Clerestory Notes

Commentary

“You move us to delight in praising You; for You have formed us for Yourself, and our hearts are restless till they find rest in You.” (Augustine, Confessions, Book 1)

This well-known and much-loved hymn has been included in most hymnals since it first appeared with its most common hymn tune in the early nineteenth century. It is among the most often recorded hymns by individuals and groups in a wide variety of genres, for the simple beauty of the hymn tune pairs perfectly and poignantly with the transparent confession of the lyrics. The text, penned by an English scholar and hymn writer who spent most of his adult life as pastor of a large Baptist congregation in Cambridge, England, expresses the heart’s longing to be always in close fellowship with the true “Fount of every blessing” and the understanding that it is only by God’s grace that our hearts, in commitment and holiness, may be sealed for His courts above.

The harmonic structure of this setting of Come, Thou Fount of Every Blessing is close to the simplicity of the traditional tune. But listen for the unexpected movement of the bass notes and the delayed resolution at the end of certain phrases, for these musical treatments reflect and underscore our sometimes protracted journeys of repentance and return to the God we love. The 8-measure introduction, interlude spaces, and contemplative ending are perfect spots for an additional instrument (such as a flute, violin or, my favorite for this piece, harmonica) that remains as lovely counter-melody woven throughout the song.

Liturgical Uses:
Gathering hymn; Invocation; Confession; Table.

Key: C (verses 1 and 2), D (verse 3)

Come, Thou Fount of Every Blessing is available as a lead sheet and scored for three-part vocal harmony (“vocals”).