion 48

12.9.12.12.9. My Light and My Salvation

Are Both Found in God 27

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A Supplement to the Kentucky Harmony, 1820 13

Aaron Williams’ New Universal Psalmodist 3

Bach, J. S. 4, 49

Bain, James Leith Macbeth 23, 32

Bourgeois, Louis 31

Chapin, Lucius 21

Croft, William 47

Damon, Daniel Charles 37

Day’s Psalter, 1562 40

Dutch melody 17

French carol 35

French melody 11

Fritsch, Ahasuerus 49

Geistliche Lieder, 1539 4

Genevan Psalter, 1551 31, 33

German melody 50

Gibbons, Orlando 20

Hannover, 1838 7

Hebrew melody 1, 8, 41

Hodges, John S. B. 15

Hymns Ancient & Modern, 1861 26

Irish melody 16, 28

Irish melody 46

Kentucky Harmony, 1816 9, 10

Leavitt’s The Christian Lyre, 1830 34

Llwybrau Moliant 29, 44

Lyon, Meyer 1, 8, 41

Monk, William H. 42, 43

Neumark, Georg 18, 39

Paris Antiphoner, 1681 12, 30

Parry, Joseph 38

Poitiers Antiphoner, 1746 48

Sarum plainsong, Mode IV 14

Schrader, Jack 16, 36

Scottish melody 19, 25

Songs for Liturgy and More Hymns and Spiritual Songs, 1971 9, 10

Southern Harmony, 1835 27

Stanford, Charles Villiers 28, 46

Stein, Albert Gereon 7

Tallis, Thomas 5, 45

Tans’ur, William 6, 22

The English Hymnal, 1906 29, 44

The Sacred Harp, 1844 36

Thomas Williams’ Psalmodia Evangelica, 1789 24

U.S.A. folk melody 37

Vaughan Williams, Ralph 11

Wade, John Francis 26

Welsh folk melody 29, 44

White, B. F. 36

Williams, Thomas J. 2

Index of Composers, Arrangers, and Sources

Index of Composers, Arrangers, and Sources

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First Line Index

First Line Index Psalm Notes

A Noble Theme Has Stirred My Heart 45 141Abstain from Rage when Evil Thrives 37 138And Now, O God, I Lift My Heart 25 134As Panting Deer Desire the Waterbrooks 42 140At All Times Let Me Sing Gladly 34 137Before You, Sovereign God, I Lay 5 126Give Answer When I Call 4 126God Appears in Zion 50 143God Will Be My Constant Refuge 11 128God’s Glory Fills the Heavens with Hymns 19 131Great and Praiseworthy God of All Dominion 48 142Happy Are Those Who Are Forgiven 32 136Hear, O God, My Plea For Justice 17 131Hear the Turmoil of the Nations 2 125How a False, Deceiving Spirit 36 138How Blest Are You That Show 41 139How Blest Indeed Are You 1 125How Greatly, O My God 3 125How Long, O God, Will You Forget 13 129How Often Have We Heard the Tales 44 140I Call to You, O God My Rock 28 135I Set My Mind on Keeping Silent 39 139I Waited Patiently for God 40 139I Will Exalt You, O God, for You Saved Me 30 135In You, O God, Have I Sought Refuge 31 136Know That the Earth Belongs to God 24 133Let All the Heavenly Beings 29 135Let All the Nations Clap Their Hands 47 142Let People Everywhere 49 142Let Your Fury Turn, O God 38 138My God, My God, O Why, O Why 22 132My Light and My Salvation Are Both Found in God 27 134No Matter When the Day of Trouble Comes 20 132O God, Defend Me; Vindicate My Cause 43 140O God My Strength, My Fort, My Haven 18 131O God, Our Sovereign God 8 127O God, Protect Me 16 130O Lord My God, I Take Refuge in You 7 127Rebuke Me Not in Anger, Lord 6 126Rejoicing in Your Strength, O God 21 132Save Us, O God! All the Faithful Have Perished 12 129Sing Forth with Gladness, Psalms and Anthems Raise 33 137Sing Praise To God, Whose Mighty Acts 9 128Take My Part, O God, Against My Enemies 35 137The Fool Declares, “There Is No God” 14 129The Lord My Shepherd Guards Me Well 23 133Who Will Be Welcome in God’s Presence? 15 130Why Do You Stand Far Off, O God 10 128With God Our Refuge and Our Strength 46 141You Alone, O God, Can Judge Me 26 134

Carl P. Daw, Jr. served as theExecutive Director of The Hymn Societyin the United States and Canada from1996 to 2009. During those years thisbinational and ecumenical organizationhad its headquarters at Boston UniversitySchool of Theology, where he hasremained as Curator of HymnologicalCollections and Adjunct Professor ofHymnology. His hymn writing beganwhile he was a consultant member of theText Committee for The Hymnal 1982,

and his texts now appear in most English-language hymnals and hymnalsupplements in North America, the United Kingdom, Australia, and NewZealand, and have been translated into Spanish, German, Korean,Japanese, and Chinese. More than 70 anthem settings of his texts arecurrently in print. Hope Publishing Co. has previously published fivecollections by him: A Year of Grace: Hymns for the Church Year (1990),To Sing God's Praise (1992), New Psalms and Hymns and Spiritual Songs(1996), Gathered for Worship: Fifty New Psalms and Hymns (2006), andPrayer Rising into Song (2016). His other publications include Breakingthe Word: Essays on the Liturgical Dimensions of Preaching (New York:Church Publishing, Inc., 1994); A Hymn Tune Psalter [with Kevin R.Hackett] (New York: Church Publishing Inc., 1998, rev. 2007); LiturgicalMusic for the Revised Common Lectionary, Years A, B, C [with ThomasPavlechko] (New York: Church Publishing, Inc., 2007-2009); and Gloryto God: A Companion (Louisville: Westminster John Knox Press, 2016).He was made a Fellow of the Hymn Society in 2007 and a Fellow of theRoyal School of Church Music (U.K.) in 2011; he has received honoraryDoctor of Divinity degrees from Virginia Theological Seminary (2009)and the University of the South (2012). As an Episcopal priest he hasserved parishes in Virginia, Connecticut, and Pennsylvania, and he taughtin the English Department of the College ofWilliam and Mary before entering seminary.

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