Each week, you may find information here about the music in the worship services at Trinity United Methodist Church in Duncanville, Texas. Some of this information is original; most of it is copied from other websites such as Wikipedia, GBOD, and hymnary.org. It is my hope that this information will enhance your understanding and enrich your worship experience.
Thy Word is a Lamp unto My Feet - Mark Hayes
(c.1990, Meadowgreen Music)
This direct quotation from the King James Version is the refrain of Amy Grant’s well-known praise chorus. Amy Grant (b. 1960) was born in Augusta, Ga., where her father, Burton Paine Grant, was doing his medical residency. After living briefly in Houston, Texas, her family moved to Nashville, Tenn., where they were one of the most prominent and prosperous families. She grew up in the Church of Christ, a faith tradition that bans the use of instruments in worship.
Her recording career began with sweeping floors and demagnetizing tape heads in a Nashville recording studio where she made her first album singing her original, contemporary Christian music at the age of seventeen.
Following her first album in 1977, she accepted concert appearances with Billy Graham Crusades and as an opening act for the Bill Gaither Trio. Grant’s albums and performances have won multiple Dove and Grammy awards and multiple platinum records, indicating millions of sales. Although Amy Grant cannot claim to have invented the Contemporary Christian Music (CCM) style of gospel music, she did the most to popularize it in the 1970s and 1980s before successfully crossing over to pop music in the ’80s and early ’90s.
“Thy Word Is a Lamp” was written in 1984 and set to music composed by Michael W. Smith (b.1957) This song is not at all ambiguous in its affirmation of the importance of God’s word in our lives and the role of Jesus as a guide who is beside us to the end. Now a classic in the CCM genre, this song expresses a personal relationship with Jesus.
Thy word is a lamp unto my feet and a light unto my path.
When I feel afraid, think I've lost my way,
still you're there right beside me,
and nothing will I fear as Iong as you are near.
Please be near me to the end.
I will not forget your love for me,
and yet my heart forever is wandering.
Jesus, be my guide and hold me to your side,
and I will love you to the end.
Mark Hayes is an award-winning concert pianist, composer, arranger and conductor. His personal catalog, totaling over 1,000 published works, includes work for solo voice, solo piano, multiple pianos, orchestra, jazz combo, small instrumental ensembles, and choruses of all kinds. Mark received a Bachelor of Music degree summa cum laude in Piano Performance from Baylor University in 1975. He has conducted the SWACDA and MCDA Community and Church Honor Choir, and served as guest conductor at Carnegie Hall, featuring his Te Deum and Magnificat. In 2010, Baylor University Center for Christian Music Studies awarded Mark the Award for Exemplary Leadership in Christian Music. Mark arranged and orchestrated the music for Civil War Voices, which won six awards including "Best Musical" in the 2010 Midtown International Theatre Festival in New York. He conducted the world premiere of his work for chorus, orchestra and narrator, The American Spirit, at Lincoln Center in May 2011 and the world premiere of his Requiem in Lincoln Center in May 2013. Whether concertizing on the other side of the globe or composing at his home in Kansas City, Missouri, Mark is blessed to live out his mission "to create beautiful music for the world".
Trinity Strong - Garth Baker-Fletcher
Rev. Dr. Garth “Kasimu” Baker Fletcher (1955-2025) was ordained by the American Baptist Church. A long-time member of the Society for the Study of Black Religion (the Society) and the American Academy of Religion, Dr. Baker Fletcher was the husband of theologian Dr. Karen Baker-Fletcher. He attended Interlochen Arts Academy, New England Conservatory of Music, Harvard Divinity School, and Perkins School of Theology, Southern Methodist University
While at Harvard Divinity School, He became a founding member of the Harvard Jubilee Singers, a group that recorded both traditional spirituals and original music. He taught Christian ethics at the Christian Theological Seminary of Indianapolis and Claremont School of Theology in southern California. In Indianapolis he served on a Governor’s Board to end unjust violence by police against African Americans. In the 2000s he taught Bible and Christian Ethics at Texas College, an HBCU, in Tyler, Texas.
Garth was the author several books, including Somebodyness: Martin Luther King, Jr. and the Theory of Dignity, Xodus: An African-American Male Journey, and Dirty Hands: Christian Ethics in a Morally Ambiguous World.
In his last years of life, Garth was the Minister of Worship at Trinity United Methodist Church, in Duncanville, TX . While serving at Trinity, he wrote “Trinity Strong” with lyrics by Donna Burson and Jane Graner.
Trinity, strong because we live through every obstacle,
Trinity, strong because our trials teach us to live.
Trinity, strong though we are small, our hearts are large and tall;
God uses what the world says should not be.
Calling us to serve, love, flow like a mighty stream.
Fill us Holy Spirit, in Jesus we are free.
Like the Holy Prophets, we’re crying “Be Holy!”
Trinity, strong because we live through every obstacle,
Trinity, strong because our trials teach us to live.
Trinity, strong though we are small, our hearts are large and tall;
God uses what the world says should not be.
God use us so the world can truly see!
I Want to Walk as a Child of the Light
(c.1975, Celebration)
Kathleen Thomerson (b. 1934) is Organist and Music Director at Mt. Olive Lutheran Church in Austin, Texas. She was born in Tennessee and grew up in Mississippi, California, and Texas. College music study was at the Universities of Colorado and Texas, the Flemish Royal Conservatory in Antwerp, and privately in Paris. Before retirement in Austin, she lived in Collinsville, Illinois, when her husband was a biology professor at Southern Illinois University at Edwardsville. Her best-known hymn text is "I Want to Walk as a Child of the Light." It was written as a scriptural meditation and prayer. It was inspired by many Bible verses, including Genesis 1:17, Isaiah 60:19, Psalm 75:16, Psalm 139:12, Ephesians 3:17, Ephesians 5:8, Galatians 4:6, Hebrews 1:3, 1 Thessalonians 5:5, 2 Peter 1:19, 1 John 1:5-7, and Revelation 21:23.
I want to walk as a child of the light; I want to follow Jesus.
God set the stars to give light to the world;
The star of my life is Jesus.
I want to see the brightness of God. I want to look at Jesus.
Clear Sun of Righteousness, shine on my path,
and show me the way to the Father.
I’m looking for the coming of Christ. I want to be with Jesus.
When we have run with patience the race,
we shall know the joy of Jesus.
In him there is no darkness at all; The night and the day are both alike.
The Lamb is the light of the city of God. Shine in my heart, Lord Jesus.
Gloria Patri
Many congregations may take these words, sung weekly, for granted. Like many parts of liturgy, their roots extend to the deepest levels of our praise and prayer.
The text of the Gloria Patri falls into the broader category of doxology – in the Greek doxologia or “words of glory.” Doxology finds its roots in the Hebrew liturgy and the psalms as the kaddish. The kaddish is a doxology recited after the verses of a song. Its recitation signals the conclusion of one of the sections of the liturgy and has many different forms and purposes. In the Jewish context, a doxology blesses the One God and God’s everlasting nature. For example, Psalm 41:13 states: “Blessed be the Lord God of Israel from everlasting, and to everlasting. Amen and Amen” (KJV). This is a form of berakhah (blessing or benediction) that pervades Jewish liturgy and life. The Sh’ma is the most famous and prevalent statement in Reform Jewish liturgy that addresses these criteria:
Sh’ma Yisrael Adonai Eloheinu Adonai Eḥad (שְׁמַע יִשְׂרָאֵל יְהוָה אֱלֹהֵינוּ יְהוָה אֶחָֽד):
“Hear, O Israel, the Lord is our God, the Lord is One.” (Deuteronomy 6:4)
Baruch shem k’vod malchuto l’olam vaed (בָּרוּךְ שֵׁם כְּבוֹד מַלְכוּתוֹ לְעוֹלָם וָעֶד):
“Blessed is/be the name of the glory/honor of His kingdom forever and ever.”
The “Baruch” is a berakhah added in the rabbinic tradition. It is very similar to Psalm 72:19: “Blessed be His glorious name forever.”
Given this heritage, early Christians adapted the Jewish form to include the Triune God and the Trinity’s eternal nature – “world without end.” Scholars suggest that the opening trinitarian formula is taken from the Great Commission in Matthew: “Go therefore and make disciples of all nations, baptizing them in the name of the Father and of the Son and of the Holy Spirit” (28:19). Any trinitarian affirmation at the conclusion of a prayer became known as a “doxology.”
The Lesser Doxology has for centuries been chanted in Latin at the conclusion of psalms and canticles, especially in the daily monastic prayers:
Gloria Patri, et Filio, et Spiritui Sancto,
Sicut erat in principio, et nunc, et semper,
et in saecula saeculorum. Amen.
The Greater Doxology is the fourth-century hymn Gloria in excelsis Deo, the incipit (opening line) of which was drawn from the angel’s canticle, Luke 2:14. This non-biblical canticle was introduced during the fourth-century Christological controversies as a corrective to Arianism – a doctrine attributed to Arius (c. 256–336) claiming that Jesus was subordinate to God the Father. The Gloria became a stable part of the ordinary (fixed) sections of the Roman Catholic mass except during Advent and Lent when it is omitted.
Protestants often limit the doxology to a single stanza from morning and evening hymns composed by Anglican Bishop Thomas Ken (1637–1711) for a resident boys’ school. While the four lines of this well-known stanza are Trinitarian, Ken does not specifically mention the eternal nature of the Trinity. However, he references the cosmic perspective of our praise to God – taking place both on earth and in heaven:
Praise God, from whom all blessings flow;
Praise him, all creatures here below;
Praise him above, ye heav’nly host,
Praise Father, Son, and Holy Ghost.
The Gloria Patri, also known in English as the Glory Be to the Father or, colloquially, the Glory Be, is also referred to as the Minor Doxology (Doxologia Minor) or Lesser Doxology, to distinguish it from the Greater Doxology, the Gloria in Excelsis Deo. The lesser doxology is of Syrian origin:
shubho labo w-labro wal-ruho qadisho
men 'olam w'adamo l'olam olmin, Amin.
Glory be to the Father and to the Son and to the Holy Spirit,
from everlasting and for ever and ever (literal translation).
The Greek wording is as follows:
Δόξα Πατρὶ καὶ Υἱῷ καὶ Ἁγίῳ Πνεύματι,
καὶ νῦν καὶ ἀεὶ καὶ εἰς τοὺς αἰῶνας τῶν αἰώνων. Ἀμήν.
Glory to the Father, and to the Son, and to the Holy Spirit,
Both now and always, and unto the ages of ages. Amen.
The Latin version differs from the Greek version because of the insertion of "sicut erat in principio", which is now taken to mean "as it (glory) was in the beginning", but which seems originally to have meant "as he (the Son) was in the beginning", and echo of the opening words of the Gospel according to John: "In the beginning was the Word". In 529, the Second Synod of Vasio (Vaison-la-Romaine) in Gaul said in its fifth canon that the second part of the doxology, with the words "sicut erat in principio", was used in Rome, the East, and Africa, and ordered that it be said likewise in Gaul. Writing in the 1909 Catholic Encyclopedia, Adrian Fortescue, while remarking that what the synod said of the East was false, took the synod's decree to mean that the form originally used in the West was the same as the Greek form. From about the 7th century, the present Roman Rite version became almost universal throughout the West.
Gloria Patri, et Filio, et Spiritui Sancto,
sicut erat in principio, et nunc, et semper, et in sæcula sæculorum. Amen.
Glory to the Father, and to the Son, and to the Holy Spirit,
as it was in the beginning, and now, and forever, and unto the ages of ages. Amen.
The following traditional form is the most common in Anglican usage and in older Lutheran liturgical books:
Glory be to the Father, and to the Son: and to the Holy Ghost;
as it was in the beginning, is now, and ever shall be: world without end. Amen.
The translations of "semper" as "ever shall be", and "in saecula saeculorum" as "world without end" date at least from Thomas Cranmer's Book of Common Prayer (1552).
Congregations use several traditional musical settings. One is by Charles (Christoph) Meineke (1782–1850), a German-born organist who moved to England around 1810 and then to Baltimore in 1820. He served as organist of St. Paul’s Episcopal Church for several decades. Meineke authored Music for the Church . . . Composed for St. Paul’s Church, Baltimore (1844). His musical setting, included in this collection, is usually given the name MEINEKE.
For the Beauty of the Earth - Stan Pethel
(c.1993, Designer Music Group)
Folliott Piermont (1835-1917) was born in Bath, England and was a lay member of the Anglican Church. Following his graduation from Queen's College, Cambridge, he taught the classics for a time at Somerset College, later becoming a freelance writer. During his 82 years of life, Pierpoint published seven volumes of poems and hymn texts, many of them showing his love for nature. He is most remembered for this beautiful hymn, For the Beauty of the Earth.
Piermont was about 29 years old when he wrote the text for this joyful hymn. It was a lovely day in late spring. While enjoying the surrounding area of his native city of Bath, in England, he was inspired by the beautiful countryside with its winding cool and peaceful river, Avon, in the distance. The tuneful songbirds, the wind whispering over a vibrantly colored hillside, all seemed to be praising the Creator with their unrestrained gladness and peace. Overwhelmed with emotion, he expressed his feelings of gratitude in the penning of this sacred song. The text was inspired by Hebrews 13:15: "By him therefore let us offer the sacrifice of praise to God continually, that is, the fruit of our lips giving thanks to his name." It first appeared in 1864 in a book of Eucharistic hymns and poems entitled Lyra Eucharistica, Hymns and Verses on The Holy Communion, Ancient and Modern, with other Poems with the title "The Sacrifice of Praise".
An early form of the tune DIX was composed by Conrad Kocher (1786-1872). Trained as a teacher, Kocher moved from Germany to St. Petersburg, Russia, to work as a tutor at the age of seventeen. But his love for the music of Haydn and Mozart impelled him to a career in music. He moved back to Germany in 1811, settled in Stuttgart, and remained there for most of his life. The prestigious Cotta music firm published some of his early compositions and sent him to study music in Italy, where he came under the influence of Palestrina's music. In 1821 Kocher founded the School for Sacred Song in Stuttgart, which popularized four-part singing in the churches of that region. He was organist and choir director at the Striftsckirche in Stuttgart from 1827 to 1865. Kocher wrote a treatise on church music, Die Tonkunst in der Kirche (1823), collected a large number of chorales in Zions Harfe (1855), and composed an oratorio, two operas, and some sonatas. William H. Monk created the current form of DIX by revising and shortening Conrad Kocher's chorale melody for “Treuer Heiland, wir sind hir,” found in Kocher's Stimmen aus den Reiche Gottes (1838). Monk's tune was published in the 1861 edition of Hymns Ancient and Modern, of which Monk was music editor.
For the beauty of the earth, for the glory of the skies,
for the love which from our birth over and around us lies.
Lord of all, to Thee we raise this, our hymn of grateful praise.
For the joy of human love, brother, sister, parent, child,
friends on earth, and friends above, for all gentle thoughts and mild,
Lord of all, to Thee we raise this, our hymn of grateful praise.
For the church, that evermore lifteth holy hands above,
offering up on every shore her pure sacrifice of love;
Lord of all, to Thee we raise this, our hymn of grateful praise.
This, our hymn of grateful praise, Grateful praise.
Dr. Stan Pethel is Chair of the Fine Arts at Berry College near Rome, Georgia. He has been on the music faculty there since 1973. In addition to his duties as Chair of Fine Arts at Berry College Dr. Pethel teaches music theory, composition and arranging, world music, and low brass lessons. He is a widely published composer and arranger with over 1000 works in publication with 26 different publishers. His writing includes works for choir, piano, organ/piano duet, symphonic band, jazz ensemble, orchestra, handbells, solo instrument and piano, and various chamber music ensembles. He is a regular recipient of the ASCAP Standard Award.
Jesus Keep Me Near the Cross
Fanny J. Crosby (1820-1915) was the author of over 8,500 gospel songs. Though blind at 6 weeks of age, Crosby began composing texts at age 6. She later became a teacher at the New York School for the Blind, where she was a student. A friend of several presidents, Crosby became one of the most important advocates for the cause of the blind in the United States. Her texts were set to the compositions of some of the most prominent gospel song composers of the day including William Bradbury, William Doane and Ira Sankey. Crosby composed under a number of pen names. She married blind musician Alexander Van Alstyne. British hymnals identify her as Frances Van Alstyne, her married name.
This hymn first appeared in the collection Bright Jewels (1869), compiled by Bradbury, Doane, W.F. Sherwin and Chester G. Allen, at least two of whom were famous writers of gospel song tunes. Indeed, it was Doane who wrote the music and then gave it to Fanny Crosby to add the text—a practice that was not uncommon in their relationship. It is one of many texts by Crosby that combine vivid imagery and powerful biblical and evangelical metaphors: the Cross, a fountain of healing streams, free grace, the daily walk of faith, God’s pursuing love and mercy, Jesus, the Lamb of God, beyond the river of death, heaven with its golden streets, and rest for the post-Raptured souls.”
The glory of the Cross, a theme of the refrain, is a common metaphor of Romantic-era hymnody. The Cross, a place where the pain of earth and the joy of heaven come together, is a kind of spiritual altar to which we might draw near for refuge and solace. Though an instrument of cruel punishment and torture, the Cross is a source of a “healing stream” (stanza one) and a place where “the bright and morning star sheds its beams” on us (stanza two). Stanza three invites us to meditate upon the Cross—“bring its scenes before me.” The “shadow” of the Cross falls on my daily path.
Many writers have commented on Fanny Crosby’s ability to employ the technique of hypotyposis—painting a vivid scene as if it were present—even though she was blinded soon after birth. Dwight L. Moody once asked Crosby: “If you could have just one wish granted, what would it be?” Moody expected her to ask for sight. She replied, “If I could have one wish, I’d wish that I might continue blind the rest of my life.” Moody was taken aback and asked, “How can you say that?” Crosby responded, “Because, after being blind for all these years, the first face I want to see now is the face of Jesus.”
Jesus, keep me near the Cross, there a precious fountain,
free to all a healing stream, flows from Calvary’s mountain.
Near the cross, a trembling soul, Love and mercy found me;
There the Bright and Morning Star Shed His beams around me.
Near the cross! O lamb of God, Bring its scenes before me;
Help me walk from day to day With its shadow o'er me.
Near the cross! I'll watch and wait, Hoping, trusting ever;
Till I reach the golden strand, Just beyond the river.
In the Cross, in the Cross, be my glory ever,
till my raptured soul shall find rest beyond the river.
Surely the Presence of the Lord is in this Place
(c.1977, Lanny Wolfe Music)
Lanny Wolfe (born 1942) is a Christian songwriter who has won numerous awards. Wolfe served for a number of years as the Dean of the School of Music at Jackson Bible School, Jackson College of Ministries, but his most significant influence has been introducing black Gospel music to Pentecostal churches.
"Surely the Presence of the Lord Is in This Place" is based on Jesus promise, "Where two or three are gathered together in my name, there I am in their midst" (Matthew 18:20). It emphasizes the senses––feeling, hearing, touching, and seeing. We can feel the presence of the Lord––and hear the brush of the angel's wings––and see glory on each face. Wolfe was inspired to write this song in 1977 when a friend invited The Lanny Wolfe Trio to sing at a dedication service for a new building. "Surely the Presence" is the song that the Trio sang for that occasion.
Surely the presence of the Lord is in this place;
I can feel his mighty power and his grace.
I can hear the brush of angels’ wings, I see glory on each face;
Sure the presence of the Lord is in this place.
This Little Light of Mine
"This Little Light of Mine" is a gospel children's song written by composer and teacher Harry Dixon Loes (1895–1965) circa 1920. Loes, who studied at the Moody Bible Institute and the American Conservatory of Music, was a musical composer, and teacher, who wrote, and co-wrote, several other gospel songs. The song has since entered the folk tradition, first being collected by John Lomax in 1939. Often thought of as a Negro spiritual, it does not, however, appear in any collection of jubilee or plantation songs from the nineteenth century:
The song may take its theme from Matthew 5:16, "Let your light shine before men, that they may see your fine works and give glory to your Father who is in the heaven."; Luke 11:33, "No man, when he hath lighted a candle, putteth it in a secret place, neither under a bushel, but on a candlestick, that they which come in may see the light."; and Matthew 5:14–15, where Jesus said, "Ye are the light of the world. A city that is set on an hill cannot be hid. Neither do men light a candle and put it under a bushel, but on a candlestick; and it giveth light unto all that are in the house.”
This little light of mine, I’m gonna let it shine,
This little light of mine, I’m gonna let it shine
This little light of mine, I’m gonna let it shine
Let it shine, let it shine, let it shine.
Everywhere I go, I’m gonna let it shine
Everywhere I go, I’m gonna let it shine
Everywhere I go, I’m gonna let it shine
Let it shine, let it shine, let it shine.
All around the world, I’m gonna let it shine
All around the world, I’m gonna let it shine
All around the world, I’m gonna let it shine
Let it shine, let it shine, let it shine.
This little light of mine, I’m gonna let it shine,
This little light of mine, I’m gonna let it shine
This little light of mine, I’m gonna let it shine
Let it shine, let it shine, let it shine.
A Closing Prayer - Don Besig
(c.1978, Harold Flammer)
Don Besig was a public school music teacher for over thirty years in western New York. He taught at all levels and since his retirement has continued to serve as a guest conductor, clinician and adjudicator. Recognizing a need for choral music written especially for student singers and volunteer church choirs, he began composing for his own choral groups in 1960. He is also the recipient of several ASCAP Plus Awards Don is a graduate of Ithaca College and a member of Phi Mu Alpha and ASCAP. He and Nancy Price collaborate to write music and lyrics.
The time has come, O Lord, for us to leave this place.
Guide us and protect us and lead us in thy grace.
Wherever life may take us as we go our separate ways,
Help us share with others the things we've shared today.
Trinity United Methodist Church, Duncanville, Texas
