Come, Thou Fount of Every Blessing | SATB | Julian Bryson | MusicSpoke

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

Text 1. Come, Thou Fount of every blessing, Tune my heart to sing Thy grace; Streams of mercy, never ceasing, Call for songs of loudest praise.

Teach me some melodious sonnet, Sung by flaming tongues above.

Praise the mount! I’m fixed upon it, Mount of Thy redeeming love.

2. Here I raise my Ebenezer; Here by Thy great help I’ve come; And I hope, by Thy good pleasure, Safely to arrive at home.

Jesus sought me when a stranger, Wandering from the fold of God; He, to rescue me from danger, Interposed His precious blood;

3. O to grace how great a debtor Daily I’m constrained to be!

Let Thy goodness, like a fetter, Bind my wandering heart to Thee.

Prone to wander, Lord, I feel it, Prone to leave the God I love; Here’s my heart, O take and seal it, Seal it for Thy courts above.

Program Notes Come, Thou Fount of Every Blessing has long been a favorite hymn of mine. It reminds me to embrace humility and admit my mistakes as I seek to live out the greatest commandments: loving God and loving each other. As we live in days where grace and mercy are scarce commodities, the text calls on us to give these gifts freely to one another, and just as importantly, accept them when others offer them to us.

The University of Tennessee provided me with many transformative experiences, not the least of which was the privilege of conducting the Women’s Chorale for two semesters. Over the course of that year, I recognized that choral music would be my home—the place where I felt most comfortable and rewarded. I arranged this hymn as a gesture of thanks to the wonderful women who allowed me to make music with them. In a sense, this was my Ebeneezer—my monument of gratitude. It marked how far I had come during college and continues to provide a reference point for any progress I’ve made since then.

—J.D.B.

SSA Version Premiered by the University of Tennessee Women’s Chorale, April 6, 2004.

TTB Version Premiered by the University of Kansas Men’s Glee Club, October 22, 2017.

Available for SATB, SAB, SSA, and TTB voicings as well as for Piano Solo.

Cover image, Glistening taken by the composer on the Sea of Galilee, December 31, 2008.

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

Come, Thou Fount of Every Blessing Robert Robinson (1735-1790)

Tune, NETTLETON, from Wyeth's Repository of Sacred Music, Part Second, 1813 Arranged by Julian David Bryson Carefully tune the congas to the key of Db to help keep the singers on pitch.

q = 140

  (Ad lib)               

Perc.

           

mf

         4

A.

A.

    

      

      songs

A.

    

songs

T.

B.

Perc.

    

    





 to







sing Thy

grace.

 of

fount

of



of





   

 











           

praise;

praise;

mer -

 

Streams of





ev - 'ry

mp



loud - est



               



loud - est





          



This score is not licensed

  

Streams of

           

11

S.





heart

Perc.



1. Come, Thou

7

S.

 

         



Perc.

mf



           

mer -



cy,



cy,



bless









nev - er



 

Tune









ceas - ing,

nev - er

 

ing,

my

          

           



-









ceas - ing,









Call for

Call for

          

 

      Teach me

      Teach me

            

 



 



      Teach me



         

©2003 Julian David Bryson All rights reserved. Licensed from MusicSpoke.com. for performance. Please visit MusicSpoke.com to purchase performance copies.

License is non-transferable. Director should have a copy of the license to legally use this music.

    

mel.

Teach me





 

4

         14

S.

     

some

A.

mel

      

some

T.

B.

mel

        some       



some

       17

S.

B.



son

o - dious





-

flam

 



net,

Sung

by



 



A.

T.

net,

Sung

 

by

flam



-

ing



tongues a -

mel

-

o - dious

son

-

net,

Sung

by

flam

-

ing

tongues a -



  



B.

Pno.

Perc.

       

on

Mount of

Praise the

Mount of

Praise the





Mount of



it,

Mount of

 

           









Thy

re - deem - ing

 



           

love.







love.

             



   

up -









fixed







re - deem - ing

up -



Thy

 

Thy   

it,

fixed







love.

up -



I'm



fixed



re - deem - ing

love.

mount!

up -



Thy







I'm







  

fixed





 

re - deem - ing

mount!



         Praise the mount!

I'm         



  



         Praise the mount!

I'm         

                

  





-



it,



tongues a -

son



on

ing





 

      on      



tongues a -

o - dious





  



 

it,

-



ing



-





flam

   -

  



20

S.



  

mel

       bove.                on    

by

-



 



son





 



 

 

Sung



    

 



net,



bove.

Perc.

-



o - dious

  

  

 

bove.

T.

-







bove.

A.

  



 

                               















This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.



 

5

   



  



   



24

S.

A.

T.

B.

     

Pno.

   

Perc.



 

 

 



    







 



     ne

A.

ne

T.

B.

Pno.

Perc.



      ne     ne

-





zer;



 



 



 







 







Hith - er

Thy





by

















 

 



 

zer;



Hith - er



by



Thy



help I'm

-

zer;

Hith - er

by

Thy

help I'm

















          















 





come;

come;

come;



come;













And

   

And











-

Eb - e

-













And











hope,

by



















Thy good

I

hope,

by

Thy good

I

hope,

by

Thy good

I

hope,

by

Thy good

 



I



And





mine



Eb - e





-

mf



-









mine

-

  ad lib.             







 





help I'm



mf



Thy



 





by

Eb - e

raise



Hith - er



I

Eb - e

mine

raise



zer;



    

  



raise



  

   





  I



mine

  

2. Here mel. mf



raise

  I





I

2. Here mf



help I'm



2. Here mf

2. Here

  



    

mel. mf

-

     





     



27

S.



 







 

                      

 























           

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

6

      31

S.



plea - sure,

A.

    

B.

Pno.

Perc.

      plea            



B.

Perc.



to

ar



to

ar







to

ar

plea - sure,

Safe - ly

to

ar



 







 

         

  





 

 

 







  

Je - sus



 







 

   





 







at

home,









rive

at



home.



- rive

at

home.





 











 



 





 

 

me

when

a

stran - ger,















me



when





a



me

when



sought



when



  



 

a









to

ar





to

ar







rive

at







rive



at

Safe - ly

to

ar

-

rive

at

















 







 







Wan - d'ring from

the

fold

  









 

 



  

stran - ger,





a

  

stran - ger,

   

  



-

  

 

at



Wan - d'ring from

 



ar

 



-



rive



stran - ger,



-

to



  



Safe - ly



  

sought

me

Safe - ly

Safe - ly













   

          



home.







 

rive

-









Je - sus sought mel.







at



-





              home.

Je - sus sought                

- rive





       

Je -- sus







home.

Pno.





Safe - ly



home.

T.





- sure,

home.

A.



Safe - ly



35

S.



Safe - ly

plea - sure,

T.





 





 





of



fold

of

Wan - d'ring from



the



fold

of

Wan - d'ring from

the

fold

of



   

 

                      

 

 





 

  







the





 

     

 

           

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

7

      39

S.

 

mel.

    

God.

A.

He,

B.

Pno.

Perc.

to

  

   



He,







 

 

          



    









     blood.    



B.

Pno.

Perc.

   















dan -

ger,















In - ter -- posed











pre - cious



In - ter - posed



His

pre - cious







res - cue

me from

dan -

ger,

In - ter - posed

His

pre - cious



   



















 

























                      

               



His



pre - cious











 



ger,



His

blood.

  



me from

dan -





In - ter - posed

blood.

T.





ger,

 



me from



dan -

rit.

    



me from

blood.

A.



res - cue



to

 



res - cue

        God. He, to            God.



res - cue



He,

43

S.

to

 

God.

T.



 3. O



3. O



3. O

 3. O

 to

q. = h





h = 70

  f





 

to

grace f

how

grace f

how

grace

how

 

                    f                  

rit.            



how

   



grace f



to













           



to







                   f

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       

  great a

 

great a

 

great a

   

great a

  



8

     46

S.

A.

T.

B.

  

debt



debt

      debt

    

Perc.

    



 





grace,

T.

B.

     grace,     grace,

   

Pno.

Perc.

 

 



Dai - ly

I'm









-

or





Dai - ly

 -

or

Dai - ly

-

or

 



Lord,

I'm











like

a





like

con -



con -

 

con -

 

 

Lord,



I'm

Dai - ly

 

con -

 

 



I'm





 

   

grace,

A.

or



49

S.

-

    





debt

Pno.







 

 



 

 fet



-



a



fet

-

Lord,

like

a

fet



-

Lord,

like

a

fet

-

     

 



 



 

  





 







strained to









strained to

  

strained to





 be.





Let

Thy

















be.

Let





be.



Thy

Let

Thy









strained to

be.

Let

Thy

 

   

 

 

 

    









ter,

Bind

my

wan









 

 

 







ter,

mel.



  rall.

-











d'ring

heart

to







Bind

my



wan



-

d'ring



heart

to

ter,

Bind



my



wan

-

d'ring

heart

to

ter,

Bind

my

wan

-

d'ring

heart

to



    

 



 

 

  





 



    

 

 

 

 

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

         

rall.

 

 



 

     



    



Tempo primo

52

S.

9













p cresc. to m. 62

   



Thee:

A.

Prone to

Thee:

      Thee:

T.

B.



Thee:

         





 

  

 

 





       56

S.

feel

  

A.

B.

Pno.

Perc.



   

 

 







Prone to



 

Lord, I

Prone to

  

      

      





Lord, I



wan - der,

    feel

it,

 the



wan - der,

 

Prone to

     

 

leave

 the

 



God

I

 

Lord, I



feel



                      



 



 



p cresc. to m. 62

   

Prone to



 

wan - der,

love,

    feel

 

it,

 

God

I



 

     

Prone to

 

Prone to

 

Prone to





 

 



 

Prone to

 

it.

Prone to

love;

leave



leave

 



 



 

 

God

 the



the

    leave

 



 



   

     

      

Lord, I cresc. to m. 62 p



p cresc. to m. 62

 

      

      

 

 

  

 

wan - der,



 

 

  







             wan - der, Prone to leave cresc. to m. 62 p       





p cresc. to m. 62

wan - der,



            

it,

wan - der,

T.



                         Tempo primo

Perc.







Prone to

     

Pno.







I







 

 



 



God

God

I

I

God I        

 



    

                      

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

 

the

      



10

     60

S.



ff

love; ff

A.

Perc.



 

     

 

mf      

          ff

    





         

B.

Pno.

Perc.

     for   

 

   

 



 

     

Here's my



for

 Thy



Thy



Thy

 Thy





courts a





courts a



-

-



bove.

Here's my

   

-

  

bove.





courts a

bove.





courts a



-



bove.

heart,



heart,

 



  

Lord,

take and

seal



 





  

Lord,

take and

seal



 



Lord,

take and

seal

mf

 





it,

it,

it,

Seal

it

  Seal

Seal

it

it

  

Here's my heart, Lord, take and seal it, Seal it                        mf                        



ff

for

T.

 



mf

                      

for

A.

heart,

      love;

64

S.

Here's my



love;

Pno.

     

mf

 

ff

B.

     

    

love; ff

T.

 

mp

mf







Seal

it

for

Thy











mp

mp

              



Seal

Seal mp

it

it

for



for





          





 mp

courts a - bove.



 









 

















Thy

Thy









Seal

it

for

Thy

courts a - bove.





Come,Thou

courts a - bove.



courts a - bove.

                                                           

          

          

          

          

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

      68

S.

A.

    

B.

Pno.

Perc.

  

Of

ev - 'ry



 

 





 

  



 







B.

Pno.

Perc.

      

       grace.               

Tune f

my

Tune f

my



 





 





 



to 2

  

grace.

  

Tune f

my

heart

to

sing Thy

Tune

my









2

heart

 



sing Thy









  





ff















A tempo                 ff











 

   



  



 

    





       

 



      







           

  

 

sing Thy

    



 

    











 







  

sing Thy



 

 



 rit.         



heart

11

  

to







heart



 





A tempo

grace.

T.

ing,

freely, slower



   

 

-

 



f



bless



grace.

A.

 



       71

S.





   



of

   

  

mf



Fount

T.

rit.



This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.



     

If you enjoyed Come, Thou Fount of Every Blessing, please also consider the following works from my catalog, available at or coming soon to MusicSpoke.com:

A Parable of Choices won the Yale Glee Club Emerging Composers Competition in 2017. It juxtaposes The Parable of the Old Man and the Young

by WWI soldier and poet Wilfred Owen with the story of Abraham and Isaac as told in Genesis 22. Oscillating between two starkly contrasted sonic worlds, the parable presents a relentlessly confrontational choice: humility vs pride; life vs. death; peace vs. war. Though one may see it as a rebuke of national hubris, these concepts resonate most vibrantly for me when held up to the daily decisions of life. In our habits of commerce, travel, communication, and the like, may we move consistently toward humility, life, and peace.

Commissioned and premiered by Louisville's Youth Performing Arts School Gentlemen's Ensemble, under the direction of Jacob Cook, for the Intercollegiate Male Chorus Festival of 2014 hosted by Rutgers University. …with music… (TTBB, SATB, or SSAA Choir and Piano) combines two previously unpublished songs by Kentucky Composer (and graduate of Louisville's Manual High School) John Jacob Niles. Come Gentle Dark and Epitaph provide a poignant look into the composer's later views on life and death interwoven with beautiful melodies and subtle harmonic surprises.

Thomas Moore’s Minstrel Boy (SATB, SSAA, or TTBB with piano) describes an iconic “warrior bard,” committed to defending not only land, but ideals. For him, freedom of thought, speech, and art was more important than his life, and this strong and creative soul preferred death to oppression. While this tune has long been associated with memorials for first responders, I also see it as a call to arms for artists. Join us on the battlefield of ideas with harp and song and voices.

Winner of the 2013 American Choral Directors Association Brock Memorial Student Composition Competition, Redemption Mass (SATB chorus, wind quintet or strings, piano, and percussion) is a tuneful, rhythmic, and inspiring setting of traditional and non-traditional texts. The simple, yet haunting Kyrie evokes ancient chants, while the rhythmically driving Gloria uses overlapping ostinato paints a picture of the Heavenly throne room described in Isaiah 6 and Revelation 4. Credo is an exuberant statement of faith filled with text painting, while the most accessible movement, Sanctus, is an uplifting song of praise again referencing the scene in Isaiah 6. Finally, Agnus Dei recalls themes from previous movements of the Mass against a stunning wall of sound, erupting into a passionate plea for peace. Also available as individual movements for mixed choir and piano.

This accessible setting of We Are the Music Makers (SATB, SSAA, or TTBB and piano) brings O'Shaughnessy's famous text to life through lush harmonies, word painting, and exciting fanfares. Dedicated to the Randolph High School Class of 2011, it was premiered by their Concert Choir during their Commencement ceremonies.

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.