Many hymns in the Psalter can be used at places in the service other than the place for the psalm. In Christian Worship: Psalter (p. 832), in the index entitled, “Genres and Musical Styles,” there is a genre called “metrical paraphrase.” For these psalms, the original text has been rendered in rhymed verse and set to a hymn tune. In nearly every instance and venue where CW: Psalter has been introduced, it has been noted that each of the 150 psalms has both a responsorial setting (refrain and chanted verses) and a metrical paraphrase. In fact, there are 198 metrical paraphrases in the Psalter.

While all these metrical paraphrases could be used as stand-alone hymns (simply by virtue of their structure), in many cases the text is too narrowly focused for this to be practical. There are, however, a fair number of metrical paraphrases that could easily double as stand-alone hymns in The Service. The hymn categories below (bold typeface) are hypothetical and not necessarily a perfect match, but grouping these psalms in this way will at least give you an idea of where you might consider plugging a metrical paraphrase psalm into a placeholder that’s normally occupied by a hymn.

The following hymns are listed in the order of the hymn categories in the hymnal (page 299).

Redeemer

21B | LORD, to You We Lift Our Voices           WESTMINSTER ABBEY

Respected hymn writer Christopher Idle authored this versification of Psalm 21. The pairing with the cathedral tune (“Christ Is Made the Sure Foundation”) is a fitting match for the majesty and magnificence of our merciful King, the Lord Jesus Christ.

Good Shepherd 

23F | My Shepherd Will Supply My Need          RESIGNATION

Brought forward from the Redeemer section of CW93, the classic Isaac Watts text and the Southern Harmony tune are still very commonly sung in the broader Christian church.

Grace

130C | By Grace Alone          BY GRACE ALONE

David Ward adapted the text of Martin Luther’s rendering of Psalm 130, wrote a new tune with a pianistic arrangement, and added a short text tag at the end (“Only by grace, by grace alone.”).

Praise and Adoration

8B | O God, Our Sovereign God           YIGDAL

YIGDAL is the Hebrew tune most often associated with the hymn text “The God of Abraham Praise.” That text/tune pairing was in The Lutheran Hymnal (TLH) but the YIGDAL tune was not in CW93. The tune returned in two hymns in CW21. In CW: Accompaniment for Hymns (613), there is an alternate setting with a Latin jazz feel, composed by Thomas Keesecker. The Psalm 8 versification here is by Carl P. Daw, Jr., an American Episcopal priest who was the executive director of the Hymn Society in the United States and Canada from 1996 to 2009.

8E | O LORD, Our Lord, How Majestic

This psalm is the first of eight in this article which do not display a tune name (above, right). Modern songs and choral settings seldom have a designated tune name. This setting of Psalm 8 is by Keith and Kristyn Getty and Matt Papa. A refrain-like ending or tag with Hallelujahs concludes this arrangement. CW: Accompaniment for the Psalter provides both a pianistic setting and a block chord arrangement (consecutive SATB chords). A choral version (with audio sample) is also available from NPH.

65B | Every Heart Its Tribute Pays           ST. GEORGE’S, WINDSOR

Seven texts by Timothy Dudley-Smith appear in CW: Psalter. This text has both First and Second Article (Apostles’ Creed) themes. The well-known tune for “Come, Ye Thankful People, Come” carries this text.

67F | May the Peoples Praise You

This lively praise song is a Getty collaboration with Stuart Townend, Ed Cash, and David Zimmer. There is a lead sheet for the primary setting on Musician’s Resource. The time it takes to teach and learn this song is a worthwhile investment when it can be added to the congregation’s repertoire.

92B | Make Music to the LORD Most High           KINGSFOLD

The text of Psalm 92B is another versification by Christopher Idle. The well-known tune was adapted and harmonized by the noteworthy British composer Ralph Vaughan Williams. (KINGSFOLD is most commonly sung with the text “I Heard the Voice of Jesus Say,” as at CW 703.)

96D | Sing to the LORD, Ye Distant Lands           FOREST GREEN

Because it speaks of the Lord entering the world with righteousness for the sake of people of all nations, Psalm 96 is appointed for Christmas Eve. Limiting this wonderful psalm to Christmas Eve only, however, is certainly not necessary. Singing the Isaac Watts text with the FOREST GREEN tune is an excellent song of praise for many occasions throughout the church year. (FOREST GREEN is another harmonization by Ralph Vaughan Williams, who served as the music editor for The English Hymnal of 1906.)

97A | God Reigns! Let Earth Rejoice           MARION

The God who reigns (Psalm 97A title) is in fact the LORD (Psalm 97:1), the God of free and faithful grace. Because he reigns over all things and gifts us with his righteousness, we have great reason to rejoice. The tune MARION would be familiar from what was originally a processional hymn: “Rejoice, O Pilgrim Throng” (CW93—540). A fully orchestrated version of the tune is here.

98E | Sing a New Song to the LORD           ONSLOW SQUARE

Psalm 98E features another Timothy Dudley-Smith text. This is the same text and tune that appeared in CW93—245 in the Worship and Praise section. It was one of twelve hymns in that hymnal that appeared with guitar chords. Part of what makes it memorable is that the music is composed in the Mixolydian mode.

106C | O Praise the LORD, for He Is Good           GRATUS

An early and a late 20th century text and tune, respectively, combine in a very pleasant way in this setting of Psalm 106. The text from the Psalter, 1912, works well with Mary Kay Beall’s tune GRATUS. This is the same tune that was newly assigned to the Paul Gerhardt text “Rejoice, My Heart, Be Glad and Sing” (CW 827) Learning either means knowing both, and both could easily have many uses.

107A | Give Thanks to God Above           CARLISLE

Dudley-Smith helps us make the words of this psalm our own when he casts some of the original third person phrases in the first person (“In darkness and distress, and rebels though we be, he hears us in our helplessness and sets the pris’ner free.”) The tune (with a different text) can be heard here.

107C | Give Thanks unto the LORD Our God           LAND OF REST

The text from the Scottish Psalter, 1929, combined with the familiar American tune LAND OF REST, makes for a solid hymn of thanksgiving and praise. Two of the tune’s more popular appearances are “Jerusalem, My Happy Home” (CW93—215) and the Nunc Dimittis “Lord, Bid Your Servant Go in Peace” (CW21—950).

117C | All Nations, Join to Praise the LORD           CHRISTMAS

Some may be familiar with the G. F. Handel tune CHRISTMAS. It is the tune most frequently paired with Nahum Tate’s text “While Shepherds Watched Their Flocks by Night.” You can listen to the tune here, and perhaps, with your Psalter open, sing the Psalm 117 text along with it.

138A | Your Praises, God, I’m Bringing           O WELT, ICH MUSS DICH LASSEN

Herman G. Stuempfle, Jr.’s versification of Psalm 138 and Heinrich Isaac’s tune (aka INNSBRUCK) combine for a very straightforward song of praise, suitable for nearly any occasion.

139D | In You, O LORD, I Am Found

CW21 resources include three of singer/songwriter Wendell Kimbrough’s arrangements: the hymn “Dawning Light of Our Salvation (CW 311), this psalm, and Psalm 62D (“I’ll Not Be Shaken”). The psalm is printed in two keys in the accompaniment volume and a lead sheet is available on Musician’s Resource.

139G | O God, You Search Me           O GOD, YOU SEARCH ME

Bernadette Farrell’s rendering of Psalm 139 is meant to be a contemplative reflection on the way in which the attributes of our God comfort us. The psalm is best played and sung at a slow and deliberate tempo. Listen to an organ version here. The guitar performance here matches the keyboard setting.

148D | Alleluia! Praise the LORD           ORIENTIS PARTIBUS

Psalm 148 beckons all of creation and all of humanity to praise the LORD and is a timeless call to worship. The familiar tune ORIENTIS PARTIBUS (“Christ the Lord Is Risen Today”; “Hail the Day That Sees Him Rise”) is arranged in 3/4 time. In addition to Hopson’s arrangement in CW: Accompaniment for the Psalter, CW: Accompaniment for Hymns (465) presents two additional 3/4 arrangements by Richard Redhead and Ralph Vaughan Williams. A lead sheet matching the Hopson arrangement is available on Musician’s Resource.

Word of God

19D | God’s Glory Fills the Heavens           CREATION

With text by Carl P. Daw, Jr. and the music of Franz Haydn, the themes of both the natural and revealed knowledge of God are beautifully presented as this psalm extols the truth and power of the Word of God. Likely unfamiliar in most of our Lutheran congregations, you can listen to this psalm setting here.

119H | How Shall the Young Secure Their Hearts           ST. PETER

Isaac Watts’ textual treatment of the entire Psalter remains a valuable resource. The tune here is the same as that of TLH 286, in a key a half step lower.

Confession/Absolution

51D | God, Be Merciful to Me           GETHSEMANE

The Psalter, 1912, treats the verses of Psalm 51 in eight stanzas of six lines. For a good number of years, this rendering of the confessional psalm has been wed to the tune GETHSEMANE by Redhead.

Home and Education

127D | Unless the LORD the House Shall Build           O WALY WALY

While appearing under a different name (GIFT OF LOVE), the tune for CW93—498 (“Though I May Speak with Bravest Fire”) is actually O WALY WALY. In CW21 resources, the melody of this tune differs slightly from what worshipers may have become accustomed to in CW93. The tune is now used once in CW: Psalter and twice in CW: Hymnal (693, 768). Except for the slightly different rhythm of the very last line of each stanza, this recording is the version of O WALY WALY in our CW21 resources. (You, of course, can form your own opinion about setting “When I Survey the Wondrous Cross” to this tune.) In CW: Psalter 127D, another public domain text from Psalter, 1912, is set to this utilitarian tune.

Evening

4C | O God, Be Gracious           TALLIS’ ORDINAL

Many find great comfort in the final verse of this psalm: “In peace I will lie down and sleep, for you alone, LORD, make me dwell in safety.” Thus, understandably, the psalm is often thought of as an evening or bedtime prayer. Though likely not known by members of our congregations, the step-wise motion of the melody (up or down the musical scale) makes this tune very accessible. Here is a simple piano performance with which you might sing along the words of Psalm 4C.

Trust

25B | I Lift My Soul to You           BRED DINA VIDA VINGAR

Psalm 25B in CW: Psalter would fit nearly anywhere as a brief but lovely hymn of confidence in God’s forgiveness and sustaining care. The text by William Miller and Jaroslav Vajda is here combined with a popular Swedish tune now found in CW21—722. Members of our congregations may have previously heard the tune sung with the text “Thy Holy Wings.”

27B | O LORD, You Are My Light           RHOSYMEDRE

The tune for this psalm setting would be most familiar to worshipers in our churches by their experience with the hymn “Our Father, by Whose Name.” The text of the second stanza might also suggest that this psalm could be used as an Opening of Service hymn.

31D | I Trust, O LORD, Your Holy Name           FIRMLY GROUNDED

Christian Worship: Handbook (Aufdemberge, 1996) states: “This metrical version of Psalm 31 by Adam Reusner… was included in Valentin Babst’s Geystliche Lieder (1539).” The 16th century tune paired with the text was falling out of usage in our church body, so a new tune was crafted. CW: Accompaniment for the Psalter provides a modulation for the final doxological stanza.

73C | My Feet Had Almost Slipped           TERRA BEATA

Chairman of the Psalmody Committee Rev. Paul Prange authored the text for this versification of Psalm 73. Paired with the familiar TERRA BEATA tune (“This Is My Father’s World”), this psalm is a wonderful expression of Christian faith and trust. The distress of observing the unbeliever’s apparently trouble-free life is lifted when the believer enters God’s house to hear the Lord’s promises of eternal blessings.

73D | In Sweet Communion, Lord, with You        AZMON

Another equally accessible setting of Psalm 73 combines the Psalter, 1912, text with the tune most frequently associated with the Charles Wesley hymn, “Oh, for a Thousand Tongues to Sing.”

Hope and Comfort

13B | How Long Will You Forget Me, LORD           ADAM

In the scripture text of this psalm, four verses of distress are followed by two concluding verses of confidence in God’s mercy. Thus the Christopher Idle versification of the text has been set to a tune by the sainted Rev. Kurt Eggert, CW93 project director. Eggert’s tune ADAM, which carries the Martin Franzmann text on the Fall into sin (CW21—565), sets a proper mood for this psalm which begins in the depths of despair and concludes in the joy of salvation.

42E | Lord, from Sorrows Deep I Call

Matt Papa and Matt Boswell have provided a wonderful setting of Psalm 42. Once heard and learned, the fitting melody of both the verses and refrain is difficult to forget. As it appears in the CW: Psalter print edition and as it can be laid out in a bulletin in the CW: Service Builder version, worshipers will benefit from seeing the entire psalm setting on facing pages. Having the entire congregation learn and sing this setting (verses and refrain) will bring benefits for years to come. The Musician’s Resource lead sheet is here.

62D | I’ll Not Be Shaken

Similar in some ways to what was said about Psalm 42E, Wendell Kimbrough has created a setting of Psalm 62 that could easily become a popular favorite among our people. The steady quarter note rhythm of the accompaniment and the melody sung over the top of that accompaniment well express the thoughts of the text. A lead sheet is available on Musician’s Resource.

91B | My Dwelling Place

It will likely be best to have a soloist, the choir, or a small group sing the verses of this psalm setting when it is first used in worship. The text and music are another collaboration of Getty Music artists. The themes of the psalm are general enough in nature to use on many occasions.

130G | I Will Wait for You

A final Getty Music collaboration in this article is a unique setting of the penitential 130th psalm. A Scottish versification of the psalm set to the hymn tune MARTYRDOM (“Alas! And Did My Savior Bleed”) opens and closes the psalm. The verses and chorus in between are again memorable and fitting for the themes of the psalm. When using CW: Service Builder, deselecting the MARTYRDOM stanzas from the beginning and end of the psalm may be a desirable option in certain cases.

137A | Beside the Streams of Babylon           AN WASSERFLÜSSEN BABYLON

Lutherans accustomed to singing “A Lamb Goes Uncomplaining Forth” to a tune whose name includes the nation of Babylon can here experience the original pairing of the text and tune that gave this tune its name—Wolfgang Dachstein’s text and tune for Psalm 137. The psalm can serve on those occasions where we recognize that we are foreigners and aliens here, waiting to take up permanent residence in our heavenly home.

142B | Hear My Cry and Supplication           RESTORATION

Clarence P. Walhout has provided a well-crafted versification of this psalm text. Its simple themes of tribulation and despair and divine deliverance make RESTORATION a fitting tune. This tune is most often associated with and recognized by the well-known text “Come, Ye Sinners, Poor and Lowly.”

Church

48A | How Great Is God the LORD           TALENTS

Old Testament references to the city of the King direct our thoughts to the New Testament reality of the Holy Christian Church. The versification of Psalm 48 is set to a new tune that appears at CW 492 for the hymn “A Few More Years Shall Roll.”

84B | How Lovely Is Your Dwelling Place           PROSPECT

A text paraphrase by Marty Haugen and David N. Johnson’s 1968 harmonization of the Southern Harmony tune PROSPECT bring a pastoral feel to the Lord’s house as it is pictured in Psalm 84. This tune is also used at Psalm 41D and CW 392. Haugen’s own pianistic setting is also printed in CW: Accompaniment for the Psalter as 84B ALT. You can listen to this setting by clicking on the audio preview link on this page.

Church Militant

7B | O LORD My God, My Only Refuge           WAYFARING STRANGER

WAYFARING STRANGER is another one of the SOUTHERN HARMONY tunes that has carried a significant number of texts over the years (cf. also 31B, 126B). It is a good fit for the struggles associated with being a part of the church militant. If you’re unfamiliar with the tune, you can listen to the Johnny Cash version of the song here.

46E | If God Is for Us

From an original choral arrangement by James Chepponis comes a versification of Psalm 46 that combines with a refrain from Romans 8:31. Both the verses and the fully harmonized refrain (print edition) are very singable. While Psalm 46 is appointed for Reformation (Years A,B,C) and Lent 1 (Year A) and “A Mighty Fortress Is Our God” is appointed as the Hymn of the Day for both (across all three years), there would be plenty of other occasions/opportunities to make use of this fine arrangement. To listen, click the audio preview on this page.

61A | God, I’m Calling Out to You           THINE

Accusers, attacks, threats—God is our strength and our deliverer from them all. Carl Schalk’s tune THINE was chosen to carry this text. The tune has been popular in other Lutheran church bodies and was originally paired with the Herbert Brokering text “Thine the Amen, Thine the Praise.” The melody can be heard (starting at 0:55) in this memorial tribute to Schalk.

Opening of Service

5A | Hear My Words, O Gracious LORD           SCARBOROUGH FAIR

The LORD’s serious words about sin and a tune in the Dorian mode might not make this everyone’s choice for an Opening of Service hymn. Phrases in st. 2 (“at break of day”) and st. 5 (“to your house will I draw near”), however, suggest such a possible usage. The origin of the tune predates its use by Simon and Garfunkel by roughly three centuries.

95C | Come, Let Us Praise the LORD           DARWALL’S 148TH

The Venite in Morning Prayer is a sung version of Psalm 95. With its Timothy Dudley-Smith text and well known tune, CW: Psalter 95C could very naturally find use outside its regular place in Morning Prayer as an Opening of Service hymn.

Close of Service

67E | O God, Show Us Your Mercy           THAXTED

In his German order of service, Luther made use of Psalm 67 as a closing benediction. The majestic melody of Holst’s THAXTED carries the text from The New Metrical Version of the Psalms, 1909, adapted to fit the tune. It would be easy to see how having this psalm setting in your congregation’s repertoire might become a favorite way for members to sing the service to its close.

This article in Devote Yourself was contributed by the team that previously created and distributed Worship the Lord. View past worship-related articles at worship.welsrc.net/downloads-worship/worship-the-lord.