Take my hand and lead me, Father
(without refrain)

if you do not hear the tune, click here.

Take my hand and lead me, Father, 
through life's stormy pilgrimage. 
Let thy light shine brighter, Father, 
on its dark, mysterious page, 
for I find my feet oft straying 
from the path of truth and right, 
feel the need of thy protection, 
and thy light to shine more bright.

For the road is rough and stony, 
and I cannot see my way. 
Yet, if thou wilt deign to guide me 
with thine own resplendent ray, 
I can never, never stumble, 
but shall walk close to thy side, 
with a love so pure and trusting
that no sin can ever divide. 

Hold my hand in thine, O Father, 
till I reach the heavenly gates. 
There I'll leave my cross and burden, 
for my star-gemmed crown awaits. 
Then I'll sing in strains of rapture, 
in the light of perfect day, 
thou didst deign to guide me, Father, 
and hast led me all the way.

#601 in Hymnal: A Worship Book

for version with refrain

Words: Gertrude Flory, Sowing and Reaping, 1889 
Tune: William Beery, Sowing and Reaping, 1889

            This is one of the early hymns by prolific Brethren composer William Beery. When it was first published, it was set for a solo voice with piano accompaniment. The original refrain, deleted from the 1925 and 1951 Brethren hymnals, has been reinstated. Although no credit was given to any author until The Brethren Hymnal (1951), this was a "mistake, which though corrected by the composer, was unknown to the general public" (Statler, Fisher 1959).
            The hymn had no tune name until 1951 when it was dubbed HUNTINGDON for the town where William Beery lived and taught at Juniata College in Pennsylvania. That tune name had been used earlier by J. C. Ewing for his text "Christian, the morn breaks sweetly o'er thee." At that time Ewing was William Beery's music teacher.
            A fermata has been added and the original, even, eighth-note patterns changed to dotted eighth and sixteenth notes in some places to conform to what has become common practice in singing this hymn. These dotted rhythms should be sung in a relaxed manner with the feeling of triplets. The refrain may be sung after each stanza or at the conclusion of all three stanzas.

from Hymnal Companion

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