Billings: When Jesus Wept

History of Hymns: ‘When Jesus Wept’

With contributions from Victoria Schwarz and Rev. Wilson Pruitt “When Jesus Wept” is a poem written by William Billings (1770) WHEN JESUS WEPTThe Faith We Sing,2106 is the tune for the hymn. Mercy overflowed from Jesus’s eyes as he sobbed, and no limit could be placed on it. When Jesus moaned, a palpable sense of dread gripped the entire guilty world around him. William Billings (1746-1800), who is recognized as a prolific composer and singing school teacher, is generally regarded to as America’s first choral composer because of his work with the American Choral Society.

According to J.

As a result, he was compelled to forgo his formal schooling to train as a tanner in order to support his family.

“William Billings” is a biography written by Robert Kroeger, who cites the psalms of William Tans’ur (1706-1783), Aaron Williams, and other British psalmists as having had a significant influence on Billings’ early writings.

  1. However, his musical approach was sometimes at odds with the standard traditions of the day.
  2. although not confined to rules prescribed by others, I do adhere as closely as I possibly can to a set of rules which I have carved out for myself; however, when fancy takes flight, she appears to despise all form, and scorns to be confined or limited by any formal prescriptions whatsoever.
  3. During his lifetime, Billings created more than 300 compositions, the majority of them were holy choral works performed a cappella in four parts.
  4. In the case of fuging tunes, which were common in more rural parishes in England and America at the time, the following description can be given:.
  5. With each voice entering one at a time, a measure apart, the voices create verbal tension among the ensemble throughout the fuging period.
  6. “When Jesus Wept,” perhaps Billings’ most often reprinted composition (Edwards, 7), was initially published in a book titledThe New-England Psalm-Singer in 1770, and has since been reprinted several times.

The subtitle of his book notes that these works included “a Number of Psalm-Tunes, Anthems,” and “a Number of Canticles.” Before we get to the music, it’s important to note that this book had a substantial section on how to read music, as was customary for songbooks associated with singing schools at the time, and as was the method by which Billings himself learned to read music.

It is written in a style that appears to be very close to that of a four-part choral texture, and it is tucked into the bottom right corner of the final page of the lengthier anthem simply named QUEEN, which runs almost precisely halfway through the book (Billings, New England Psalm Singer, 56).

  • The melody is written in Aeolian mode and covering a range of 1-1/2 oct When singing the melody, one will notice that it is extremely lovely and incorporates elements of text painting that many singers will find enjoyable to apply to the text.
  • the text served as the beginning point for the psalmodists’ labor.
  • William Billings was one of the few American composers who was as effective at marrying music and text as he was (Kroeger, 1996, 8).
  • Perez Morton (1751-1837) wrote a small piece that ties Jesus’ weeping for the death of his buddy, Lazarus, in John 11, with the moaning of Jesus on the cross (Daw, 197).
  • God is not unfamiliar with the feeling or experience of mourning, nor is he unfamiliar with cries of despair.
  • God is with us during our difficult times.
  • God is with us in our suffering; let us remain in God’s presence.
  • Let us not conceal our faces when faced with sorrow or devastation.
  • It is not a stone or a ghost who is our God, but he is all human and all God, from the heights to the depths of the earth.
  • Murray Barbour, is available online (New York, NY: Da Capo Press, 1972).
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The New-England Psalm-Singer, or American Chorister: Containing a Number of Psalm-Tunes, Anthems, and Canons; In Four and Five Parts, (Never Before Published), Classic Reprint Series, William Billings, The New-England Psalm-Singer, or American Chorister: Containing a Number of Psalm-Tunes, Anthems, and Canons; In Four (London, England: Forgotten Books, 2018).

  1. Daw, Jr., Glory to God: A Companion (Louisville, KY: Westminster John Knox Press, 2016).
  2. Edwards and Christine Glick in The Hymn, 47:4 (October 1996), pages 6-8.
  3. The Canterbury Dictionary of Hymnology is a reference work on hymnology.
  4. This page was last updated on February 5, 2019.
  5. 8-13 in The Hymn47:4 (October 1996), p.
  6. Berkeley United Methodist Church in Austin, Texas, is led by Rev.

Rev. Pruitt is a graduate of the University of Texas at Austin and the Duke Divinity School, and he is particularly interested in the theological and formational components of hymns, which are found in the confluence of faith and practice in the church’s liturgy.

When Jesus wept (William Billings)

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Barry Johnston is the editor of this publication (submitted2015-06-14). Information about the score: 7 x 10 in (landscape), 1 page, 43 kB Public Domain Edition is protected by copyright. notes: Take note of the forms that have been introduced (4-shape). Rafael Ornes is the editor of this publication (submitted1999-01-15). Information about the score: Letter, 1 page, 14 kB Notes on the edition: Copyright:CPDL

General Information

When Jesus Wept is the title of this piece. William Billings is the composer of this piece. Perez Morton is the lyricist. 4vv is the number of voices in the song. Voicing: four voices that are equal in size Genre:Sacred,Canon Language:English A cappella is used as the primary instrument. The New-England Psalm-Singer, p. 56, was first published in 1770. Description:All four parts are in treble clef, with the exception of the first.

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Englishtext In the moments when Jesus cried, the flowing tear of mercy gushed forth beyond all bounds; and in the moments when Jesus moaned, a palpable horror gripped the entire sinful world around him.

Lenten Hymn – When Jesus Wept the Falling Tear

The 29th of March is a Sunday. Editor’s note: Sundays during Lent are referred to as “small Easters,” since they are occasions when believers in the resurrected Christ gather for prayer and worship. Today, we take a moment to prepare for our worship of God, which will be expressed via a Lenten hymn or prayer. These songs and prayers, may they help us to prepare our hearts to welcome God’s holiness and everlasting presence. When Jesus Wept, the Tears Fell to the Ground A four-part round based on John 11:35 was created by American composer William Billings (1746-1800) and is available online.

  • Jesus Wept is a painting by L.
  • When our Lord and Savior was on this world, he sympathized with and felt for those who were suffering, grieving, and in trouble.
  • Everyone who came to him received their comfort, and even the dead rose from their graves again.
  • The fact that the Son of God is so compassionate and sympathetic towards our weak humanity.
  • He will soothe his beloved with his love and sympathy, no matter what our troubles may be at this time, believer.
  • O delicate heart of mine!
  • He will console his lover, no matter how great their grief may be.

When Jesus Wept

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Product Number 7034*
Composer/Arranger Billings, William, Walker, Gwyneth
VoicingInstruments SATB Chorus,or
Difficulty Moderately Easy
Text Language English
Tune Name WHEN JESUS WEPT
Liturgical Year General, Triduum/Three Days
Catholic Lectionary Lent 5A
Common Lectionary Lent 5A
Publisher E. C. Schirmer Music Company
Recording Credits Recorded by The Singers, under the direction of Matthew Culloton, Minneapolis, MN. Recording Engineer: David Trembley, Soundmaster Productions.

Gwyneth Walker has adapted William Billings’ (1746-1800) original tune and lyrics for mixed chorus, optional percussion, and piano. The original tune and lyrics for this piece are by William Billings (1746-1800), Boston, Massachusetts, and have been arranged for mixed chorus, optional percussion, and piano. The sorrowful spirit of early Americana is still there in the original song, which has been enriched by her embellishments. In this edition, you will find the 10-page score, as well as information about the composer on page 11, and the optional perucussion section (Chimes/Timpani) on page 12.

Duration: 4 minutes and 30 seconds Brass Version Included in the instrumental parts are: two Trumpets in C, two Trombones, and Percussion (Chimes, Timpani). The orchestra performs from the Full/Organ Score.

When Jesus Wept

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Product Number 50-3220*
Composer/Arranger Billings, William, Olejar, Peter Paul
VoicingInstruments SAB or SATB, Piano
Difficulty Moderately Easy
Special Services/Occasions Tenebrae
Topics (Sacred) Lament/Grief/Sorrow
Tune Name WHEN JESUS WEPT
Liturgical Year Triduum/Three Days
Catholic Lectionary Good Friday C, Passion/Palm Sunday C, Good Friday A, Passion/Palm Sunday A, Palm Sunday, Passion/Palm Sunday B
Common Lectionary Good Friday B, Good Friday C, Passion/Palm Sunday C, Lent 5A, Good Friday A
Publisher MorningStar Music Publishers

When Jesus Wept, the renowned and lovely round by William Billings, the first well-known American composer, may be found in this setting, with a new piano accompaniment by the composer himself. An unusual accompaniment to one version of the tune is a repeating pattern in the men’s voices that echoes one of the earliest known rounds, Sumer Icumen In, which is one of the oldest known rounds. The season of Lent and Holy Week make this especially relevant. Each voice part has its own part dominant track, which includes a balanced voices track and an accompaniment track if the work isn’t performed entirely a cappella.

To begin, start with part dominant tracks, which are ideal since they have a dominating portion that is accompanied by other parts in the background for reference.

Accompaniment tracks are the ideal tool for practicing singing on your own, and they may also be utilized in full choir practices and school concerts.

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Handbell World

When Jesus Cried Out “When Jesus Wept,” a canon composed by William Billings, has been expertly adjusted for three octaves of handbells, as shown in this review. In this work, minimal harmonies are employed as the melody’s motif is interwoven in and out of the composition. The canon is played at the conclusion of the composition. Especially appropriate for use in church or performance settings, especially during the Lenten season, this is a pleasant interpretation of the piece. It is 81 measures in duration and is scored in the key of e minor.

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Composer:Billings, William Arranger:Endean, Judy Octaves:3-4 Level:2 Rating:Easy Medium Copyright:2011
Season:Lent, Holy Week
Classification:Church or Concert
Technique:No Special Technique, may go well with chimes
Voicing:Handbells, No Choral
Instrument:Handbells OR Chimes
Bells Used:Three Octaves: 22 Bells; Four Octaves: 25 Bells

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