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.
When We All Get to Heaven - Dick Torrans
(c.1994, Singspiration/Benson Music Group)
Eliza Edmunds Hewitt (1851-1950) was born in Philadelphia. Educated in the local school system, she graduated as valedictorian of the Girl's Normal School that she attended. She became a teacher in the public schools. But then came misery. Her career screeched to a halt when she was forced to bed with a painful spinal problem, caused by an reckless student striking her with a piece of slate. Lying in bed, she could have been bitter. Instead, she studied English literature and began to sing and write: “Sing the wondrous love of Jesus; sing his mercy and his grace….” Professor John R. Sweeney set a few of her songs to music, including one of the better known: "Will there be any Stars in My Crown?" Sweeney and William J. Kirkpatrick published her first hymns. Among the best known are, "Give Me Thy Heart, Says the Father Above," "When We All Get to Heaven," "Sunshine in My Soul," "Will there be any Stars in My Crown?" and "More About Jesus Would I Know." Later Eliza's well-being improved, although she suffered re-occurrences for the rest of her life. Despite her health problems, she was deeply interested in Sunday school work, and superintended a Sunday school for the Northern Home for Friendless Children.
Sing the wondrous love of Jesus, Sing His mercy and His grace;
In the mansions bright and blessed He'll prepare for us a place.
While we walk the pilgrim pathway Clouds will overspread the sky;
But when trav'ling days are over Not a shadow, not a sigh.
Let us then be true and faithful, Trusting, serving ev'ry day;
Just one glimpse of Him in glory Will the toils of life repay.
Onward to the prize before us! Soon His beauty we'll behold;
Soon the pearly gates will open– We shall tread the streets of gold.
When we all get to heaven, what a day of rejoicing that will be!
When we all see Jesus, we'll sing and shout the victory!
Dick Torrans studied piano pedagogy at Michigan State University and church music at Southern Seminary. He is currently president of Melode, Inc., Franklin, Tenn. He has published a number of piano and organ arrangements.
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!
For All the Saints
“For All the Saints” is the quintessential hymn for All Saints’ Day, with its uplifting text and triumphant music. It was written as a processional hymn by the Anglican Bishop of Wakefield, William Walsham How (1823-1879). How was educated at Shrewsbury School and Wadham College, Oxford (B.A. 1845). Taking Holy Orders in 1846, he became successively Curate of St. George's, Kidderminster, 1846; and of Holy Cross, Shrewsbury, 1848. In 1851, he moved to the Rectory of Whittington, Diocese of St. Asaph, becoming Rural Dean in 1853, and Hon. Canon of the Cathedral in 1860. In 1879. he was appointed Rector of St. Andrew's Undershaft, London, and was consecrated Suffragan Bishop for East London, under the title of the Bishop of Bedford, and in 1888 Bishop of Wakefield. In 1854, he published Psalms and Hymns, Compiled by the Rev. Thomas Baker Morrell, M.A., . . . and the Rev. William Walsham How, M.A. This was republished in an enlarged form in 1864, and to it was added a Supplement in 1867. To this collection Bishop How contributed several hymns, and also to the S. P. C. K. Church Hymns , of which he was joint editor, in 1871. Nearly 60 of Bishop How’s hymns are still in common use, the most popular of which are "For all the Saints who from their labors rest" and "We give Thee but Thine own”.
Originally in eleven stanzas, “For All the Saints” was published in Earl Nelson's Hymns for Saints' Days (1864) with the heading, "Saints' Day Hymn. A Cloud of Witnesses. Heb. 12:1." The hymn was sung to the melody Sarum, by the Victorian composer Joseph Barnby, until the publication of the English Hymnal in 1906. This hymnal used a new setting by Ralph Vaughan Williams which he called Sine Nomine (literally, "without name") in reference to its use on the Feast of All Saints, 1 November (or the first Sunday in November, All Saints Sunday). It has been described as "one of the finest hymn tunes of [the 20th] century."
For all the saints, who from their labors rest,
Who Thee by faith before the world confessed,
Thy Name, O Jesus, be forever blessed. Alleluia, Alleluia!
Thou wast their Rock, their Fortress and their Might;
Thou, Lord, their Captain in the well fought fight;
Thou, in the darkness drear, their one true Light. Alleluia, Alleluia!
For the Apostles’ glorious company,
Who bearing forth the Cross o’er land and sea,
Shook all the mighty world, we sing to Thee: Alleluia, Alleluia!
O may Thy soldiers, faithful, true and bold,
Fight as the saints who nobly fought of old,
And win with them the victor’s crown of gold. Alleluia, Alleluia!
For the Evangelists, by whose blest word,
Like fourfold streams, the garden of the Lord,
Is fair and fruitful, be Thy Name adored. Alleluia, Alleluia!
For Martyrs, who with rapture kindled eye,
Saw the bright crown descending from the sky,
And seeing, grasped it, Thee we glorify. Alleluia, Alleluia!
O blest communion, fellowship divine!
We feebly struggle, they in glory shine;
Yet all are one in Thee, for all are Thine. Alleluia, Alleluia!
And when the strife is fierce, the warfare long,
Steals on the ear the distant triumph song,
And hearts are brave, again, and arms are strong. Alleluia, Alleluia!
The golden evening brightens in the west;
Soon, soon to faithful warriors comes their rest;
Sweet is the calm of paradise the blessed. Alleluia, Alleluia!
But lo! there breaks a yet more glorious day;
The saints triumphant rise in bright array;
The King of glory passes on His way. Alleluia, Alleluia!
From earth’s wide bounds, from ocean’s farthest coast,
Through gates of pearl streams in the countless host,
Singing to Father, Son and Holy Ghost: Alleluia, Alleluia!
’Til We Meet Again - Heather Sorenson
(c.2008, GlorySound, div. of Shawnee Press)
“God Be With You Till We Meet Again”, which was written by Jeremiah Eames Rankin’s (1828-1904), was composed so his church choir could have something to sing when they parted each week. Rankin, a congregational minister and later the president of Howard University (Washington D.C.), was a prolific hymn writer and preacher. Rankin was the minister for the First Congregational Church in Washington, D.C. and said this about the hymn, “Written…as a Christian goodbye, it was called forth by no person or occasion, but was deliberately composed as a Christian hymn on basis of the etymology of “goodbye,” which is “God be with you.” He got the idea for the first stanza of the song when he saw the dictionary definition of “good-bye” was short for “God be with you.” While Rankin was responsible for writing the lyrics, William Tomer, who was the music director at Grace Methodist Episcopal Church, composed the music.
The hymn became the official closing song for the Christian Endeavor Convention. Dr. Rankin said: “It has had no sweeter recognition than that given it by its adoption by the Young People’s Society of Christian Endeavor. Long, long, may they sing it!”
During the war, many postcards were printed with hymn lyrics to help soldiers in battle feel at ease. One such postcard was a colorful picture of soldiers going to battle with the following verse: “God be with you till we meet again; keep love’s banner floating o’er you, smite death’s threatening wave before you; God be with you till we meet again.”
The original hymn had eight verses and first appeared in the collection Gospel Bells (1880), Rankin’s (1828-1904) text is often amended to include a refrain, mimicking the style and content of other hymns used to close camp meetings, revivals, or sung on the occasion of the departure of a church leader to a new assignment. This practice of singing a goodbye may also be linked to the history of shaped-note singing schools concluding with a goodbye or farewell song.
God be with you till we meet again; By His counsels guide, uphold you,
With His sheep securely fold you; God be with you till we meet again.
God be with you till we meet again; Neath His wings protecting hide you;
Daily manna still provide you; God be with you till we meet again.
God be with you till we meet again; With the oil of joy anoint you;
Sacred ministries appoint you; God be with you till we meet again.
God be with you till we meet again; When life’s perils thick confound you;
Put His arms unfailing round you; God be with you till we meet again.
God be with you till we meet again; Of His promises remind you;
For life’s upper garner bind you; God be with you till we meet again.
God be with you till we meet again; Sicknesses and sorrows taking,
Never leaving or forsaking; God be with you till we meet again.
God be with you till we meet again; Keep love’s banner floating o’er you,
Strike death’s threatening wave before you; God be with you till we meet again.
God be with you till we meet again; Ended when for you earth’s story,
Israel’s chariot sweep to glory; God be with you till we meet again.
Till we meet, till we meet, Till we meet at Jesus’ feet;
Till we meet, till we meet, God be with you till we meet again.
Heather Sorenson entered the church music industry in her twenties, and her name quickly became a welcomed fixture in the publishing world. Diversity is the characteristic that makes Heather somewhat of an anomaly in the industry: she easily maneuvers both the traditional and contemporary genres of Christian music, often combining the two for a unique blend that has become her artistic fingerprint. Initially recognized for her skill as a pianist, Heather is now known for her compositions in choral anthems, solo piano collections, and orchestrations. She taught all elementary levels of music at Grace Academy of Dallas for 4 years, served as an adjunct music professor at Baylor University, and has served on many master class panels in piano and songwriting. Heather regularly is a guest speaker and conductor at churches across America and leads scores of sessions each year at various worship conferences, schools, and universities. Heather makes her home in the Dallas, TX area with her beloved (and very vocal) beagle, Lucy.
For All the Saints (John Bell)
(c.1996, WGRG The Iona Community, admin GIA)
The hymn “For All the Saints,” written by John Bell (b. 1949) and Graham Maule (b. 1958), is part of the ever-expanding, modern-day hymnody coming from Bell and the Iona Community in Scotland. Bell describes the assumptions of his hymn writing as “Scottish, incarnational, and biblical.”
John Bell (b. 1949) was born in the Scottish town of Kilmarnock in Ayrshire, intending to be a music teacher when he felt the call to the ministry. But in frustration with his classes, he did volunteer work in a deprived neighborhood in London for a time and also served for two years as an associate pastor at the English Reformed Church in Amsterdam. After graduating he worked for five years as a youth pastor for the Church of Scotland, serving a large region that included about 500 churches. He then took a similar position with the Iona Community, and with his colleague Graham Maule, began to broaden the youth ministry to focus on renewal of the church’s worship. His approach soon turned to composing songs within the identifiable traditions of hymnody that began to address concerns missing from the current Scottish hymnal:
"I discovered that seldom did our hymns represent the plight of poor people to God.
There was nothing that dealt with unemployment, nothing that dealt with living in a
multicultural society and feeling disenfranchised. There was nothing about child
abuse…,that reflected concern for the developing world, nothing that helped see
ourselves as brothers and sisters to those who are suffering from poverty or persecution."
[from an interview in Reformed Worship (March 1993)]
That concern not only led to writing many songs, but increasingly to introducing them internationally in many conferences, while also gathering songs from around the world. He was convener for the fourth edition of the Church of Scotland’s Church Hymnary (2005), a very different collection from the previous 1973 edition. His books, The Singing Thing and The Singing Thing Too, as well as the many collections of songs and worship resources produced by John Bell—some together with other members of the Iona Community’s “Wild Goose Resource Group,” —are available in North America from GIA Publications.
O WALY WALY is a traditional English melody associated with the song "O Waly, Waly, gin love be bony," the words of which date back at least to Ramsay's Tea Table Miscellany (1724-1732), and as the setting for a folk ballad about Jamie Douglas. It is also well known in the Appalachian region of the United States.
For all the saints who've shown your love in how they live and where they move,
for mindful women, caring men, accept our gratitude again
For all the saints who loved your name, whose faith increased the Savior's fame,
who sang your songs and share your word, accept our gratitude, good Lord.
For all the saints who named your will, and showed the kingdom coming still
through selfless protest, prayer, and praise, accept the gratitude we raise.
Bless all whose will or name or love Reflects the grace of heaven above.
Though unacclaimed by earthly powers, Your life through theirs has hallowed ours.
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.
Let Us Break Bread Together
(c.1989, United Methodist Publishing House)
This spiritual was formed in the West African Gullah/Geechee slave culture that developed in the costal areas of South-Eastern colonial America, including St Helena Island, Beaufort, and Charleston, South Carolina. The text of the version that is commonly sung in the United States was first published in The Journal of American Folklore (1925). The Journal included spirituals, as well as African American folk tales and proverbs that were collected by students at the Penn School on Saint Helena Island, South Carolina. A second version appeared in Saint Helena Island Spirituals (1925) by Nicholas Ballanta, a very significant collection that included 103 Gullah spirituals.
Some of the stanzas of this African American spiritual may date back to the eighteenth century. Other stanzas have been added by oral tradition. A look through modern hymnals will reveal an array of variations on the text. The most notable alteration in the Psalter Hymnal is the phrase "to the Lord of life" in place of the original "to the rising sun," in which "rising sun" was a metaphor referring to the Son rising. The song's use at communion services probably dates from after the American Civil War. Miles Mark Fisher notes in Negro Slave Songs in the United States (1953): [Originally the hymn] relates hardly at all to holy communion, which does not necessarily require early morning administration or a devotee who faces east. It was a signal song of Virginia slaves during the eighteenth century who used it and similar ones to convene their secret meetings.
The text describes participation in the Lord's Supper as a humble act in which we not only eat the bread and drink the wine, but also praise our God "on our knees." The refrain ends with a prayer for mercy, an African-American Kyrie that reminds us of the tax collector's prayer in Luke 18:13.
African American composer John Rosamond Johnson (1873-1954) arranged the first solo version with the three stanzas that are common to most hymnals in the United States. He also established the precedent of singing the final stanza up the octave. This practice is observed in several hymnals including The United Methodist Hymnal. This version of the spiritual was popularized by notable African American soloists in the mid-twentieth century such as Paul Robeson, Roland Hayes, and Marian Anderson.
Let us break bread together on our knees, let us break bread together on our knees.
When I fall on my knees with my face to the rising sun, O Lord, have mercy on me.
Let us drink wine together on our knees, let us drink wine together on our knees.
When I fall on my knees with my face to the rising sun, O Lord, have mercy on me.
Let us praise God together on our knees, let us praise God together on our knees.
When I fall on my knees with my face to the rising sun, O Lord, have mercy on me.
Because He Lives
UM Hymnal editor Carlton Young says this gospel hymn “is one of the five most requested... to be included in this hymnal.” Based on John 14:19c—“because I live, you also will live”—the hymn’s theme is effectively supported by a soaring melody in the refrain. The words were written by two of the longest-lasting performing couples of Christian contemporary music, Gloria (b. 1942) and William J. (b. 1936) Gaither. “Because He Lives” was awarded the recognition of Gospel Song of the Year for 1974 by the Gospel Music Association and the American Society of Composers and Publishers (ASCAP). This gospel song has undoubtedly offered hope for many people because of its connection between the Resurrection and a “life... worth the living.”
The Gaithers said this about this hymn: “‘Because he lives’ [1971] was written in the midst of social upheaval, threats of war, and betrayals of national and personal trust. It was into this world at such a time that we were bringing our third little baby. Assassinations, drug traffic, and war monopolized the headlines. It was in the midst of this kind of uncertainty that the assurance of the Lordship of the risen Christ blew across our troubled minds like a cooling breeze in the parched desert. Holding our tiny son in our arms we were able to write:‘How sweet to hold our newborn baby, And feel the pride, and joy he gives; But greater still the calm assurance, this child can face uncertain day because He lives.’”
Bill Gaither began as a teacher of English, literature and journalism in 1959 in his hometown of Alexandra, La. Gloria Sickal taught French and English in the same high school. They started to sing together and were married in 1962. By 1967, the couple left the teaching profession to become full-time recording and performing artists. Gloria Gaither has authored several books since 1971 including Make Warm Noises, Rainbows Live at Easter, Because He Lives, Decisions: A Christian Approach to Making Right Choices and Let’s Make a Memory (co-authored with Shirley Dobson). In addition to a number of popular Christian musicals, the Gaithers co-edited the hymnal Hymns for the Family of God (1976) with the assistance of the late composer Fred Bock.
God sent His son, they called Him, Jesus;
He came to love, heal and forgive;
He lived and died to buy my pardon,
An empty grave is there to prove my Savior lives!
How sweet to hold a newborn baby,
And feel the pride and joy he gives;
But greater still the calm assurance:
This child can face uncertain days because He Lives!
And then one day, I'll cross the river,
I'll fight life's final war with pain;
And then, as death gives way to victory,
I'll see the lights of glory and I'll know He lives!
Because He lives, I can face tomorrow,
Because He lives, all fear is gone;
Because I know He holds the future,
And life is worth the living, Just because He lives!
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
