Worship Resources
The works on this page are appropriate for use in worship services. Included are songs for the congregation, a choir (SATB and SSAA), vocal soloists and several works for instruments (organ and piano).
God of All Unity
The text of this hymn was inspired by The Rt. Rev. Mariann Edgar Budde’s sermon at the Service of Prayer for the Nation at the Washington National Cathedral on Tuesday, January 21, 2025. The first three verses echo the points of her sermon: honesty, speaking truth to power, and humility. The final verse concludes with an appeal for mercy and a vision for shalom, crowned by a feast in which all are welcome and wanted. This work is free to download and use; it is covered under the OneLicense copyright for reprint and podcast/streaming. Words: © 2025 by Nathan A. Russell. Music: Budde © 2025 by Abierto Music
Open My Eyes
A chant suitable for the congregation, choir or soloist, with extremely simple accompaniment. The text: Open my eyes that I may see. Open my ears that I may hear. Open my mind that I may understand. Open my heart that I may love. Open my mouth that I may speak the truth. Open my arms that I may embrace. Open my hands that I may give. This work is free to download and use; it is covered under the OneLicense copyright for reprint and podcast/streaming.
Devotional Chants and Mantras
Solo voice or unison group singing, optional accompaniment. 53 selections
Level: Easy to learn and sing; can be simply spoken
These chants and mantras are melodies that came to me at various times over a period of years, from about 1992 to 2011. They have been aids in my own meditation and prayer, and my intention is that they serve that purpose for you. A number of the chants are intended for use in group worship. Many of the lyrics are original with me; and others you will find to be familiar from the Psalms and other writings of the Judeo-Christian tradition. A few are settings of well-known Buddhist mantras. Individual chants are free to download and use; covered under the OneLicense copyright for reprint and podcast/streaming.
Audio Perusal Score Purchase (entire collection)
Venite
An upbeat unison setting of the Venite (Come, let us sing to the Lord). This work is free to download and use; covered under the OneLicense copyright for reprint and podcast/streaming.
Score Score – voice only Audio (coming soon)
SSAA, a cappella. 3+”
Level: Intermediate/advanced
An intimate yet powerful setting of a text by Chameli Gad, a spiritual teacher and founder of Awakening Women, a global sisterhood and women’s wisdom school. “I am here… the peace… the cosmic power… deepest nature… luminous wisdom… I am calling… come closer.”
Come, Holy Spirit
SATB, a cappella. 2.5′
Level: Intermediate
A setting of Veni Sancte Spiritus, the famous sequence sung during the celebration of Pentecost. I have chosen to use an English translation of the Latin text in order to more immediately communicate the power and very personal quality of the message. The work is for unaccompanied SATB choir, with moments of divisi for all parts.
Deep River
SATB a cappella. 3’
A moving arrangement of this great African-American spiritual. Very accessible for amateur choirs, but rich in harmonies and voice movements that more advanced choirs will quickly appreciate. Brief passages of divisi. Practice files for each voice part are available from Choraltracks.com
God is Love
SATB a cappella. 3’
Level: Easy to medium; some divisi in soprano; my choir found it easy to learn. With a text adapted from various Psalms, this anthem creates an atmosphere of reflection and consolation. It is perhaps most suitable for a worship service. The tenors get to shine in an approachable range and there is some easy divisi for sopranos.
In the Flowing Light of the Godhead
SSAA, a cappella. 4.5′
Level: Intermediate/advanced
A setting of powerful passages from Das Fliessende Licht der Gottheit (The Flowing Light of the Godhead), written by Mechthild of Magdeburg, one of the great medieval mystics. The text is a very personal expression of the soul’s love for God and God’s love for the soul. Mechthild’s language is strong, ecstatic and full of vivid imagery.
Kyrie Eleison
SATB, organ. 2′
Level: Intermediate
Originally a movement of my cantata Children of the Light, this plea to God includes my original text: O Lord, show us your compassion, For we wander in darkness: Blinded by illusion, lost in our pride, lost in our desires, lost in our fears, enslaved by racing minds that grasp mindlessly. Guide us, O Lord, from the darkness of our ignorance into the light, The light of your love, your grace, your peace. O Lord, open our eyes. Show us your compassion. Kyrie eleison.
Audio Perusal Score Available Soon for Purchase
Kyrie Eleison
SATB divisi, a cappella. 9’
Level: Advanced
This very personal setting of the Kyrie is intended for use in concert rather than in a liturgical setting. Set in the traditional three-part form, the opening and closing sections feature flowing melodic figures; the Christe eleison builds to a dramatic climax and then gently subsides into the opening idea. There are brief moments of divisi in the soprano and alto parts.
Lux Aeterna
SSATB, a cappella. 3′
Level: Intermediate
A moving and accessible setting of the sublime text from the Requiem mass. Set for SSATB a cappella choir (with a bit of divisi in S1 and T) it is appropriate for performance in concert or for sacred occasions. It was composed in honor of a dear friend who passed away in the Spring of 2020.
Light of Heaven (2014)
SATB soprano solo, piano 4-hands (or two flutes & piano 2-hands). 4.5′
Level: Intermediate
A movement from my cantata Children of the Light. The piano establishes the tone of this highly atmospheric work, which gives each voice part the opportunity to sing lyrical and meditative melodic lines. The piece is based upon the composer’s own mantra, which grew out his interest in the Tibetan Buddhist tradition. Suitable for both concert and sacred settings. Practice files for each voice part are available from Choraltracks.com.
Make a Joyful Noise
SATB, organ. 1.5’
Level: Intermediate
Text: Psalm 100
A high energy rendition of Psalm 100, featuring driving syncopated rhythms and exciting but approachable harmonic changes. An experienced choir will enjoy the challenge; the congregation will wake up.
Nada Te Turbe
SSAA, a cappella. 3+’
Level: Intermediate/advanced
A dramatic setting of St. Teresa of Avila’s brief but powerful meditation. The text in English: Let nothing disturb you, Let nothing frighten you; All things pass. God never changes. Patience obtains all things. Whoever has God lacks nothing. God alone is enough.
Noel
SSATB a cappella. 3’
Level: Intermediate
This setting of a poem by Elaine Haas is an intimate depiction of the mother and child at the manger; it evokes the peace, the joy, and the mystery of the birth of Jesus.
O Gladsome Light
Chorus SATB divisi 4′
Level: Intermediate
A fresh new setting in English of this traditional Vespers hymn. A unison chant (optional) of the text precedes a brilliant chorale with rich harmonies, requiring frequent divisi. The composer’s updated translation will appeal to the adventuresome choir.
O Lord, if my lips could sing
SATB, organ. 1.5’
Level: Easy
Text: from a Jewish hymn, 3rd – 5th centuries CE This easy short anthem also functions well as a call to worship. Both male and female voices move strictly in parallel fifths, supported by a powerful organ.
O Sabbath Rest of Galilee
SATB divisi, a cappella, soprano solo. 2’
Level: Intermediate
Text: John Greenleaf Whittier
A setting of two verses from Whittier’s great hymn Dear Lord and Father of Mankind. I dedicated it to my teacher, Mel Powell, who years before had introduced me to Charles Ives’ beautiful setting of them, titled Serenity. The influence of Ives may show through just a bit.
Our Father, Who art in Heaven
SSATB a cappella. 2.5’
Level: Early Intermediate
This setting of the Lord’s Prayer is very expressive and quite accessible for amateur choirs. It was composed for an unaccompanied SATB choir and contains a few measures of simple divisi in the soprano part. A rehearsal keyboard reduction is included.
Pleasure It Is
SAB a cappella. 1.5’
Level: Intermediate
A sprightly new setting of William Cornysh’s 16th century poem celebrating spring – truly a spring carol. Accessible for amateur choirs, but rich in harmonies and voice movements that more advanced choirs will quickly appreciate.
Seven Antiphons for Advent
Unison voices, optional chordal accompaniment. 4.5’
Level: Easy
These simple unison settings of the Great O Antiphons are ideal for an Advent service. They use a new English translation from the original Latin texts, dating back to at least the 8th century. The texts were adapted in possibly the 12th century to form the basis of the hymn Veni veni Emmanuel, now known as O Come, O Come, Emmanuel. These settings may be sung a cappella or with a simple chordal accompaniment, e.g. harp, guitar or keyboard.
Sing Unto the Lord!
SATB, organ. 3.5′
Level: Intermediate/advanced
Text: Adapted from Psalms 96 & 98
An exuberant setting of selected texts from Psalms 96 and 98, ending with a exultant Alleluia. Repetition of independent rhythmic phrases alternates with snatches of unison and chorale singing. For the experienced choir and organist.
Suite of English Lyrics
SATB a cappella
Level: Intermediate/Advanced
Language: Middle English
This suite is a setting of six anonymous sacred and secular English lyrics dating from the 14th and 15th centuries. For me, a great part of their beauty lies in their touching simplicity and directness of expression. Movements I, II and V are certainly suitable for worship services. All of the movements are available separately at JWPepper; practice files are available at choraltracks.com.
Movements:
I. I sing of a maiden (SATB) Purchase
II. Adam lay ybounden (SATB) Purchase
III. Ich am of Irland (SSA)
IV. Westron Wind (SATB, baritone solo)
V. Jesu Crist, myn leman swete (SATB) Purchase
VI. Alas! Deceite (SATB)
Teach Me, O Lord
SATB, organ. 2’
Level: Easy/intermediate
Language: English
Text: Psalm 119: 33-40, 105
A straightfoward setting for a church choir of well-known verses from Psalm 119. The final words: “Your word is a lamp unto my feet and a light upon my path.” There is a bit of divisi in the treble voices. This work hasn’t yet been recorded or put up for sale; feel free to download a score for your choir’s use.
Veni Creator Spiritus
SATB divisi, a cappella. 5’
Level: Intermediate/Advanced
Language: Latin
Text: Most likely by Rabanus Maurus, Archbishop of Mainz (circa 9th century CE)
A dramatic choral setting of Veni Creator Spiritus (Come, Creator Spirit) is one of the great hymns of the Christian tradition. The original melody is thought to be much older. I have included a transcription of the original melody in the score; it is quite effective to sing this, followed by my setting of the text. The work is intended for use in concert rather than in a liturgical setting.
Wake Up Children
SATB a cappella, soprano descant. 4’
Level: Intermediate
Here is a joyful and optimistic original in a straightforward gospel style. It features lively rhythms throughout and solo descant for your strongest soprano.
Wexford Carol
SATB a cappella, soprano descant. 4’
Level: Intermediate
Featuring an atmospheric piano part and soprano solo, this is a highly effective arrangement of a favorite carol. Very accessible for amateur choirs, but rich in harmonies and voice movements that more advanced choirs will quickly appreciate. Practice files for each voice part are available from Choraltracks.com.
A Revelation of Love
Soprano solo a cappella. 5′
Text: Selections from Shewings, by Julian of Norwich
I spent many months studying the book of the 14th – 15th century mystic Julian of Norwich, identifying segments to assemble into this musical setting. I chose to adapt her language into modern English, striving to be as faithful as possible to the original middle English. The work is suitable for use in either a sacred or concert setting.
Four Sacred Songs
Soprano, piano; also available for medium voice. 11’
Texts: Psalms 121 & 23, John Newell
I. I lift up mine eyes
II. The Lord is my shepherd
III. Sing, oh my soul
IV. I thank thee, God
These four psalms are appropriate for concert use or in a religious service. The first performance took place at Simons Rock College in Great Barrington, Massachusetts, with Sarah Novak, soprano.
“With the composer at the piano, Novak did full justice to the sinuous vocal lines that flowed gently with just a hint of near-eastern inflection.” – Berkshire Record
The Greatest of These Is Love
Tenor solo & piano. 6′
Text: 1 Corinthians 1-13
A dramatic and harmonically rich setting for tenor of the powerful verses on love contained in Paul’s first letter to the Corinthians, chapter 13. The work is suitable for use in either a sacred or concert setting; it features a challenging but rewarding part for an advanced accompanist.
Lord, Make Me an Instrument
High voice, piano. 3′
A reflective setting for solo voice and piano of the lovely anonymous text often called the Prayer of Saint Francis. In this setting I took the liberty of adding two words (“to ourselves”) to the prayer, towards the end: “… for it is in dying to ourselves that we are born to eternal life.” They fit quite naturally into the flow of the music and, I believe, are certainly in keeping with the teachings of St. Francis.
O Lord, You have searched me and found me
Voice, organ. 5’
Text: Psalm 139
Through its powerful imagery and universal message Psalm 139 remains one of those that continue to speak directly to us today. This is appropriate for concert use or in a religious service.
Offering
Organ. 6’
A reflective work for organ that works well as a service prelude. First performance in 1993, given by me at First Congregational Church, Worthington, Massachusetts.
Peace
Piano. 7’
A quiet and reflective work composed following a family tragedy. Hopefully it evokes the idea that peace is always close to us if we can empty ourselves and open ourselves to its grace.
Praise to the Lord
Organ. 5′
A set of variations on the great German tune Lobe Den Herren, which first appeared in the Stralsund Gesangbuch in 1665. The work proceeds from a simple statement of the tune using traditional harmonies to three variations that incorporate more contemporary harmonies and what may be called neo-Baroque counterpoint. Suitable as a powerful, exultant prelude or postlude or as a concert piece.
