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I Will Extol You, O My God
Meter: 8.6.8.6 D Appears in 18 hymnals Matching Instances: 18 Lyrics: 1 I will extol you, O my God,
and praise you, O my King;
yes, every day and evermore
your praises I will sing.
Great is the LORD, our mighty God,
and greatly to be praised;
his greatness is unsearchable,
above all glory raised.
2 Each generation to the next
shall testimony bear,
and to your praise, from age to age,
your wondrous acts declare.
Upon your glorious majesty
and honor I will dwell,
and all your grand and glorious works
and greatness I will tell.
3 Your mighty acts and glorious deeds
we shall with awe confess
and sing of your great goodness and
your perfect righteousness.
Most gracious and compassionate
is God, who reigns above;
his wrath is ever slow to rise,
unbounded is his love.
Topics: Alleluias; Majesty of God; Opening of Worship; Pilgrimage & Conflct Scripture: Psalm 145:1-8 Used With Tune: NOEL Text Sources: Psalter, 1912, alt.
I Will Extol You, O My God
EVERY DAY WILL I BLESS THEE
Meter: 8.6.8.6 with refrain Appears in 17 hymnals Matching Instances: 4 Composer and/or Arranger: James McGranahan, 1840-1907 Tune Key: F Major Incipit: 55135 54243 17125 Used With Text: I Will Extol Thee, O My God
EVERY DAY WILL I BLESS THEE
Every Day Will I Bless Thee
Hymnal: Worship and Praise #5 (1929) First Line: I will extol Thee, O my God Refrain First Line: Ev'ry day will I bless Thee Languages: English Tune Title: [I will extol Thee, O my God]
Every Day Will I Bless Thee
Every day will I bless thee
Hymnal: Bible Songs #d57 (1924) First Line: I will extol thee, O my God, and praise thee Languages: English
Every day will I bless thee
I Will Extol Thee, O My God
Author: Anonymous Hymnal: The Christian Hymnary. Bks. 1-4 #73 (1972) Meter: 8.6.8.6 with refrain Refrain First Line: Ev'ry day will I bless thee Lyrics: 1 I will extol Thee, O my God,
And praise Thee, O my King;
Yea, ev'ry day and evermore
Thy praises I will sing.
Refrain:
Ev'ry day will I bless Thee;
Ev'ry day will I bless Thee;
And I will praise, will praise Thy name
Forever and ever.
2 Great is the Lord, our mighty God,
And greatly to be praised;
His greatness is unsearchable,
Above all glory raised. [Refrain]
3 Upon Thy glorious majesty
And honor I will dwell,
And all Thy grand and glorious works
And all Thy greatness tell. [Refrain]
4 The Lord, our God, is good to all,
From Him all blessing flows;
On all His works His tender love
And mercy He bestows. [Refrain] Topics: Book One: Hymns, Songs, Chorales; Psalms Scripture: Psalm 145 Languages: English Tune Title: EVERY DAY WILL I BLESS THEE
I Will Extol Thee, O My God
Anonymous
Author of "I Will Extol Thee, O My God" in The Christian Hymnary. Bks. 1-4 In some hymnals, the editors noted that a hymn's author is unknown to them, and so this artificial "person" entry is used to reflect that fact. Obviously, the hymns attributed to "Author Unknown" "Unknown" or "Anonymous" could have been written by many people over a span of many centuries.
Anonymous
James McGranahan
1840 - 1907 Person Name: James McGranahan, 1840-1907 Composer of "EVERY DAY WILL I BLESS THEE" in The Christian Hymnary. Bks. 1-4 James McGranahan USA 1840-1907. Born at West Fallowfield, PA, uncle of Hugh McGranahan, and son of a farmer, he farmed during boyhood. Due to his love of music his father let him attend singing school, where he learned to play the bass viol. At age 19 he organized his first singing class and soon became a popular teacher in his area of the state. He became a noted musician and hymns composer. His father was reluctant to let him pursue this career, but he soon made enough money doing it that he was able to hire a replacement farmhand to help his father while he studied music. His father, a wise man, soon realized how his son was being used by God to win souls through his music. He entered the Normal Music School at Genesco, NY, under William B Bradbury in 1861-62. He met Miss Addie Vickery there. They married in 1863, and were very close to each other their whole marriage, but had no children. She was also a musician and hymnwriter in her own right. For a time he held a postmaster’s job in Rome, PA. In 1875 he worked for three years as a teacher and director at Dr. Root’s Normal Music Institute. He because well-known and successful as a result, and his work attracted much attention. He had a rare tenor voice, and was told he should train for the operatic stage. It was a dazzling prospect, but his friend, Philip Bliss, who had given his wondrous voice to the service of song for Christ for more than a decade, urged him to do the same. Preparing to go on a Christmas vacation with his wife, Bliss wrote McGranahan a letter about it, which McGranahan discussed with his friend Major Whittle. Those two met in person for the first time at Ashtubula, OH, both trying to retrieve the bodies of the Bliss’s, who died in a bridge-failed train wreck. Whittle thought upon meeting McGranahan, that here is the man Bliss has chosen to replace him in evangelism. The men returned to Chicago together and prayed about the matter. McGranahan gave up his post office job and the world gained a sweet gospel singer/composer as a result. McGranahan and his wife, and Major Whittle worked together for 11 years evangelizing in the U.S., Great Britain, and Ireland. They made two visits to the United Kingdom, in 1880 and 1883, the latter associated with Dwight Moody and Ira Sankey evangelistic work. McGranahan pioneered use of the male choir in gospel song. While holding meetings in Worcester, MA, he found himself with a choir of only male voices. Resourcefully, he quickly adapted the music to those voices and continued with the meetings. The music was powerful and started what is known as male choir and quartet music. Music he published included: “The choice”, “Harvest of song”, “Gospel Choir”,, “Gospel hymns #3,#4, #5, #6” (with Sankey and Stebbins), “Songs of the gospel”, and “Male chorus book”. The latter three were issued in England. In 1887 McGranahan’s health compelled him to give up active work in evangelism. He then built a beautiful home, Maplehurst, among friends at Kinsman, OH, and settled down to the composition of music, which would become an extension of his evangelistic work. Though his health limited his hours, of productivity, some of his best hymns were written during these days. McGranahan was a most lovable, gentle, modest, unassuming, gentleman, and a refined and cultured Christian. He loved good fellowship, and often treated guests to the most delightful social feast. He died of diabetes at Kinsman, OH, and went home to be with his Savior.
John Perry
James McGranahan
Arthur Sullivan
1842 - 1900 Person Name: Arthur S. Sullivan Adapter of "NOEL" in Psalter Hymnal (Gray) Arthur Seymour Sullivan (b Lambeth, London. England. 1842; d. Westminster, London, 1900) was born of an Italian mother and an Irish father who was an army bandmaster and a professor of music. Sullivan entered the Chapel Royal as a chorister in 1854. He was elected as the first Mendelssohn scholar in 1856, when he began his studies at the Royal Academy of Music in London. He also studied at the Leipzig Conservatory (1858-1861) and in 1866 was appointed professor of composition at the Royal Academy of Music. Early in his career Sullivan composed oratorios and music for some Shakespeare plays. However, he is best known for writing the music for lyrics by William S. Gilbert, which produced popular operettas such as H.M.S. Pinafore (1878), The Pirates of Penzance (1879), The Mikado (1884), and Yeomen of the Guard (1888). These operettas satirized the court and everyday life in Victorian times. Although he composed some anthems, in the area of church music Sullivan is best remembered for his hymn tunes, written between 1867 and 1874 and published in The Hymnary (1872) and Church Hymns (1874), both of which he edited. He contributed hymns to A Hymnal Chiefly from The Book of Praise (1867) and to the Presbyterian collection Psalms and Hymns for Divine Worship (1867). A complete collection of his hymns and arrangements was published posthumously as Hymn Tunes by Arthur Sullivan (1902). Sullivan steadfastly refused to grant permission to those who wished to make hymn tunes from the popular melodies in his operettas.
Bert Polman
Arthur Sullivan
