Is How Deep the Father’s love a hymn?

‘How Deep The Father’s Love For Us’ is a timeless hymn from British songwriter and Christian worship leader Stuart Townend, written just before the end of the 20th century.

How old is how deep the fathers love for us?

TOWNEND – I. Background Very early in his career, after graduating from Sussex University in 1985, British musician Stuart Townend was shepherded into leadership by the staff at Church of Christ the King, and in 1987 he was offered a position in the music department at Kingsway publishers, where he was involved in producing songbooks and recordings.

By 1994, he had established himself as a capable worship leader for large events, and he was involved in leading and producing music for the Stoneleigh International Bible Week. Up to that point, his songwriting endeavors had been focused on writing congregational songs in a popular, contemporary style, but in 1995, he took an important first step in a new direction—the craft of writing a hymn.

His first-ever hymn, “How deep the Father’s love for us,” would turn out to be enormously successful. Townend has provided accounts of this experience on more than one occasion. One of the earliest accounts was given for a Worship Together New Song Café video in 2001 or 2002: I wrote this a few years ago, and really wanted to set out to write a hymn.

I was feeling there were lots of songs around, but there wasn’t a lot of content in the songs, and I really wanted to write something that was more hymn-like. I was finding in my own worship leading I was more and more going back to the hymns to introduce content, and I was thinking, “Why is it that we don’t have songs that are full of poetic, powerful language these days?” So I kind of set out to do that.

I remember sitting down and just having that feeling, I want to write a hymn, I’m going to write a hymn, I found the melody came very quickly. It was one of those things where you feel the melody came so easily, you’re thinking, “I’ve borrowed this from something, from somewhere else.” So I probably spent the first two years of the song’s life in panic that someone was going to come up and say, “You stole my melody,” or “Did you realize it’s exactly the same as this?” And then the lyrics began to kind of just spill out, when we contemplate on the cross and the power of the cross, and it came very simply.

On behalf of Mission:Worship, Stuart recorded a similar story, but elaborated more on his process of crafting the text: This melody just kind of popped out of my head one day. I wasn’t listening to anything in particular or whatever. It was a very easy melody. It just came really easily and quite spontaneously in some ways.

I was aware that it was quite hymn-like in a way and I thought, “I wonder what words would fit with that?”, So I started kind of thinking about words for it, and because it had a kind of classic, hymn-like element to it, I thought, well, maybe I should actually just tell the story of Christ on the cross, but tell it perhaps from the point of view—and this is what I was thinking about at the time—was what it cost the Father to give the Son.

You know, we have to think about Christ suffering, and there’s a lot of talk about the wrath of God, you know, and is that right to think that the Father’s wrath was poured out on Christ? And I think that is right to say that, but that’s not to say that God is a vengeful God, that actually it cost him to give up his Son.

So that’s why the first line says, “How deep the Father’s love,” you know, that he should give his only Son. So that really was the starting place. And then in a sense, the second verse kind of develops my complicity in it, if you like, that actually it was my sin that actually held him there.

He went to the cross because of what I’d done. So although it tells the story, it is telling the story from a personal viewpoint. And then the final verse goes into, you know, I won’t boast in anything except what he has done for me. So really that’s the thinking of the words. Melodically, it came quite spontaneously; as usual, I find with the words, takes a bit of crafting, takes a bit of work, rewrites, and stuff like that, so that probably took a few days to come together, but it kind of felt it settled in a good way in terms of feeling that it had a personal perspective, but it was pointing towards Christ.

And that’s how the song came together. In his CD liner notes for The New Hymn Makers (2003), he offered another small detail: I think I had “Amazing Grace” in mind as I was writing—not so much because of the content, but because of the wonderful tone of humble gratitude, which undergirds that great hymn as the hymnwriter contemplates the grace of God.

The stated copyright date for the song is 1995, and it was probably premiered at Church of Christ the King (now called Emmanuel), in Brighton, England, where Townend was worship leader, but its published and recorded debuts happened in 1996. II. Discography & Videography Townend’s hymn was first recorded on the Stoneleigh International Bible Week album My First Love, performed live at the National Agricultural Centre, Warwick, in late July and early August 1996.

The album was released on 4 October 1996. For that event, Townend was assisted by several of his long-time collaborators from the Fellingham clan: David (vocals, trumpet), Lou (vocals), Nathan (drums), and Luke (bass), plus other musicians and singers. Townend has recorded the song many other times in his career. It was included on his solo album, Say the Word (1997), and on Spring Harvest Live Worship 97, vol.1 (1997); Worship Together Live, Vol.1: King of Love (1998), recorded at Stoneleigh; In Christ Alone: Yesterday, Today, Forever (2004), from an unspecified Mandate men’s conference; The Mandate: O Church Arise (2006), and The Mandate: See What a Morning (2006); Mission:Worship (2006), released on CD and DVD, recorded in Colorado Springs; Best of Stuart Townend Live (2007), from an unspecified event, reissued on Ultimate Collection (2013); Worship at the Abbey (2007), released on CD and DVD, sung by Kelly Minter at Abbey Road Studios in London; and Best of Stuart Townend Live, vol.2 (2015) with an unspecified congregation and orchestra.

• See also the tribute album, The New Hymn Makers: Stuart Townend (2003), performed by Paul Leddington Wright and St.
• Michael’s Singers; An Evening in Prague (2005), as arranged and conducted by Keith Getty for the Czech Television Studio Orchestra; and the compilation CD Introducing Stuart Townend (2010).

In 2020, Townend recorded a video for YouTube, demonstrating how to play the song on guitar using a DADGAD tuning. III. Publication The song was first published in The Best of Stoneleigh (Kingsway, 1996 | Fig.1), and in New Songs 96/97 (Kingsway, 1996), in the format of a melody with a basic keyboard accompaniment and guitar chord symbols. Fig.1. “How deep the Father’s love for us,” The Best of Stoneleigh (Eastbourne: Kingsway, 1996). In the United States, the song had appeared in the Worship Together Songbook 1.0 (1999). Its first appearance in a hymnal was in Sing Glory (Suffolk: Kevin Mayhew, 1999), followed by inclusion in the Irish Church Hymnal (2000), using a harmonization by Donald Davison, and in Praise! (2000).

In hymnals, the tune is usually called TOWNEND. IV. Analysis Fellow hymn writer Christopher Idle found much to admire in the hymn, even though he believed it was a little raw: Its theology is bold and biblical. Judged by the strict standards of classic hymns, it falls some way short of rhyme scheme. Watts, Wesley, or Dudley-Smith might see it as a first draft to be duly worked at.

The same is true of many Kendrick or Redman songs; their advocates would say we are using the wrong yardstick. But a couple of lines mark this out for me as something special. Would we have stood by Jesus, come to his rescue, fought for truth? No way.

We would have fled from danger, denied the Saviour, or worse. “Behold, the man upon a cross, my sin upon his shoulders; Ashamed, I hear my mocking voice call out among the scoffers. It was my sin that held him here,,” If there are other songs which make that point so clearly, I do not know them.

Jesus died to save, not loyal followers, staunch defenders, or worthy friends, but the ungodly—his enemies, persecutors, mockers and sinners. He calls us to repent and believe in him; part of our expressed response comes in the heartfelt and thoughtful singing of some nourishing biblical hymns.

1. In another resource, Idle thought the tune was reminiscent of NEAR THE CROSS by William H. Doane,
2. Vince Wright, whose website The Berean Test aims to provide detailed Scriptural vetting of congregational songs, found the song to be thoroughly scriptural.
3. The first stanza, for example, connects well to John 3:16, Romans 5:6–8, and Romans 8:17.

In the second stanza, we find substitutionary atonement, as in Isaiah 53:5 (“he was wounded for our transgressions”) and elsewhere; Wright calls the personalization of the singer being in the crowd a form of “poetic license,” and the last part of the stanza recalls Scriptures such as 1 Peter 2:24 (“He himself bore our sins in his body on the tree, that we might die to sin and live to righteousness,” ESV).

Regarding the third stanza, Wright called the first four lines “A great rewording of Galatians 6:14”; he saw the next line (“Why should I gain from his reward?”) as a statement of unmerited grace; and the final two lines repeat or build upon earlier ideas. Wright’s only complaint was against the line “The Father turns his face away,” which he believed was a misinterpretation of Psalm 22:1–2 and/or Habakkuk 1:13.

The contradiction is clear in Psalm 22:24 (“For he has not despised or abhorred the affliction of the afflicted, and he has not hidden his face from him, but has heard when he cried to him,” ESV). See also Stuart Townend’s website for his own preferred Scripture references related to the song.

• Some modern editors with strong convictions against generic masculine language might be troubled by the term “sons” (“bring many sons to glory,” an allusion to Heb.2:10).
• Of course, Townend’s intent was for the term to be interpreted broadly (children, or sons and daughters), in accordance with a long historical precedent for that usage, but not all singers or editors will affirm that kind of latitude.V.

Legacy Townend believed much of the success of the song is related to its ability to cross stylistic barriers: It’s been interesting to see the response, that actually it’s quite useful not only in the more modern, contemporary churches, but in the more traditional churches as well, because of the style, and I’m kind of excited about that, I’m excited about the fact that you can write something that actually feeds the broader church, rather than just particular musical pockets of the church, and that’s something that motivates me, and probably why I’ve thought more and more about writing hymns, I’d like to be able to try and feed, if you like, the whole church, not just a part of it.

• On his website, he mentioned how his status as a hymn writer has sometimes come with a curious assumption: “t has perhaps branded me as an old man before my time.
• It was fed back to me that at a conference a couple who loved the song were surprised to hear I was still alive.
• Perhaps more importantly, the song laid the groundwork for significant songwriting opportunities, which came just a few years later.

For Keith Getty, this song was a key reason why he decided to approach Stuart Townend in 2000 for help in writing modern hymns, and the first fruit of that partnership was “In Christ alone.” by CHRIS FENNER for Hymnology Archive 15 March 2022

What is the hardest chord to play?

C chord (barred) – The open string C chord is among the first ones a beginner learns. It is relatively easy and involves only three fingers. However, the barred C chord is one of the hardest guitar chords for beginners. Although it involves the same notes but is rearranged (in a different order), this chord is more challenging to play. That is because we also need a bar in order to play it. Place your index finger across the strings on the third fret. Then place your middle finger on the fourth string fifth fret, ring finger on the third string fifth fret, and your pinky on the second string fifth fret. It is important to note that, unlike the F chord, we are not going to play the six strings on the C major chord.

Instead, we play it from the fifth string down, omitting the sixth string. As a matter of fact, your bar does not even have to touch the sixth string. It can be from the fifth string down. The reason for this is that this barred C chord has its root on the fifth string. Its entire structure is based on the fifth string, as opposed to the F which starts on the sixth string.

Much like the F chord, this barred C chord can unlock all major chords with roots on the fifth string. For instance, if you move this shape up two frets, you’re gonna get a D major chord (barred).

What is the hardest chord for beginners?

Misconceptions About the F Chord – The six-string F chord is one of the hardest standard chord shape to play on the guitar. When many people try to play the F chord on guitar (and often succeed), it’s with far too much struggle and effort than is actually necessary.

Is there a song about losing your dad?

25. “Never Get Used To” by Seinabo Sey – Year: 2018 “Never Gets Used To” talks about crying when you remember your father and forget about him. You are overwhelmed with sadness with your loss of your father and feel like nothing will ever be the same again.

Is To God Be The Glory a funeral song?

10. To God Be the Glory – “To God Be the Glory” is a beloved Christian hymn for funerals. It carries the message that even though we might feel grief, despair, and sadness at death there will be a meeting with Jesus Christ. With this meeting, there will be a chance to rejoice with him, Jesus Christ.

What is the sin in A Hymn to God the Father?

Stanza Three – I have a sin of fear, that when I have spun My last thread, I shall perish on the shore; But swear by thyself, that at my death thy Son Shall shine as he shines now, and heretofore; And, having done that, thou hast done; I fear no more. The final stanza of ‘ A Hymn to God the Father’ tells God of one of the speaker’s most prominent sins. It is that of fear. Specifically, he is afraid that he is going to die before all of his sins are forgiven. They are so numerous that he may “perish on the shore” before God gets to them all. The reference to the “shore” is an important one. He does not end up in heaven or hell but in the space between limbo. This is the worst-case scenario in his mind. In the next lines the speaker asks God if Jesus, his “Son,” will be able to “shine” on him “now” as he has done “heretofore,” or up until now. Jesus’ presence is a Symbolism <span class='glossary_title_poetryplus' style='font-size: 15px;'> <a href='https://poemanalysis.com/poetry-plus/?utm_source=tooltip' target='_blank'>Join Poetry<span style='font-weight: bold; color: #7CB442;'>+</span></a> to unlock tooltip definition </span></br> <style> @media only screen and (min-width: 1025px) } </style><div class="glossarydefinition">Symbolism is the use of symbols to represent ideas or meanings. They are imbued with certain qualities often only interpretable through context.</div> Read more ” href=”https://poemanalysis.com/literary-device/symbolism/” data-mobile-support=”0″ data-gt-translate-attributes=””>symbol of God’s complete forgiveness. It would allow the speaker to take in some of his shine and stop sinning. The final lines are a bit different from those of the previous two refrains. This time the stanza ends with the speaker stating that he does not fear anymore. With Jesus there to reassure and improve him, his sins are no longer increasing. He is forgiven.

Do fathers love their kids?

Parental Bonding Do Fathers Bond as Strongly with Their Babies as Do Their Mothers? Q: Do fathers bond as strongly with babies as do their mothers? A: Since fathers don’t carry the baby for nine months, give birth or -feed, the process of bonding is often slower and different.

• But the feelings can be just as strong, experts say.
• The term “engrossment” has been used to describe the powerful response fathers often feel toward their newborn, including his attraction to the, perception of the as “perfect,” extreme elation and heightened self-esteem.
• Fathers can do everything but -feed,” says Dr.

William Sears, associate clinical professor of pediatrics at University of California School of Medicine at Irvine and co-author of “The Baby Book: Everything You Need to Know About Your Baby – From Birth to Age Two.” Experts encourage fathers to hold and to examine their babies right after they’re born to take advantage of the baby’s alert and sensitive period.

• Draping baby over daddy’s chest, wearing baby in a baby sling – those enhance father- bonding,” adds Dr. Sears.
• Studies have shown that fathers can be just as responsive to their infants.
• Both parents increase their rate of cooing and response following a sound from the infant, although fathers are more likely to talk rapidly and mothers are more apt to respond with touch.

Bonding for a father usually begins when initial contact is made and the baby responds to him, says Dr.T. Berry Brazelton, professor emeritus of pediatrics at Harvard Medical School and author of “Touchpoints: Your Child’s Emotional and Behavioral Development.” © 2000 WebMD, Inc.

What does a fathers love feel like?

Children feel secure because of a father’s love. They feel loved simply by their father’s presence, provision, and protection. There is something undeniably secure about having a loving father in the home, no matter what may be going on outside the home.

What is a fathers love like?

It was a long day, but a good one. My family had finished dinner and I was cleaning the dishes. As I washed off the last cup, I felt a gentle tap on my hip. I looked down to see my daughter’s innocent brown eyes staring up at me. In her tender voice, she asked, “Daddy, do you love us more when it’s our birthday? I mean do you love whoever’s birthday it is, more than the other kids on that day?” I knelt down and put my hand on her shoulder.

• Then I explained to her that my love doesn’t change based on birthdays.
• It doesn’t increase nor decrease based on the circumstance.
• My love is unconditional.
• There are so many things a father’s love gives and so many things that a lack of it destroys.
• There are so many things a father’s love gives and so many things that a lack of it destroys.

I believe that God gives us the greatest example of a father’s love. His love is sacrificial, patient, kind, humble, honest, forgiving, faithful, and selfless. It is constant and unchanging. Those are the things I not only want my life to be about, but I want to make certain my kids know and feel from me.

How great is your love key?

Lead Sheet (SAT) Details

What is the scariest chord?

To bring an even spookier feel to an A minor song, use the following chord progression: i – ii dim – V – i. For more exercises in creating your own minor chord progressions, head over to this guide to discovering more minor chord progressions.

What is the saddest chord in music?

What Makes a Chord Progression Sound “Sad?” – Music, and the emotion it conveys, is highly subjective. Be that as it may, a progression in a minor key or heavy on minor chords tends to sound the most melancholy to listeners. A similar effect can be achieved with diminished chords, 7ths, and other extended voicings.

What is the darkest chord ever?

An error occurred. – Try watching this video on www.youtube.com, or enable JavaScript if it is disabled in your browser. Most drill chords and progressions are in a minor key, Also, there are rarely any drill chord progressions that are more than four chords.

• Eeping it simple is key.
• In this article, I’ve rounded up the most popular drill chords and progressions you can start using right away in your drill productions.
• Top hip hop and drill artists use these chord progressions.
• They continue to be go-to drill chords for prominent UK drill producers.
• Hot tip: We’ve created MIDI files for each of these chord progressions in a free chord pack available on LANDR Projects.

If there was one drill chord progression to rule them all, this would be the one. C minor to Ab major keeps things simple enough. But, it boasts enough movement and power to justify a heavy hitting beat over top. You’ll hear this one in Lil Baby’s biggest hits, J.

Cole’s “Middle Child”, Kodak Blacks “Walk”, and Chief Keef’s “Love Sosa”. Moving between relative chords like C minor and Ab major provides a terrific foundation for powerful melodies. Since both chords share most of the same notes, you’ll have an easy time writing something catchy. Adding sevenths and extensions to minor chords is another way to bring more color and texture to your drill chord progressions.

What’s great about this progression, is that it has a delayed resolution. It’s very close to being a simple two chord progression. The Eb7sus2 delays the inevitable for a brief moment. Slamming the 808 on the Eb root note while having the chord change will create tons of tension in your track.

It’ll also bring power to the vocalist performing over top. This is the exact chord progression from Drake’s song “Child’s Play”. Transpose it and use it on your own by dragging the MIDI notes up or down. Use this progression if you’re looking to start your drill chords off on a brighter note. It carries an uplifting emotional feeling.

but immediately slaps it down on the third chord. The chromatic movement that carries the root note from Ab to G can make for a heavy hitting 808 line. The resolution to C minor brings the darkness back before resolving to Eb. You’ll recognize this progression in J.

Cole’s hard hitting track, “She Knows”. This is a perfect drill progression to use for any medium tempo beat. This is one of the coldest progressions in music. It’s only two chords, but it can inspire any potential beat to slap hard. Moving from minor chord to minor chord will always create a dark and sinister sound.

The riff in Kendrick Lamar’s “Humble” surrounds these two simple chords. It’s very similar to the second progression. but what you’ll be able to do with this one is elongate it so the change doesn’t happen too soon. Start off by playing the Eb minor chord for about 4 bars.

Then, build your beat up enough to finally transition to the second chord. This will create some awesome tension and resolution in your production. Epic is the first word that comes to mind when playing this progression. The last two chords make the progression feel powerful and satisfying to the listener.

This progression is in the track “For Fun” by Lil Uzi Vert. When using this progression, aim to make the Eb major twice as long as the G minor and F major. That way, you’ll have an even number of bars when it repeats. Since I already listed one of the coldest sounding drill chord progressions, it’s time for the darkest.

1. This progression has to be the darkest of them all, thanks to some grim sounding diminished chords,
2. This progression is in Lil Baby’s hit, “Pure Cocaine”.
3. The diminished chord is the darkest chord in music.
4. This is because it’s constructed with stacked minor third intervals.
5. The D diminished chord and F diminished chord share most of the same notes.

But, when you add a 7th to the chord they share all the same notes. This makes them symmetrical and interchangeable. With this chord progression, you get all the color (or lack thereof) of the diminished chords, with the stability of a solid minor triad.

• You might have thought I made a mistake and left out a bunch of chords in this progression.
• Truth is, staying on one chord and building up your track sonically can be powerful.
• Chilling on C minor while using different voices, inversions and extensions is legit.
• This will be a driving force if done well.

Consider adding a minor ninth on the 2nd bar, or changing the root notes underneath your C minor chord. Having the 808 follow different root notes with static harmony can be a tension builder. Doodie Lo’s track “Backbone” hangs out on the minor chord, while quickly moving to the fifth back to the one.

This one is from Yeats’ track ‘System’. What I like about this progression is how heavy it hits. Having the two chords root notes only a semitone away sets the stage for a heavy 808 bass line. Like the first progression, these two chords actually share a ton of similarities. The Ab major chord actually comes from the G Phrygian scale.

So, if you’re writing a melody over top of these drill chords you’ll find success using that scale. Yeet even reverses this progression to Ab major to G minor in his track “Out thë way”. It definitely hits the same way! This progression taps the epic style once more.

• It actually comes from Radiohead’s track “Climbing up the walls.” I haven’t heard it in any hip hop or drill music yet, but I’m certain it would work.
• It has a dark but heroic quality to it.
• What makes it sound this way is going from G major, to E major.
• The shift between the G natural in the G major chord and G# in the E major chord turns things up to 10.

Try this one out in your tracks that are a bit more heroic and anthemic. This final progression is more of an extension of the first progression. It has the same chord functions in the first two chords. But, with added minor and diminished seventh chord to finish it off.

1. Having each chord play through two bars makes this sorrowing progression even sadder.
2. By doing this, you have a ton of room for the vocalist to tell a story.
3. The different colors and extensions of each chord exude a longing feeling.
4. Don’t overcomplicate drill chords.
5. Eep a dark feel with minor chords and have it move somewhere, or not.

Your productions will always hit hard if you’re able to control the sonic energy of the different elements in your track.

Why is C chord so hard?

Why Is The C Major Chord So Hard (. And How To Make It Easy) Let’s kick off by understanding why the C major can be so hard to learn. The main reason is due to the stretch that all three fingers need to make. Most chord shapes you have tackled up to now will span two frets, whilst the C major chord spans 3.

Why is C chord on guitar so hard?

Skip to content The C chord guitar is one of the most common major chords you’ll come across as you begin learning the instrument. But, this chord can often dishearten many beginners as it requires you to begin stretching your fingers across multiple frets – up until now, you will have become accustomed to spanning across just two.

What are easy chord progressions for love songs?

How To Write A Love Song On Piano | Piano Lessons I’m going to be really honest. I’ve actually only written one love song, for my wife when we got married. When writing loves songs, you want to remember the theme of tenderness, and the emotions that are going through you.

• So, how do you translate that to the piano? I kind of like the key of E flat, I think it is a pretty sounding key that is good for this type of music.
• When you play the E flat chord, try adding a 9th note to it (you remember your intervals don’t you?).
• The 9th note adds a little something to the chord.

Maybe try going up an octave after a while. Whatever you do, just remember to focus on creating that tenderness. Four chords that are really good for a love song are the I, IV, VI, and V chords. Trust me, with those four chords you can write a love song.

In the video I play a little progression starting on the root, then moving on to the four then the six, then the five. From there I move on to the two chord and walk back up to the five. Then I take the song in sort of a power ballad direction, really digging into the root chord, the four chord, back to the root, then back to the four before ending the chorus with a five chord.

Remember the five chord is great for ending musical phrases before going back to the root in the next phrase. The root is the perfect chord to end a song on. After the chorus I return to the root chord and the song gets soft again. This is, of course, by no means an exhaustive tutorial on how to play a love song.

What is the secret chord?

The ‘secret chord’ – The ‘secret chord’ is a biblical reference. David was a King from the Hebrew bible, and although we all mostly remember him for being the underdog who defeated Goliath, he was, first and foremost, a musician. David, a biblical character, was a musician. Picture: Getty Images So we know David played a ‘secret chord’, whatever that may be. The next part of the verse explains this a little further. ‘it goes like this’.