Each week, you may find information here about the music in the traditional worship services at First United Methodist Church in Lewisville, 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.
About the Organ Music:
Prelude on "Love Divine, All Loves Excelling” - Alfred Fedak
(c.2006, Birnamwod Publications, div. of MorningStar)
Charles Wesley (1707-1788) was a prolific hymn writer of the 18th century. Coming from a musical family, he left a lasting legacy of congregational song. The youngest of 18 children, Charles possessed prodigious talents that soon blossomed. Little did he know that “Love Divine, All Loves Excelling,” would rise to become one of the most popular and consistently vocalized Christian songs. Writing hymn texts that are solidly based on the Scriptures gives them an appeal across denominational lines. It is estimated that during his lifetime, Wesley penned more than 9,000 poems of a spiritual nature, 6,000 of which are hymns. What really set Charles apart from other hymn writers was his effective use of scriptural allusions, providing a spiritual roadmap whereby individuals could imagine a Christ-centered life. His writings were passionate and well-crafted, conveying the true essence of Christian teaching.
A substantial number of his writings were completed while riding on horseback to his evangelical meetings. Scholars suggest that he was able to compose about 10 lines of verse daily for 50 years. Charles’ brother John sometimes served as editor to his hymns. John’s typical response was, “some were good, some were mediocre, and some were exceptional.” John can also be credited with improving the sing-ability of Charles’ hymns.
Both John and Charles were instrumental in changing the spiritual environment of Britain during the 18th century. In doing so, they formed the bedrock of what Methodism has become worldwide. Their unwavering devotion to expressing Christian spirituality through hymns has impacted individuals across all denominational lines. We are fortunate to be the recipients of the poetic genius of Charles Wesley. He influenced Methodism more than any other hymn writer. Upon hearing of Charles’ death, an elderly Londoner asked, “Who will write poetry for us now?”
“Love Divine, All Loves Excelling” was first published in a collection of hymns entitled Hymns for those that Seek, and those that Have, Redemption in the Blood of Christ (1747). The incipit (opening line) was a play on the opening line of John Dryden’s (1631-1700) poem “Fairest Isle, All Isles Excelling” set to music by Henry Purcell (1659-1695) in the generation before Charles Wesley was born. The hymn is written around a progression of thoughts: (1) our prayers for the Holy Spirit, (2) praying for the return of our Lord through the second coming, and (3) prayers for the finalization of his new creation.
Stanza 2 expresses the Wesleyan concept of the “second rest.” When Charles referred to this in his hymns, it specifically applies to the “second birth,” “second blessing,” “second gift.” All of these are directed toward achieving full “sanctification” or “Christian perfection.” This is an important theological tenet of Methodist preaching from the very beginning.
There is no better way of describing the culmination of adhering to the biblical teachings of Christ, than in stanza four of this hymn. Wesley’s phrase, “changed from glory into glory” is almost a direct quotation from 2 Corinthians 3:18 (KJV). Wesley describes that day in heaven when “we take our place, till we cast our crowns before thee, lost in wonder, love, and praise.”
After receiving an education in Germany, John Zundel (1815-1882) went to St. Petersburg, Russia, where he served as organist of St. Anne Lutheran Church and was bandmaster of the imperial horse guards. He came to New York in 1847 and became the organist at Plymouth Congregational Church in Brooklyn (1850-1878). Henry Ward Beecher, the famous abolitionist preacher, was pastor of that congregation, and their joint ministry caused the Plymouth Church to become well known for its preaching, organ playing, and congregational singing. Dissatisfied with existing hymnals, Beecher asked Zundel to help compile several new hymnals. Temple Melodies (1851) and the Plymouth Collection of Hymns (1855) were the result. Zundel provided twenty-eight hymns tunes for the Plymouth Collection. He also published The Choral Friend (1855), Psalmody (1855), and Christian Heart Songs, and he edited the Monthly Choir and Organ Journal until his retirement in Germany in 1880. John Zundel's BEECHER (named after Henry Ward Beecher, his pastor) was first published in his Christian Heart Songs (1870) as a setting for Charles Wesley's "Love Divine, All Loves Excelling".
Love divine, all loves excelling, joy of heav’n, to earth come down,
fix in us thy humble dwelling, all thy faithful mercies crown.
Jesus, thou art all compassion, pure, unbounded love thou art.
Visit us with thy salvation; enter ev'ry trembling heart.
Breathe, O breathe thy loving Spirit into ev’ry troubled breast.
Let us all in thee inherit, let us find the promised rest.
Take away the love of sinning; Alpha and Omega be.
End of faith, as its beginning, set our hearts at liberty.
Come, Almighty, to deliver, let us all thy life receive.
Suddenly return, and never, nevermore they temples leave.
Thee we would be always blessing, serve thee as thy hosts above,
pray, and praise thee without ceasing, glory in thy perfect love.
Finish, then, thy new creation; true and spotless let us be.
Let us see thy great salvation perfectly restored in thee.
Changed from glory into glory, till in heav’n we take our place,
till we cast our crowns before thee, lost in wonder, love and praise.
Alfred V. Fedak (b. 1953) holds degrees from Hope College and Montclair State College. A Fellow of the American Guild of Organists, he is Minister of Music at United Reformed Church, Somerville, New Jersey.
Recessional on "Sent Forth by God's Blessing" - Mark Sedio
(c.2000, Concordia Publishing House)
This Catholic hymn from 1964 was written to direct the congregation out into the world as they depart the sanctuary. A song about transitions, it was also written at a time of great transition. Less than a year earlier, the Second Vatican Council (1962-1965) released a document called Sacrosanctum Concilium. Best known for allowing the use of the vernacular language in Mass, it also encouraged the use of congregational music—psalms, responses, and even hymns—to increase the participation and unity of the whole church. It flung open the doors of Catholic worship and practice, elevating and blessing local expressions of tradition, encouraging the involvement of all believers, and focusing that involvement both in the church and outside its walls
No event, however, especially one this large, is the result of a single moment. Even before the council was convened, ideas about different ways to live their faith and traditions were welling up in Catholic laity and clergy. Omer Westendorf (1916-1997), organist and choirmaster at St. Bonaventure Catholic Church in Cincinnati and author of this hymn alongside other familiar hymns of this era such as “You Satisfy the Hungry Heart” and “Where Charity and Love Prevail”, a translation of the classic Latin hymn Ubi Caritas, was one such lay Catholic who was hard at work spreading new music. Inspired by a trip to Holland, Westendorf started the World Library of Sacred Music (now World Library Publications) in his garage in Cincinnati in 1950 to bring European music to America. He published The People’s Hymnal (1955), the first hardbound English hymnal to be used in the Mass.
What began with a trickle of Catholic authors writing music in their vernacular language for their local situations became a massive flood of hymns and liturgies with the release of the Sacrosanctum Concilium. It gave permission for dramatic change in the liturgy because of pastoral concerns, as seen in its opening lines from which it also takes its name: “This sacred Council (literally Sacrosanctum Concilium) has several aims in view: it desires to impart an ever increasing vigor to the Christian life of the faithful; to adapt more suitably to the needs of our own times those institutions which are subject to change; to foster whatever can promote union among all who believe in Christ; to strengthen whatever can help to call the whole of mankind into the household of the Church.” To these ends, it focuses on the liturgy, “the summit toward which the activity of the Church is directed,” and the “full and active participation by all the people” in that liturgy and liturgical life. It calls for education of clergy and laity, reforms of the rites, calendar, and daily worship schedules of Catholic life, and allows for the use of local cultural music and instruments, and the use of the common tongue alongside the traditional use of Latin, Gregorian chant and organs.
Most important, for “Sent Forth by God’s Blessing,” it also calls for “composers, filled with the Christian spirit, should feel that their vocation is to cultivate sacred music and increase its store of treasures”. With the experience, publisher, and connections needed, Westendorf moved quickly to answer that call. In 1964, less than a year after the Sacrosanctum Concilium, the People’s Hymnal was transformed to the People’s Mass Book, and expanded with settings for the mass and newly-written, specifically Catholic hymns.
“Sent Forth by God’s Blessing,” written in 1964 for that publication of the People’s Mass Book, was composed under the name pen name J. Clifford Evers. Despite this initial unenthusiastic reception among congregations, the People’s Mass Book sold over two million copies in three years and was instrumental in introducing ecumenical hymnody to its Roman Catholic audience.
“Sent Forth by God’s Blessing” is in many ways the direct child of the Sacrosanctum Concilium, not only by its very existence, but in its contents and usage. This is a bit clearer in its original text, much of which has been adapted for a more ecumenical and modern audience. The original text refers to the Eucharist, part of every mass, by noting “God’s sacrifice ended.” Some have adapted this to “the supper is ended.” Others, including The United Methodist Hymnal, avoid the reference to the Eucharist altogether and have changed the phrase to “the service is ended.” Most non-Catholics wouldn’t find much familiar in singing about “the fruits of this Mass” which is adapted to “the fruits of our worship.” The original text, however, consists of almost direct quotations from the papal document itself. The second stanza’s focus on the unity of a people who were fed together, and now live “as one in this life that we share” for the purpose of “God’s children of each tribe and race” also reflects the unifying and evangelical purpose of the reforms. The metaphor of seeds blossoming in “receptive souls” echoes the parable of the sower, conforming to the instruction to “[draw] chiefly from holy scripture and from liturgical sources”.
“Sent Forth by God’s Blessing” also faithfully follows the directions of the Council to direct attention and “proper dispositions” to the liturgy. Singing a closing hymn following the Eucharist was initiated with Vatican II. This new practice served to extend the rather terse traditional closing, “It missa est” (the Mass is ended), and provide a direction for the assembly as they concluded the liturgy. It has a distinct place within the liturgy as a sending hymn, and it sums up what has happened in that liturgy and its purpose as the congregation moves out into the world. It balances neatly between the world within the church walls where God’s word is planted and the world without where that word grows by actions out of the good soil of our hearts.
Westendorf’s choice of music helps with this movement. ASH GROVE, an upbeat and flowing Welsh harp tune already familiar to many when it was paired with the popular text “Let All Things Now Living” by Katherine K. Davis (1892-1980) as an anthem, sends people out energized and encouraged for action.
“Sent Forth by God’s Blessing” is a song that moves the church forward in daily life and in history. As the effects of the Second Vatican Council have spread over the world, bringing new life and vigor (and challenges) to the whole Christian world, it calls for us be sent forth as well, empowered to change the world we meet outside our doors.
Sent forth by God's blessing, our true faith confessing,
the people of God from this dwelling take leave.
The service is ended, O now be extended
the fruits of our worship in all who believe.
The seed of the teaching, receptive souls reaching,
shall blossom in action for good and for all.
God's grace did invite us, and love shall unite us
to work for God's kingdom and answer the call.
With praise and thanksgiving to God ever living,
the tasks of our everyday life we will face.
Our faith ever sharing, in love ever caring,
embracing God's children of each tribe and race.
With your grace you feed us, with your light now lead us;
unite us as one in this life that we share.
Then may all the living with praise and thanksgiving
give honor to Christ and that name which we bear.
Mark Sedio serves Cantor at Central Lutheran Church in downtown Minneapolis. In addition, he has held teaching positions both at Augsburg College and Luther Seminary. Sedio is an active recitalist, clinician, conductor and composer, having presented hymn festivals and workshops throughout North America and Europe. Over 125 of his compositions for organ, piano, choral and instrumental ensembles are available from a number of publishers. A number of his hymn tunes, texts and harmonization appear in various denominational hymnals and supplements. A love of foreign language acquisition and linguistics combined with interest in folk music and styles has led to a keen interest in global church music. He holds a B.A. in music from Augsburg College and an M.A. in choral music from the University of Iowa. He has studied in the M.Div. program at Luther Seminary and the liturgical studies program at St. John’s University. A charter member of the Association of Lutheran Church Musicians, Sedio served on the organization’s founding board and as its first Director of Ecclesiastical Concerns. He chaired the worship committee for the 2008 national convention of the American Guild of Organists.
About the Choral Music:
What a Friend We Have in Jesus - Hal Hopson
(c.1990, Agape, div. of Hope Publishing)
Irish born Joseph M. Scriven (1819-1896) was 25 years old, in love and to be married. The day before his wedding his fiance died in a tragic drowning accident. Heartbroken, Joseph sailed from his homeland to start a new life in Canada. While in Canada working as a teacher, Joseph received word from Ireland that his mother was ill. He could not go to be with her, so he wrote a letter of comfort and enclosed one of his poems entitled “What a Friend We Have in Jesus”.
Many years later a friend was sitting with Joseph, as he was very ill. During this visit, the friend was very impressed when he ran across his poems, including “What a Friend We Have in Jesus”. As a result of this visit, almost 30 years after his letter of comfort to his mother, Joseph's poems were published in a book called Hymns and Other Verses. Soon thereafter, noted musician Charles C. Converse (1834-1918) put music to “What a Friend We Have in Jesus”. Well-known musician and revivalist Ira D. Sankey (1840-1908) was a great admirer of Joseph Scriven. In 1875, Sankey came upon the music and words for “What a Friend We Have in Jesus” and included it as the last entry in Sankey's Gospel Hymns Number 1.
The hymn also has many versions with different lyrics in multiple languages, such as the Japanese version "Itsukushimi Fukaki" (lit. "Deep Affection"), or a version sung during World War I with the line "When this bloody war is over" in place of the original title. The Handbook to the Lutheran Hymnal notes, "In spite of the fact that this hymn, with its tune, has been criticized as being too much on the order of the sentimental gospel type, its popularity remains strong, and the hymn retains a place in modern hymnals."
The tune BEACH SPRING used here was written by B. F. White. Benjamin F. White (1800-1879) was coeditor of The Sacred Harp (1844). He came from a family of fourteen children and was largely self-taught. Eventually White became a popular singing-school teacher and editor of the weekly Harris County newspaper.
What a friend we have in Jesus, all our sins and griefs to bear!
What a privilege to carry everything to God in prayer!
O what peace we often forfeit, O what needless pain we bear,
all because we do not carry everything to God in prayer.
Have we trials and temptations? Is there trouble anywhere?
We should never be discouraged; take it to the Lord in prayer.
Can we find a friend so faithful who will all our sorrows share?
Jesus knows our every weakness; take it to the Lord in prayer.
Are we weak and heavy laden, cumbered with a load of care?
Precious Savior, still our refuge; take it to the Lord in prayer.
Do your friends despise, forsake thee? Take it to the Lord in prayer!
In his arms he'll take and shield thee; thou wilt find a solace there.
Hal H. Hopson (1933-2025) was one of the most prolific composers of church music of his generation. With more than 1,800 published works for 30 publishers, Mr. Hopson's music was heard weekly in congregations throughout the country. His compositions reflected respect for the best liturgical tradition, scripture, and theology. Mr. Hopson composed music that was accessible to nearly all choirs and congregations, always striving to include rather than exclude. His published repertoire included almost every conceivable genre: anthems for children, youth, and adult choirs, as well as compositions for organ, piano, harpsichord, and handbells. Mr. Hopson especially wrote for congregations in concertato anthems, hymn tunes, responsorial psalm settings, and liturgical services.
A church musician throughout his professional life, Mr. Hopson also served as a conductor-clinician for workshops and choral festivals in the US, Canada, Europe, and Asia, and as a professor of church music at Westminster Choir College and Scarritt Graduate School. He was also a hymn writer whose texts appeared in major denominational hymnals.
Hal Hopson was born in Mound, Texas, in a family of thirteen children where music making played a prominent role. His first piano teacher was his older sister, Merle, whom he held in deep regard for her enormous musical and personal influence on his life. Hopson's well-known hymn tune, MERLE'S TUNE, was named in her honor. He first accompanied worship services at age thirteen and later graduated from Baylor University and Southern Baptist Seminary with B.A. and M.S.M. degrees, respectively. He pursued additional study at universities and conservatories in the United States and Germany.
As a recipient of many honors for his distinguished service to music, Mr. Hopson was listed in the International Who's Who in Music, Cambridge, England. He served on the national boards of the Presbyterian Association of Musicians, Choristers Guild, and the Church Music Institute, and received annual awards from ASCAP for many consecutive years. His expertise in psalmody and liturgy led to appointments on the Symposium for Church Composers sponsored by the Roman Catholic Diocese of Milwaukee and the Task Force on Psalmody sponsored by the Presbyterian Church, USA, which resulted in the official Psalter for the denomination.
God with Us, a cantata by Hal Hopson, was chosen during the American Bicentennial in 1976 for placement in a time capsule to be opened and performed at the Tercentennial in 2076. This composition was selected because it was judged representative of choral music of the century.
About the Hymns:
God of Grace and God of Glory
“God of grace and God of glory” was written in 1930 by Harry Emerson Fosdick (1878-1969) for the dedication of the famous Riverside Church in New York City. Fosdick was granted degrees from Colgate University and Union Theological Seminary. He was ordained in 1903 to ministry in the Baptist Church and became pastor of First Baptist Church, Montclair, N.J. Fosdick served as a chaplain during World War I and then was pastor of First Presbyterian Church in New York City. From this congregation he was called to pastor Park Avenue Baptist Church, which was renamed Riverside Church.
“God of grace and God of glory” was written while the United States was in the throes of the Great Depression between the two World Wars. Fosdick was a champion of the social gospel, a movement that recognized the plight of the poor, especially in the urban Northeast during the Industrial Revolution. UM Hymnal editor Carlton Young has noted: “Fosdick’s stirring radio sermons, books, and public pronouncements established Riverside as a forum for the critique of the same wealth and privilege whose gifts had made possible the building of the church. Under his leadership Riverside Church was interdenominational, interracial, without a creed, and, astonishingly for Baptists, required no specific mode of baptism. At the center of Fosdick’s ministry was urban social ministry.” Fosdick was perhaps the most vocal proponent of the social gospel of his time—a position that brought both wide acclaim and broad disdain.
CWM RHONDDA was composed in 1905 by John Hughes (1873-1932) during a church service for a Baptist Cymanfa Ganu (song festival) in Capel Rhondda, Pontypridd, Wales. Hughes received little formal education; at age twelve, he was already working as a doorboy at a local mining company in Llantwit Fardre. He eventually became an official in the traffic department of the Great Western Railway. Much of his energy was devoted to the Salem Baptist Church in Pontypridd, where he served as both deacon and precentor. Hughes composed two anthems, a number of Sunday school marches, and a few hymn tunes, of which CWM RHONDDA is universally known. At first widely disseminated in leaflet form, CWM RHONDDA gradually was adopted into various hymnals. The tune is named after the valley of the Rhondda River, a coal mining area in Wales.
God of grace and God of glory, on your people pour your pow’r;
crown your ancient Church’s story, bring its bud to glorious flow’r.
Grant us wisdom, grant us courage for the facing of this hour,
for the facing of this hour.
Lo, the hosts of evil round us scorn the Christ, assail his ways.
From the fears that long have bound us free our hearts to faith and praise.
Grant us wisdom, grant us courage for the living of these days,
for the living of these days.
Cure your children’s warring madness; bend our pride to your control;
shame our wanton, selfish gladness, rich in things and poor in soul.
Grant us wisdom, grant us courage lest we miss your kingdom’s goal,
lest we miss your kingdom’s goal.
Save us from weak resignation to the evils we deplore;
let the gift of your salvation be our glory evermore.
Grant us wisdom, grant us courage serving you whom we adore,
serving you whom we adore.
Blessed Assurance
Fanny Jane Crosby (1820-1915), born in New York and died in Connecticut, wrote over 8,500 gospel hymns. In 1972, Hope Publishing Co. found over 1,000 unpublished manuscripts. Her work defined what it meant to be a successful writer of gospel hymns. By the age of six weeks, Fanny Crosby was completely blind. She entered the New York School for the Blind at age twelve. She began writing hymns and poetry at age twelve. Her collaborators in publishing gospel hymns included the most successful and popular composers of her day, including William Bradbury, William Doane, Robert Lowry, Ira Sankey, and William Kirkpatrick. Crosby used numerous pen names in publishing her songs, including: Ella Dale, Mrs. Kate Gringley and Miss Viola V. A. She married blind musician Alexander Van Alstyne, and the British most often refer to her by her married name rather than Fanny Crosby. She was a lifelong Methodist and her contributions to The United Methodist Hymnal (1989) include: “Blessed Assurance,” “Close to Thee,” “I Am Thine, O Lord,” “Jesus, Keep Me Near the Cross,” “Pass Me Not, O Gentle Savior,” “Rescue the Perishing,” and “To God Be the Glory.”
Phoebe Knapp (1839-1908) was a composer of music for hymns and an organist. Knapp was born in New York City. Her parents were Walter C. Palmer and Phoebe Worrall Palmer. She married Joseph Fairchild Knapp, one of the founders and the second president of the Metropolitan Life Insurance Company, and he had a pipe organ installed in their apartment. She and her husband were members of the John Street Methodist Episcopal Church in New York City. The hymn writer Fanny Crosby was also a member of that church and a friend of the Phoebe’s. She wrote over 500 hymn tunes, the most familiar being the tune now called ASSURANCE for Fanny Crosby's lyrics “Blessed Assurance”.
Crosby was visiting her friend Phoebe Knapp as the Knapp home was having a large pipe organ installed. The organ was incomplete, so Mrs. Knapp, using the piano, played a new melody she had just composed. When Knapp asked Crosby, "What do you think the tune says?", Crosby replied, "Blessed assurance, Jesus is mine." The hymn appeared in the July 1873 issue of Palmer's Guide to Holiness and Revival Miscellany, a magazine printed by Dr. and Mrs. W. C. Palmer.
Blessed assurance, Jesus is mine! Oh, what a foretaste of glory divine!
Heir of salvation, purchase of God, born of his Spirit, washed in his blood.
Perfect communion, perfect delight, visions of rapture now burst on my sight.
Angels descending bring from above echoes of mercy, whispers of love.
Perfect submission, all is at rest. I in my Savior am happy and bless’d,
watching and waiting, looking above, filled with his goodness, lost in his love.
This is my story, this is my song, praising my Savior all the day long.
This is my story, this is my song, praising my Savior all the day long.
Goodness of God - Jenn Johnson, Ed Cash, Jason Ingram, Ben Fielding, and Brian Johnson
(c.2018, Alletrop Music/Shout! Music Publishing Australia/Fellow Ships Music/So Essential Tunes/Bethel Music Publishing)
Jennifer "Jenn" Johnson (b.1982) is an American Christian worship singer, songwriter and worship pastor. She is a co-founding member of Bethel Music, and is one-half of the husband-and-wife worship duo Brian and Jenn Johnson. She is also a senior worship pastor at Bethel Church in Redding, California, and a Senior Overseer of WorshipU, an online school of worship sponsored by Bethel.
The story behind Bethel Music's "Goodness of God" centers on Jenn Johnson's personal experience of adopting her fourth child, Ryder Moses.
Johnson related this story: “We had just gotten home from our adoption of our son, Ryder. He was a gift that we never saw coming. We have three kids already. We thought we were done having children. Brian and I were always open to adoption. But, out of the blue, we just felt like the Lord say to us, 'I have this for you if you want this--like a gift. I have a present for you." We knew adoption was the Lord's plan for us; to have a baby again when you've been out of baby season for eight years was such a blessing. Darlene Zschech, who had been with us, told us the translation of the verse 'Here I am, send me' from Isaiah 6:8 says, 'my answer is yes before you even ask.' I was so struck with that phrase. When we had the chance to adopt, I felt myself saying yes before I was even asked. Within the next year, we were matched up. And, we brought our new son home to our family. During the adoption process, I found myself driving on a long country road. I was just singing to the Lord when I recorded a song on my phone about the "faithfulness" and "kindness of God." I wrote and sang most of "Goodness of God" as an overflow of my heart at that moment. That led to finishing and recording this song with Ed Cash, Jason Ingram, and Ben Fielding.”
This unplanned recording session became the foundation for the song, which expresses gratitude for God's unwavering presence and goodness through life's challenges and joys.
I love You, Lord. For Your mercy never failed me.
All my days I've been held in Your hands.
From the moment that I wake up Until I lay my head,
Oh, I will sing Of the goodness of God.
And all my life You have been faithful;
And all my life You have been so, so good.
With every breath That I am able,
Oh, I will sing Of the goodness of God.
I love Your voice, You have led me through the fire.
And in darkest night You are close like no other.
I've known You as a Father; I’ve known You as a Friend.
And I have lived In the goodness of God, yeah.
'Cause Your goodness Is running after, It's running after me;
Your goodness is running after, It’s running after me.
With my life laid down, I’m surrendered now.
I give You everything, ’Cause Your goodness
Is running after, It’s running after me, oh.
Deep Peace – Benjamin Harlan
(c.1998, Hal Leonard Corp.)
Dr. Benjamin Harlan has set this traditional Gaelic text. Harlan is a Professor of Church Music at New Orleans Baptist Theological Seminary. He is an internationally known arranger and composer of choral, keyboard and handbell works. He has received awards from ASCAP annually since 1990. Dr. Harlan is a member of ASCAP, American Choral Directors Association and the Southern Baptist Church Music Conference.
Deep peace of the running wave to you, Deep peace of the flowing air to you.
Deep peace, deep peace, deep peace of the Father’s love to you.
First United Methodist Church, Lewisville, Texas
A Community of Everyday People Learning to Love Like Jesus
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