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Mode hors ligneN'utiliser que les cantiques enregistrés dans ce navigateur
Remarque : les enregistrements au piano peuvent être légèrement désynchronisés avec le surlignage.
1
Tell me the old, old story, Of unseen things above, Of Jesus and His glory, Of Jesus and His love; Tell me the story simply, As to a little child, For I am weak and weary, And helpless and defiled.
CTell
me the old, old
Fsto
C
ry,
Of
Am
unseen
D7
things
a
G-G7
bove,
Of
C
Jesus
F
and
His
C
glory,
FOf
C
Jesus
G7
and
His
C
love;
GTell
me the
G7
story
C
simply,
As
D
to
a
D7
little
G-G7
child,
For
C
I
am
F
weak
and
wea
C
ry,
FAnd
C
helpless
G7
and
de
C
filed.
Tell me the old, old story, Tell me the old, old story, Tell me the old, old story, Of Jesus and His love.
CTell
me the old, old
Fsto
C
ry,
GTell
me the old, old
C
story,
Tell me the
C7
old,
old
Fsto
Dm
ry,
Of
C
Jesus
G7
and
His
C-F-C
love.
2
Tell me the story slowly, That I may take it in— That wonderful redemption, God’s remedy for sin; Tell me the story often, For I forget so soon, The “early dew” of morning Has passed away at noon.
Tell me the story slowly,
That I may take it in—
That wonderful redemption,
God's remedy for sin;
Tell me the story often,
For I forget so soon,
The "early dew" of morning
Has passed away at noon.
CTell
me the story
F C
slowly,
That
Am
I
may
D7
take
it
G-G7
in—
That
C F
wonderful
C
redemption,
FGod's
C G7
remedy
for
C
sin;
GTell
me the
G7
story
C
often,
For
D
I
D7
forget
so
G-G7
soon,
The
C
"early
F
dew"
of
C
morning
FHas
C
passed
G7
away
at
C
noon.
Tell me the old, old story, Tell me the old, old story, Tell me the old, old story, Of Jesus and His love.
CTell
me the old, old
Fsto
C
ry,
GTell
me the old, old
C
story,
Tell me the
C7
old,
old
Fsto
Dm
ry,
Of
C
Jesus
G7
and
His
C-F-C
love.
3
Tell me the story softly, With earnest tones and grave; Remember I’m the sinner Whom Jesus came to save; Tell me the story always, If you would really be, In any time of trouble, A comforter to me.
Tell me the story softly,
With earnest tones and grave;
Remember I'm the sinner
Whom Jesus came to save;
Tell me the story always,
If you would really be,
In any time of trouble,
A comforter to me.
CTell
me the story
F C
softly,
With
Am
earnest
D7
tones
and
G-G7
grave;
CRemember
F
I'm
the
C
sinner
FWhom
C
Jesus
G7
came
to
C
save;
GTell
me the
G7
story
C
always,
If
D
you
would
D7
really
G-G7
be,
In
C
any
F
time
of
C
trouble,
FA
C G7
comforter
to
C
me.
Tell me the old, old story, Tell me the old, old story, Tell me the old, old story, Of Jesus and His love.
CTell
me the old, old
Fsto
C
ry,
GTell
me the old, old
C
story,
Tell me the
C7
old,
old
Fsto
Dm
ry,
Of
C
Jesus
G7
and
His
C-F-C
love.
4
Tell me the same old story, When you have cause to fear That this world’s empty glory Is costing me too dear; And when the Lord’s bright glory Is dawning on my soul, Tell me the old, old story: “Christ Jesus makes thee whole.”
Tell me the same old story,
When you have cause to fear
That this world's empty glory
Is costing me too dear;
And when the Lord's bright glory
Is dawning on my soul,
Tell me the old, old story:
"Christ Jesus makes thee whole."
CTell
me the same old
F C
story,
When
Am
you
have
D7
cause
to
G-G7
fear
That
C
this
world's
F
empty
C
glory
FIs
C
costing
G7
me
too
C
dear;
GAnd
when the
G7
Lord's
bright
C
glory
Is
D
dawning
D7
on
my
G-G7
soul,
Tell
C
me
the
F
old,
old
C
story:
F"Christ
C
Jesus
G7
makes
thee
C
whole."
Tell me the old, old story, Tell me the old, old story, Tell me the old, old story, Of Jesus and His love.
Miss Kate Hankey born about 1846, the daughter of an English banker, is the author of this very devout and tender Christian poem, written apparently in the 1860s. At least it is said that her little volume, Heart to Heart, was published in 1865 or 1866, and this volume contains “Tell me the Old, Old story, ” and it’s answer.
Miss Hankey was recovering from a serious illness, and employed her days of convalescence in composing this song of devotion, beginning it in January and finishing it in the following November.
The poem is very long – – a thesaurus of evangelical thoughts, attitudes, and moods of faith – – and also a magazine of hymns.
Four quatrains of it, or two eight-line stanzas, are the usual length of a hymnal selection, and editors can pick and choose anywhere among its expressive verses.
Doctor W. H. Doane was present at the international conference of the YMCA at Montreal in 1867 and heard the poem read– – with tears and in a broken voice – – by the veteran Major General Russell. It impressed him so much that he borrowed and copied it, and subsequently sent it to music during a vacation in the White Mountains.
The poem of 50 stanzas was entitled “The Story Wanted; “ the sequel, or answered to it, by Miss Hankey, was named “The Story Told. “ This second hymn of the same meter but different accent, was supplied with a tune by William Gustavus Fischer.
This hymn was translated into my language, Tiv by the Dutch Reformed Christian Missionaries from South Africa as, Ôrom loho u dedoo, in 1911. It has since saved many souls and still does. Thank you Jesus. 🙏
Whenever the Holy Spirit stirs up this song in me, my eyes well with tears in nostalgia. But the part that makes me cry the most, is being reminded of His deep love that assures me that He's with me through the ups and downs of this life. Thank you Lord Jesus.
The composer of the music for this hymn is William Howard Doane. He was born on February 3, 1832 in Preston, Connecticut to Joseph Howard Doane and Frances Treat Doane. William was the fifth of eight children. At a young age, he showed impressive musical talent and by early adolescence he was playing the flute, violin, and double bass fiddle.
William attended the Woodstock Academy, a private secondary school in Woodstock, Connecticut affiliated with the Congregational church. He later served as choir director there. After graduation, he worked as an accountant for his father‘s company and then for the J. A. Fay & Company, a woodworking machinery company to which he ascended to its presidency.
On November 2, 1857, William married Mary F. Treat, the daughter of his father’s partner in their cotton manufacturing business. He became president of his father’s new company in Cincinnati, Ohio. During his time there, he developed more than 70 patents and numerous inventions, making those years the golden-era of the company. After that, Doan’s achievements diversified to become director of the Barney & Smith Car Company, which earned him “fellow” of the American Society of Mechanical Engineers, the American Geographical Society and the American Society for the Advancement of Science.
By 1879, his wealth accumulated enough for him to purchase the impressive “Sunny-Side” mansion, located in the Mount Auburn Historical District. William was raised a Presbyterian but chose to follow his mother’s preferred denomination—the Baptist church, which began a lifelong commitment by devoting his talents to being choir director, musical composer, and denominational leader.
Doane composed numerous hymn-tunes, edited 43 collections of hymns, and composed an estimated 2,300 works, including hundreds of original hymns and hymns settings. He is best remembered for being a long-time collaborator of Fanny Crosby, having written the music for 1,500 of Crosby’s poems. He also composed secular, instrumental, vocal, and choral works as well as several cantatas.
Doane served as superintendent of the Sunday School program and was choir director at the Mount Auburn Baptist Church in Cincinnati. He also headed-up the Ohio Baptist Convention Ministries near his Sunny-Side home.
Some of his philanthropic works include: Denison University, Moody Bible Institute, and the YMCA. His daughter Marguerite
co-founded the Association of Baptists for World Evangelism in 1929.
William Doane died in South Orange, New Jersey, on December 24, 1915. He is buried in Spring Grove Cemetery, in Cincinnati.
(Biography of Gospel Songs & Hymn Writers by J. H. Hall 1914)