Always open this tune with the dotted rhythm, and D-flat is strongly preferred.
200 Hymns & Psalms
Lord of Light, whose name
O Jesus Christ, our Lord most dear
Christ is made the sure foundation
Thy strong Word
Rejoice Ye Pure in Heart
Come, we that love the Lord
Lift up your heads, O gates
O God our source of truth
God of our life
Lord of Wisdom, God of Mercy
Give us the wings of faith
Glory, love and praise
Come, let us with the Lord arise
My soul rejoices
Christ, Mighty Savior (DESCANT)
All Who love and serve your city
All Glory, Laud, and Honor
In the cross of Christ
Here, o my Lord
Christ, Mighty Savior – INNISFREE FARM
Glory be to God, the highest
When Jesus died to save us
We will extol you
We the Lord’s people
We limit not the truth
The whole bright world (Hilariter)
Surely it is God
Praise the Spirit
Praise the Lord, rise up
Hearken to the anthem
Blessed God, our great Creator
Rejoice Ye Pure in Heart
Lord Christ, when first thou camest
Christ whose Glory Fills the Skies
Christ is the World’s true light
Praise my soul
What does the Lord require
Glorious things of thee are spoken
Word of God, come down on earth
Rob Lehmann did a sophisticated and lovely arrangement of this tune for his choir at St. Michael & St. George, St. Louis during the 2020-21 pandemic.
You are the Christ
Praise the Spirit in Creation
God beyond all human praises
The Church’s One Foundation
Praise the Spirit
Christ is alive
When Jesus died to save us
Humbly I Adore Thee
Adore te, devote receives a comprehensive Dirksen makeover: 1) it’s in 7/8 throughout, 2) the middle verses are backward, in minor, 3) verse 3 goes to E-flat minor for the Lord’s own death, 4) ends with a sweet simple AMEN.
It was beautifully rendered on Quinqugesima 2025 by David Sinden and the choir of St. Peter’s Episcopal Church Ladue, Mo. (see video below)
Where cross the crowded ways of life
I bind unto myself today
How sweet the name of Jesus sounds
Immortal, Invisible
ANGLICAN CHANTS
In 1978 The Right Reverend John T. Walker succeeded William F. Creighton as Bishop of Washington and asked that the newly approved Book of Common Prayer (1979) be used exclusively for all cathedral services unless he gave permission for exceptions in specific circumstances. Immediately, the twenty or more psalms sung in the Offices each month had to be pointed, and suitable chants adapted or created since the translations were completely different from the earlier prayer book. During the next two years new chants were written for the following psalms. My own theories of pointing were developed for them. They are meant for choir performance; none are for congregational use. Some are triple chants, the rest double, often irregular (irr.) in rhythmic treatment and harmonically sophisticated. Antiphons (ant.) are added where the text invites their use.
Psalm 2
Psalm 23
Psalm 13
Psalm 8 (1928)
Psalm 8
Psalm 2 (1928)
Psalm 11
Psalm 26
Psalm 33:12–22
Psalm 46
This singular work is really a through-composed setting of the psalm in Anglican Chant style inspired by the re-scansion of the Psalm in the 1979 Book of Common Prayer. “Be still then, and know that I am God” is utterly convicting.
