What are the highest notes in alto lines?

alto line

musicology

highest notes

Author

Joey Stanley

Published

November 2, 2023

Previously, I’ve discussed in depth the highest and lowest notes a soprano line is expected to go. In this post, I’ll explore the highest notes alto are expected to sing.

The highest alto notes

The first question is this: what is the highest note for an alto line? As it turns out, it depends on what you consider an alto line!

Fun Fact

The highest alto note is a D5, which is found in five hymns: Saints, Behold How Great Jehovah (#28), Arise, O Glorious Zion (#40), Father, Thy Children to Thee Now Raise (#91), and Come, Let Us Anew (#217), and the women’s arrangement of The Lord Is My Shepherd (#316).

However, we may have to qualify those a little bit. In the first four hymns, the alto is in unison with the soprano. I think it’s noteworthy that the alto only goes that high if it’s singing the melody (i.e. the soprano line) in unison for whatever musical purposes the arranger intended. I’ll leave it up to you about whether you want to consider that a true “alto” line, but I think it’s worth mentioning that detail.

Click to see those hymns

Father, Thy Children to Thee Now Raise (#91)

The only other hymn that has an alto line that goes up to a D5 is in a really nice close harmony in the women’s arrangement of The Lord Is My Shepherd (#316). In this case, it is true that the alto line is not in unison with the soprano. But again, this is an exceptional case because it’s a women’s arrangement: there is another alto line below it (so maybe this is a second soprano line instead?) and it’s not intended for sacrament meeting.

Okay fine, so if we ignore alto lines that are in unison with sopranos and the women’s arrangements in the back of the book, the highest alto note is actually a C5, which is found in three hymns: Again We Meet Around the Board (#186), We Meet Again in Sabbath School (#282), and The Star-Spangled Banner (#340).

As it turns out, there are a six of other hymns that have alto notes going up to a C5, but it’s only when in unison with sopranos again. They are Saints, Behold How Great Jehovah (#28), Rejoice, the Lord Is King! (#66), Glory to God on High (#67), God Speed the Right (#106), O Thou Rock of Our Salvation (#258), and America the Beautiful (#338).

Click to see those hymns

How often are you likely to encounter these highest alto notes? That high D5? Probably once a year. Looking at the C5 and D5 together, and that’s about once every nine weeks or so. So if you’re an alto and struggle to hit those higher notes, I’m sorry to say that you’ll probably see them a few times a year.

So there you have it. The highest notes in the hymnal are a D5, but that’s only in unison with sopranos or in a women’s arrangement, and a C5 in normal circumstances. Going forward, I’ll split the discussion into those groups (unison with soprano and harmony lines) where necessary, and will largely ignore the women’s arrangements since they are not really meant for congregational singing.

Overall distribution of highest alto notes

Now that we’ve established what notes are the highest, let’s look at the distribution of highest alto notes across the hymnal. First, Figure 1 shows the distribution of highest notes in an alto line, excluding the women’s arrangements.

Figure 1: Distribution of highest alto notes (women’s arrangements excluded)

Here we see something close to a pretty decent bell curve. It’s centered around G4, with some going as high as D5 as we’ve seen already, and some only going as high as D4 (we’ll get to those later). G4 is the most typical highest note for an alto line, with a whopping 125 or 111 hymns, depending on how you count them. Even though G4 and A4 are the most common, we have relatively few that have F♯4 and A♭4 as their highest notes, but, like we saw with the sopranos’ highest notes, this is likely because of the key signatures that are most common in the hymnal. My guess is if all 12 keys were more evenly represented, we might see a better-looking bell curve.

For almost every note, we see a few differences in height, based on whether we ignore unison passages or not, just like what was shown above with D5, where four of them only go that high when in unison with soprano, and only one is a “true” alto note. The next few sections walk through each of these notes, pointing out what hymns have what highest note and how the list changes depending on if we’re counting unison passages. Since we’ve already mentioned the hymns with D5 and C5 as the highest notes, we’ll start with B4.

B4

Exactly 11 hymns have B4 (the middle of the treble clef) as the highest alto note. The most common is Love at Home (#294) with I Am a Child of God (#301) as a close second. The least common is Nay, Speak No Ill (#233). All 11 are plotted in Figure 2, in order of frequency.

Figure 2: Frequency of hymns with B4 as the highest alto note

Click to see a sample of those hymns

There are some similarities across these hymns. Most of them are in the key of G major, and the soprano note at the point where the alto sings the B4 is a D5. Another thing they pretty much all have in common is that for most of the phrase that the altos sing the B4 in, the sopranos and altos are in parallel thirds. We see this in Love at Home (#294) and I Am a Child of God (#301). Here’s another example in Come Along, Come Along (#244).

This pattern of high alto notes only being found in passages with parallel thirds extends to the three cases of C5 as well.

The exception to this is in Have I Done Any Good? (#223) where the altos have an interesting moving line while the sopranos are on the same note.

B♭4

We now move on to the 22 hymns that have B♭4 as the highest note for the alto line. Half of these only go that high because they’re singing the melody in unison with the sopranos, like in ’Tis Sweet to Sing the Matchless Love (#177) and Hope of Israel (#259).

Click to see those hymns

’Tis Sweet to Sing the Matchless Love (#177)

What about the 11 that have a B♭4 as the highest note with a soprano note above it? They include some sacrament hymns, some otherwise common hymns, and some less-common hymns. Most of the time, the sopranos are singing a D5 above the B♭4, but not always, like in All Creatures of Our God and King (#62) and As the Shadows Fall (#168).

Click to see those hymns

Finally, Figure 3 shows all 22 hymns that have B♭ as the highest note for the altos, regardless of whether they’re in unison or not.

Figure 3: Frequency of hymns with Bb4 as the highest alto note

A4

Figure 1 showed that there are many hymns that have A4 as the highest alto note. I’m not going to dive into each one, but I can explain a few from each of the different categories.

The first are the six hymns that have A4 as the highest note but only when it’s singing the melody in unison with the sopranos. Here, we’re starting to get into the sticky area of what is unison with the sopranos because of a stylistic choice, verses unison because it made the most sense to do so for just one note. In something like O God, the Eternal Father (#175), it’s clearly a deliberate choice because all four parts are in unison. However, in something like High on the Mountain Top (#5), it’s technically in unison with the sopranos, but only because it would have created awkward voice leading to do otherwise. So, maybe I’m splitting hairs by creating these separate categories, but it’s hard to programatically determine which of these types of unisons we’re looking at without going through every hymn, and I don’t particularly want to go through every hymn.

Click to see those hymns

Fortunately, there are relatively few hymns that have the alto line going up to an A4 only during unison passages. A full 54 hymns have “legitimate” alto lines—with soprano notes above them—that only go up to an A4. Instead of going through all of them, I’ll just show them here in Figure 4.

Figure 4: Frequency of hymns with A4 as the highest alto note

I will mention that we now have a third category of hymns: hymns that have A4 as the highest note in the alto line if you ignore the unison passages. There are just two, and neither of them are very common hymns: With Songs of Praise (#71), which goes up to a B4 when singing the melody, and Arise, O Glorious Zion (#40), which goes up to a D5. The former is a clearer example of what I’m talking about. Again, technically, the alto is expected to sing up to a B4, but because that’s part of a unison passage with the sopranos (and all other parts), I’m ignoring it, and after I do, we see that A4 is otherwise the highest note.

To summarize briefly the A4 hymns, there are 54 that for sure count. Another six fall into this category if we don’t mind including unison passages. Another two fall into this category if we ignore the unison passages and look at the next highest note.

A♭4

As we saw in Figure 1, there are far fewer hymns that have A♭4 as the highest alto note, likely because A♭s don’t come up as often in the most common key signatures in the hymnal.

I would start with hymns with alto lines that go up to A♭ only when in unison with the sopranos, but there are none; instead we’ll look at the 10 hymns where A♭4 is the highest and there are soprano notes higher than it. Figure 4 shows these hymns in order. There’s not much to be said about these, other than Prayer of Thanksgiving (#93) technically has a G♯ instead of an A♭, but that’s not a big deal.

Figure 5: Frequency of hymns with A♭4 as the highest alto note

Click to see some of these hymns

Each Life that Touches Ours for Good (#293)

There are another three hymns that do have alto lines going higher than A♭4, but only in unison passages with the sopranos. Ignoring those passages, their highest alto notes are A♭4. They include For the Strength of the Hills (#35), Abide with Me; ’Tis Eventide (#165), and Home Can Be a Heaven on Earth (#298). Again, though, we’re splitting hairs a little bit, and these three really nice exemplify the continuum of how “unison” should be defined. For the Strength of the Hills (#35) is a great example of a case where the alto line goes high when singing melody, but not as high otherwise. Home Can Be a Heaven on Earth (#298) is a case where the highest note really shouldn’t be considered a melody passage and is only technically unison because of voice leading. Meanwhile, Abide with Me; ’Tis Eventide (#165) is somewhere in the middle. It only goes up to that B♭4 for just one note, but all voices are unison there, so it appears to have been a stylistic choice rather than for some voice leading reason.

Click to see those hymns

Clear jump to the melody in For the Strength of the Hills (#35)

Brief unison for stylistic reasons in Abide with Me; ’Tis Eventide (#165)

Unison only for voice leading reasons in Home Can Be a Heaven on Earth (#298)

G4

We now move on to the most common highest note for alto lines, G4. Figure 1 shows that there are well over a hundred hymns have have G4 has the highest note in the alto line, regardless of how you count them. All three categories of “highest notes” that we saw with the A4 hymns above are represented here though, so let’s look at each one of those.

First, we can look at the hymns that have G4, but only when singing melody in unison with sopranos. Of the four potentials, Come, Listen to a Prophet’s Voice (#21) is the only one that has a clear unison passage. The other three (Praise Ye the Lord (#74), How Great the Wisdom and the Love (195), and We Are Marching On to Glory (#225)) are only in this category because of voice leading. As far as I can tell, this is the lowest alto line like this, where its highest note is in unison with the sopranos.

The largest category is the most boring: hymns that have G4 as the highest note in the alto line while having a higher soprano note. There are many of these, and I won’t go into detail about them. But Figure 6 shows them in order of frequency.

Figure 6: Frequency of hymns with G4 as the highest alto note

Finally we have hymns that have G4 as the highest alto note if you ignore the unison passages. A really good example of this is Saints, Behold How Great Jehovah (#28). It goes up to a D5—the highest note for an alto in the hymnal—when in unison, but only to a G4 otherwise. There are a handful of others like this, Now We’ll Sing with One Accord (#25), Let Zion in Her Beauty Rise (#41), Rejoice, the Lord Is King! (#66), Glory to God on High (#67), God of Our Fathers, Whose Almighty Hand (#78), God Speed the Right (#106), O God, the Eternal Father (#175), ’Tis Sweet to Sing the Matchless Love (#177), Jesus, Once of Humble Birth (#196), O Thou Rock of Our Salvation (#258), and Hope of Israel (#259), plus two marginal cases in From Homes of Saints Glad Songs Arise (#297) and America the Beautiful (#338).

F♯4

There are far fewer hymns that never even reach a G4. Only about seven hymns have F♯4 as their highest note and there’s a soprano note above it. The most common is Upon the Cross of Calvary (#184).

Figure 7: Frequency of hymns with F#4 as the highest alto note

Two hymns go higher than an F♯4 in melody passages, but otherwise only to an F♯4. One is Come, Listen to a Prophet’s Voice (#21), but the other (and perhaps widest difference between unison highest notes and regular highest notes) is Father, Thy Children to Thee Now Raise (#91), which goes up to a D5 in the first note, but then never again gets higher than an F♯4 and otherwise has a pretty limited range of just a fourth. To put it another way, the top five highest notes in the alto line in that hymn are the first five notes of the hymn.

F4

After G4 and A4, the next most common highest note for an alto line is F4. About 27 hymns fall into this category, all of which are shown in Figure 8. Come, Follow Me (#116) is shown below as an example of these lower hymns.

Figure 8: Frequency of hymns with F4 as the highest alto note

E4

Now that we’re below F4, we’re into the marginal cases of alto lines that hardly go very high at all. Decent tenors could sing these alto lines. Since alto lines don’t go especially low, these lines tend to have rather narrow ranges (which will be covered in later blog posts).

One example of such a hymn is They, the Builders of the Nation (#36). In my opinion, this hymn is set in too low of a key. The text and music suggest an upbeat, energetic hymn. The tempo marking even suggests to sing/play it “vigorously.” And yet, the alto line sits below the staff in a rather drone-like line, only reaching its highest note in the last line. I think it’s hard to sing too vigorously with such a line. The 1948 hymnal actually had this in B♭ major—a step and a half higher! Because of all this, I’m going to say something I rarely ever do, and that is I actually think this hymn should be transposed up from where it is! Perhaps the issue was that the tenor line was consistently too high. (I think the same thing could be said of Scatter Sunshine (#230).)

As for the sacrament hymns that only have E4 as the highest alto note, I’m fine with that. The purpose of those hymns is to contemplative, so in my opinion, singing in a lower register fits with that. You can see the hymns that only go up to E4 in Figure 9.

Figure 9: Frequency of hymns with E4 as the highest alto note

E♭4

Just six hymns have E♭4 as the highest note for altos. They include Lord, Dismiss Us with Thy Blessing (#163), which is unique in its extremely narrow range (its lowest note is just a half step lower than its highest note!). Adam-ondi-Ahman (#49) is generally low for all parts. The most common one here by a long shot is A Poor Wayfaring Man of Grief (#29). If you’ve sung the alto line, you’ll understand that it’s not the most exciting line and could really use some of the movement that the tenors get. In all six cases, the altos hang around on that E♭4 for a while, unlike the higher hymns discussed above where they just pop up there once or twice.

In contrast to They, the Builders of the Nation (#36) that I discussed above, I think Now the Day Is Over (#159) is in the appropriate key. It sings like a lullaby, and I think singing in a lower register for all parts is appropriate, given the text and feel of the hymn. The highest notes in this one are in unison with the sopranos, but I’d interpret that as being more for voice leading purposes.

D4

Finally, we get to the “lowest highest note” for the altos. The “highest note” referring to the highest note within a hymn, and the “lowest highest” referring to the lowest of all the highest notes across all hymns. Just two hymns have alto lines that never go higher than a D4: Testimony (#137) and Improve the Shining Moments (#226). I’m okay with the former, but the latter suffers from the same thing that They, the Builders of the Nation (#36) does, where it’s a more upbeat hymn, but the alto line is low and boring.

As we’ll see in a later blog post, the alto line doesn’t get too much lower than this, so these hymns really hang out in the lower register for altos pretty much the whole time, often while the other parts are more exciting and have wider ranges.

How likely are you to see these low alto lines? Well, Testimony (#137) is a fairly common hymn, and Improve the Shining Moments (#226) is not unusual. So you might see one of these two once every 9–10 months or so. If we add in the E♭4 and E4 hymns, there are a handful of common ones, so you’re likely to see one or two a month.

Summary

Most alto lines max out at around a G4, then A4, and then F4. Some go as high as a D5, but only when singing the melody with the sopranos; C5 when in harmony with the sopranos. Some hymns have alto lines only go as high as a D4, and are typically low and a little monotonous.

Recommendation for the next hymnal

Transpose They, the Builders of the Nation (#36) back up to B♭ major and reharmonize the alto, tenor, and bass parts so that they’re more varied and cover a wider range. The altos can go higher and the basses can occasionally drop down to an F2. Similar things could be done with Improve the Shining Moments (#226) and a few other hymns with lower alto lines.

Data

For anyone who is interested, here is a raw spreadsheet of the highest notes. There are 306 rows in this table; some hymns are excluded because they do not have alto lines, either because they are written as unison lines or because they are men’s choir arrangements. In the highest with unisons column, a blank appears if there are no alto notes that are in unison with the soprano line.

number	name	highest excluding unisions	highest with unisons
1	The Morning Breaks	A4
2	The Spirit of God	G4	F4
3	Now Let Us Rejoice	G4	D4
4	Truth Eternal	G4	D4
5	High on the Mountain Top	G4	A4
6	Redeemer of Israel	G4	D4
7	Israel, Israel, God Is Calling	G4	C4
8	Awake and Arise	G4	F4
10	Come, Sing to the Lord	Ab4	G4
11	What Was Witnessed in the Heavens?	Ab4
12	’Twas Witnessed in the Morning Sky	F4	F4
13	An Angel from on High	A4	G4
14	Sweet Is the Peace the Gospel Brings	G4
15	I Saw a Mighty Angel Fly	F4	F4
16	What Glorious Scenes Mine Eyes Behold	A4	G4
17	Awake, Ye Saints of God, Awake!	A4	G4
18	The Voice of God Again Is Heard	G4	F4
19	We Thank Thee, O God, for a Prophet	A4	D4
20	God of Power, God of Right	F4	Eb4
21	Come, Listen to a Prophet’s Voice	F#4	G4
22	We Listen to a Prophet’s Voice	A4	G4
23	We Ever Pray for Thee	A4
24	God Bless Our Prophet Dear	A4	D4
25	Now We’ll Sing with One Accord	G4	Bb4
26	Joseph Smith’s First Prayer	A4	F4
27	Praise to the Man	G4	G4
28	Saints, Behold How Great Jehovah	G4	D5
29	A Poor Wayfaring Man of Grief	Eb4	Eb4
30	Come, Come, Ye Saints	G4	D4
31	O God, Our Help in Ages Past	F4
32	The Happy Day at Last Has Come	A4	G4
33	Our Mountain Home So Dear	Ab4	D4
34	O Ye Mountains High	G4
35	For the Strength of the Hills	Ab4	Bb4
36	They, the Builders of the Nation	E4	D4
37	The Wintry Day, Descending to Its Close	Bb4	Ab4
38	Come, All Ye Saints of Zion	A4	G4
39	O Saints of Zion	G4	G4
40	Arise, O Glorious Zion	A4	D5
41	Let Zion in Her Beauty Rise	G4	Bb4
42	Hail to the Brightness of Zion’s Glad Morning!	G4	F4
43	Zion Stands with Hills Surrounded	G4	D4
44	Beautiful Zion, Built Above	A4	F4
45	Lead Me into Life Eternal	E4	D4
46	Glorious Things of Thee Are Spoken	F4	Eb4
47	We Will Sing of Zion	F4	Eb4
48	Glorious Things Are Sung of Zion	F4	D4
49	Adam-ondi-Ahman	Eb4	Eb4
50	Come, Though Glorious Day of Promise	G4	E4
51	Sons of Michael, He Approaches	A4	D4
52	The Day Dawn Is Breaking	G4	F4
53	Let Earth’s Inhabitants Rejoice	A4	E4
54	Behold, the Mountain of the Lord	G4	F4
55	Lo, the Mighty God Appearing!	Bb4	A4
56	Softly Beams the Sacred Dawning	F#4	F4
57	We’re Not Ashamed to Own Our Lord	A4	F4
58	Come, Ye Children of the Lord	G4
59	Come, O Thou King of Kings	G4	D4
60	Battle Hymn of the Republic	G4	F4
61	Raise Your Voices to the Lord	G4	A4
62	All Creatures of Our God and King	Bb4	Ab4
63	Great King of Heaven	Ab4	G4
64	On This Day of Joy and Gladness	A4	E4
65	Come, All Ye Saints Who Dwell on Earth	G4
66	Rejoice, the Lord Is King!	G4	C5
67	Glory to God on High	G4	C5
68	A Mighty Fortress Is Our God	A4	A4
69	All Glory, Laud, and Honor	A4	G4
70	Sing Praise to Him	A4	D4
71	With Songs of Praise	A4	B4
72	Praise to the Lord, the Almighty	A4	D4
73	Praise the Lord with Heart and Voice	G4	F4
74	Praise Ye the Lord	F4	G4
75	In Hymns of Praise	G4	D4
76	God of Our Fathers, We Come unto Thee	G4	F4
77	Great Is the Lord	G4	G4
78	God of Our Fathers, Whose Almighty Hand	G4	Bb4
79	With All the Power of Heart and Tongue	G4	A4
80	God of Our Fathers, Known of Old	G4
81	Press Forward, Saints	G4	F4
82	For All the Saints	A4	G4
83	Guide Us, O Thou Great Jehovah	B4	G4
84	Faith of Our Fathers	G4
85	How Firm a Foundation	F4
86	How Great Thou Art	Ab4
87	God Is Love	F#4	D4
88	Great God, Attend While Zion Sings	F#4	F4
89	The Lord Is My Light	F#4	D4
90	From All That Dwell below the Skies	G4	D4
91	Father, Thy Children to Thee Now Raise	F#4	D5
92	For the Beauty of the Earth	D4	E4
93	Prayer of Thanksgiving	Ab4	D4
94	Come, Ye Thankful People	G4	F4
95	Now Thank We All Our God	G4
96	Dearest Children, God Is Near You	G4	F4
97	Lead, Kindly Light	E4	D4
98	I Need Thee Every Hour	G4	D4
99	Nearer, Dear Savior, to Thee	Bb4	Eb4
100	Nearer, My God, to Thee	G4
101	Guide Me to Thee	Eb4	Eb4
102	Jesus, Lover of My Soul	A4	C4
103	Precious Savior, Dear Redeemer	G4	Eb4
104	Jesus, Savior, Pilot Me	G4
105	Master, the Tempest Is Raging	A4	G4
106	God Speed the Right	G4	C5
107	Lord, Accept Our True Devotion	A4
108	The Lord Is My Shepherd	A4	G4
109	The Lord My Pasture Will Prepare	G4	G4
110	Cast Thy Burden Upon the Lord	Ab4	G4
111	Rock of Ages	G4
112	Savior, Redeemer of My Soul	G4	F#4
113	Our Savior’s Love	A4	D4
114	Come unto Him	F#4
115	Come, Ye Disconsolate	G4	C4
116	Come, Follow Me	F4	C4
117	Come unto Jesus	G4	D4
118	Ye Simple Souls Who Stray	Ab4	Ab4
119	Come, We That Love the Lord	F4	C4
120	Lean on My Ample Arm	A4	D4
121	I’m a Pilgrim, I’m a Stranger	Eb4
122	Though Deepening Trials	A4	D4
123	Oh, May My Soul Commune with Thee	A4
124	Be Still, My Soul	A4	G4
125	How Gentle God’s Commands	G4
126	How Long, O Lord Most Holy and True?	G4	E4
127	Does the Journey Seem Long?	Ab4	Eb4
128	When Faith Endures	G4	G4
129	Where Can I Turn for Peace?	G4	D4
130	Be Thou Humble	F4	E4
131	More Holiness Give Me	E4	D4
132	God Is in His Holy Temple	F#4
133	Father in Heaven	E4	D4
134	I Believe in Christ	A4	F#4
135	My Redeemer Lives	A4	D4
136	I Know That My Redeemer Lives	A4	G4
137	Testimony	D4	D4
138	Bless Our Fast, We Pray	A4	D4
139	In Fasting We Approach Thee	G4	C4
140	Did You Think to Pray?	Ab4	Eb4
141	Jesus, the Very Thought of Thee	E4	D4
142	Sweet Hour of Prayer	A4	C4
143	Let the Holy Spirit Guide	F4	F4
144	Secret Prayer	G4	D4
145	Prayer Is the Soul’s Sincere Desire	A4	D4
146	Gently Raise the Sacred Strain	G4	D4
147	Sweet Is the Work	G4	D4
148	Sabbath Day	F4
149	As the Dew from Heaven Distilling	G4
150	O Thou Kind and Gracious Father	A4	D4
151	We Meet, Dear Lord	F4	Eb4
152	God Be with You Till We Meet Again	A4	C4
153	Lord, We Ask Thee Ere We Part	A4	F4
154	Father, This Hour Has Been One of Joy	Bb4	Eb4
155	We Have Partaken of Thy Love	G4	Eb4
156	Sing We Now at Parting	F4	C4
157	Thy Spirit, Lord, Has Stirred Our Souls	Eb4	Eb4
158	Before Thee, Lord, I Bow My Head	A4	G4
159	Now the Day Is Over	D4	Eb4
160	Softly Now the Light of Day	G4
161	The Lord Be with Us	F4	C4
162	Lord, We Come Before Thee Now	A4
163	Lord, Dismiss Us with Thy Blessing	Eb4	Eb4
164	Great God, to Thee My Evening Song	G4	D4
165	Abide with Me; ’Tis Eventide	Ab4	Bb4
166	Abide with Me!	F4	F4
167	Come, Let Us Sing an Evening Hymn	A4	F4
168	As the Shadows Fall	Bb4
169	As Now We Take the Sacrament	Bb4	F4
170	God, Our Father, Hear Us Pray	E4
171	With Humble Heart	Bb4	Eb4
172	In Humility, Our Savior	A4	G4
173	While of These Emblems We Partake	E4	E4
174	While of These Emblems We Partake	G4	G4
175	O God, the Eternal Father	G4	A4
176	’Tis Sweet to Sing the Matchless Love	E4	D4
177	’Tis Sweet to Sing the Matchless Love	G4	Bb4
178	O Lord of Hosts	F4	Eb4
179	Again, Our Dear Redeeming Lord	G4	Eb4
180	Father in Heaven, We Do Believe	Eb4
181	Jesus of Nazareth, Savior and King	G4	Eb4
182	We’ll Sing All Hail to Jesus’ Name	G4
183	In Remembrance of Thy Suffering	G4	G4
184	Upon the Cross of Calvary	F#4	D4
185	Reverently and Meekly Now	Bb4	Eb4
186	Again We Meet Around the Board	C5	G4
187	God Loved Us, So He Sent His Son	G4	Eb4
188	Thy Will, O Lord, Be Done	E4	E4
189	O Thou, Before the World Began	G4	D4
190	In Memory of the Crucified	G4	D4
191	Behold the Great Redeemer Die	G4	G4
192	He Died! The Great Redeemer Died	F4	C4
193	I Stand All Amazed	Bb4
194	There Is a Green Hill Far Away	G4
195	How Great the Wisdom and the Love	F4	G4
196	Jesus, Once of Humble Birth	G4	A4
197	O Savior, Thou Who Wearest a Crown	A4
198	That Easter Morn	F4	F4
199	He Is Risen!	A4	C4
200	Christ the Lord Is Risen Today	G4	G4
201	Joy to the World	A4	A4
202	Oh, Come, All Ye Faithful	G4	D4
203	Angels We Have Heard on High	A4	F4
204	Silent Night	G4	Bb3
205	Once in Royal David’s City	G4	F4
206	Away in a Manger	G4	G4
207	It Came upon the Midnight Clear	F4	F4
208	O Little Town of Bethlehem	G4	F4
209	Hark! the Herald Angels Sing	Bb4	G4
210	With Wondering Awe	G4
211	While Shepherds Watched Their Flocks	G4	F4
212	Far, Far Away on Judea’s Plains	Bb4	F4
213	The First Noel	A4	A4
214	I Heard the Bells on Christmas Day	G4	Eb4
215	Ring Out, Wild Bells	G4	D4
216	We Are Sowing	G4	Eb4
217	Come, Let Us Anew	B4	D5
218	We Give Thee But Thine Own	F4	D4
219	Because I Have Been Given Much	G4	Ab4
220	Lord, I Would Follow Thee	A4	D4
221	Dear to the Heart of the Shepherd	B4	G4
222	Hear Thou Our Hymn, O Lord	G4	D4
223	Have I Done Any Good?	B4	G4
224	I Have Work Enough to Do	G4	D4
225	We Are Marching On to Glory	F4	G4
226	Improve the Shining Moments	D4	D4
227	There Is Sunshine in My Soul Today	G4
228	You Can Make the Pathway Bright	G4
229	Today, While the Sun Shines	G4
230	Scatter Sunshine	E4	D4
231	Father, Cheer Our Souls Tonight	F#4	D4
232	Let Us Oft Speak Kind Words	G4	G4
233	Nay, Speak No Ill	B4	G4
234	Jesus, Mighty King in Zion	F4
235	Should You Feel Inclined to Censure	E4
236	Lord, Accept into Thy Kingdom	F#4	E4
237	Do What Is Right	E4
238	Behold Thy Sons and Daughters, Lord	F4	E4
239	Choose the Right	A4	C4
240	Know This, That Every Soul Is Free	A4	B3
241	Count Your Blessings	A4	D4
242	Praise God, from Whom All Blessings Flow	A4
243	Let Us All Press On	G4	C4
244	Come Along, Come Along	B4	G4
245	This House We Dedicate to Thee	F4	C4
246	Onward, Christian Soldiers	G4	D4
247	We Love Thy House, O God	G4	G4
248	Up, Awake, Ye Defenders of Zion	G4	F4
249	Called to Serve	E4	C4
250	We Are All Enlisted	Bb4	F4
251	Behold! A Royal Army	G4	G4
252	Put Your Shoulder to the Wheel	Bb4	A4
253	Like Ten Thousand Legions Marching	G4
254	True to the Faith	B4	G4
255	Carry On	G4	D4
257	Rejoice! A Glorious Sound Is Heard	G4	F4
258	O Thou Rock of Our Salvation	G4	C5
259	Hope of Israel	G4	Bb4
260	Who’s on the Lord’s Side?	A4	G4
261	Thy Servants Are Prepared	G4	G4
262	Go, Ye Messengers of Glory	G4	Eb4
263	Go Forth with Faith	G4	C4
264	Hark, All Ye Nations!	G4
265	Arise, O God, and Shine	F4	E4
266	The Time Is Far Spent	F4	F4
267	How Wondrous and Great	A4	E4
268	Come, All Whose Souls Are Lighted	G4	E4
269	Jehovah, Lord of Heaven and Earth	B4	G4
270	I’ll Go Where You Want Me to Go	F4	F4
271	Oh, Holy Words of Truth and Love	F4	F4
272	Oh Say, What Is Truth?	G4	F4
273	Truth Reflects upon Our Senses	G4
274	The Iron Rod	G4	D4
275	Men Are That They Might Have Joy	G4	D4
276	Come Away to the Sunday School	G4	F4
277	As I Search the Holy Scriptures	G4	D4
278	Thanks for the Sabbath School	A4	F4
279	Thy Holy Word	G4	Eb4
280	Welcome, Welcome, Sabbath Morning	B4	C4
281	Help Me Teach with Inspiration	G4	D4
282	We Meet Again in Sabbath School	C5	G4
283	The Glorious Gospel Light Has Shone	E4	D4
284	If You Could Hie to Kolob	G4
285	God Moves in a Mysterious Way	Eb4
286	Oh, What Songs of the Heart	G4	D4
287	Rise, Ye Saints, and Temples Enter	Ab4	Eb4
288	How Beautiful Thy Temples, Lord	G4	D4
289	Holy Temples on Mount Zion	A4	A4
290	Rejoice, Ye Saints of Latter Days	F4	D4
291	Turn Your Hearts	Ab4	Eb4
292	O My Father	A4	G4
293	Each Life That Touches Ours for Good	Ab4	F4
294	Love at Home	B4	D4
295	O Love That Glorifies the Son	G4	F#4
296	Our Father, by Whose Name	F4	F4
297	From Homes of Saints Glad Songs Arise	G4	Bb4
298	Home Can Be a Heaven on Earth	Ab4	A4
299	Children of Our Heavenly Father	G4	D4
301	I Am a Child of God	B4	A4
303	Keep the Commandments	A4
305	The Light Divine	A4	G4
307	In Our Lovely Deseret	G4
308	Love One Another	A4
338	America the Beautiful	G4	C5
339	My Country, ’Tis of Thee	A4	F4
340	The Star-Spangled Banner	C5	Ab4
341	God Save the King	A4	F4