Hark! The Herald Angels Sing
Text by Charles Wesley (1739; 1707–1788), revised by George Whitefield (1753). Tune MENDELSSOHN adapted from Felix Mendelssohn (1840; 1809–1847), arranged William H. Cummings (1856; 1831–1915). Public domain in all jurisdictions.
Verse 1
GHark the her-ald an-gels sing Dglo-ry to the new-born GKing
GPeace on earth and mer-cy Cmild DGod and sin-ners rec-on-Gciled
DJoy-ful all ye na-tions Grise join the tri-umph Cof the Gskies
CWith the an-gel-ic host pro-Gclaim DChrist is born in Beth-le-Ghem
Refrain
GHark the her-ald an-gels sing
DGlo-ry to the Gnew-born King
Verse 2
GChrist by high-est heav'n a-dored DChrist the e-ver-last-ing GLord
GLate in time be-hold Him Ccome Doff-spring of a vir-gin's Gwomb
DVeiled in flesh the God-head Gsee hail the in-car-nate CDe-i-Gty
CPleased as man with men to Gdwell DJe-sus our Em-man-u-Gel
Refrain
GHark the her-ald an-gels sing
DGlo-ry to the Gnew-born King
Verse 3
GHail the heav'n-born Prince of Peace Dhail the Sun of Gright-eous-ness
GLight and life to all He Cbrings Dris'n with heal-ing in His Gwings
DMild He lays His glo-ry Gby born that man no Cmore may Gdie
CBorn to raise the sons of Gearth Dborn to give them sec-ond Gbirth
Refrain
GHark the her-ald an-gels sing
DGlo-ry to the Gnew-born King
Structure
Playing Tips
🎸 Strum Pattern
At 92 BPM in 4/4 this hymn moves like a joyful march. Use a down-down-up-down strum pattern and keep it consistent — the melody is busy enough that rhythm guitar does not need to add complexity. G-D-G-C-D is the primary cycle and it repeats with minor variations on the ascending "Joyful all ye nations rise" phrase which goes D-G-C-G-D. The Refrain is simply G-D-G and it is the simplest moment in the song — let the congregation carry it without extra strum pressure from the guitar.
🔊 Dynamics
Christmas hymns are often played at the same volume all the way through which makes them feel flat. Try this instead: verse 1 starts with full band at medium volume — the congregation is still finding the melody. Verse 2 pulls back to piano and acoustic only because the theology of "Veiled in flesh the Godhead see" deserves a quieter, more reflective posture. Verse 3 comes back with everyone together and the final refrain is the biggest and brightest moment of the song.
🎵 Band Direction
All instruments can come in from bar one — this hymn is celebratory from beat one. Drummer plays a steady march feel: snare on 2 and 4, bass drum on 1 and 3, hi-hat on all eighth notes. Bass walks the G-D-G root movement with energy. Piano doubles the melody in the right hand and comps with full chords in the left. Electric guitar can double the acoustic or hold sustained notes to fill the high end. The energy should feel like a celebration, not a performance.
🎤 Vocal
Charles Wesley packed enormous Christological content into this text. Verse 2 contains "Veiled in flesh the Godhead see / Hail the incarnate Deity" — one of the most compact statements of the Incarnation in all of hymnody. Do not rush it. Give your congregation a moment before verse 2 to take a breath and let the weight of that language land. The Refrain "Glory to the newborn King" is the release — everybody knows it and everybody wants to sing it. Give them space to own it.
→ Transitions
The obvious use is Christmas Sunday and Christmas Eve, but this hymn is a Christological declaration that works any time the preaching centers on the person of Jesus — His Incarnation, His divinity, His mission to raise humanity to new birth. We have used it as a declaration hymn on Easter Sunday following a sermon on Jesus as Emmanuel. The "newborn King" language also connects naturally to texts on the Kingdom of God. Do not limit it to December — it carries weight year-round.