This Is My Father's World
Text by Maltbie D. Babcock (written c.1901, published posthumously). Tune TERRA BEATA by Franklin L. Sheppard (1915). Both text and tune public domain in all jurisdictions.
Verse 1
GThis is my CFa-ther's Gworld
And Dto my list-'ning Gears
All Gna-ture Csings and Ground me Drings
The Gmu-sic of the Dspheres
GThis is my CFa-ther's Gworld
I Drest me in the Gthought
Of Crocks and Gtrees, of Dskies and Gseas
His Dhand the won-ders Gwrought
Verse 2
GThis is my CFa-ther's Gworld
The Dbirds their car-ols Graise
The Gmorn-ing Clight, the Gli-ly Dwhite
De-Gclare their Mak-er's Dpraise
GThis is my CFa-ther's Gworld
He Dshines in all that's Gfair
In the Crus-tling Ggrass I Dhear Him Gpass
He Dspeaks to me ev-'ry-Gwhere
Verse 3
GThis is my CFa-ther's Gworld
O Dlet me ne'er for-Gget
That Gthough the wrong seems Coft so Gstrong
God Dis the ru-ler Gyet
GThis is my CFa-ther's Gworld
The Dbat-tle is not Gdone
Je-Csus who Gdied shall Dbe sat-is-Gfied
And Dearth and heav'n be Gone
Structure
Playing Tips
🎸 Strum Pattern — Verse
This is in 3/4, so I play a waltz feel — down on beat 1, down-up on beats 2 and 3. That pattern gives it a gentle swaying quality that matches the imagery of the text. I have also played it with a fingerpicking pattern: bass note on beat 1, mid strings on beat 2, high strings on beat 3. That approach makes the room feel like we are actually outdoors. Either way, keep it light and unhurried. This hymn should never feel rushed — it is an invitation to notice, to listen, to rest.
🔊 Dynamics — Verse
Verse 1 is peaceful and observant — "to my listening ears, all nature sings." I start softly and let the sound grow gently. Verse 2 continues the same spirit — birds, morning light, lily white. Still warm, still unhurried. Verse 3 is the pivot: "though the wrong seems oft so strong, God is the ruler yet." This is where I feel the dynamic shift. We are no longer just observing creation — we are making a declaration in the face of difficulty. I let the guitar open up here. The final line, "earth and heav'n be one," I slow down slightly and hold the last G chord as long as feels right. That is the resolution the whole hymn has been moving toward.
→ Transitions
The waltz meter flows naturally from verse to verse without any awkward rests. I simply hold the G chord at the end of each verse through the breath and come back in on beat 1 of the next. If your congregation needs a moment to find the melody, playing the first line instrumental before singing can help — this tune is not as universally familiar as Amazing Grace, but it is immediately singable once someone hears the first phrase. We often play through verse 1 once instrumentally as an intro.
🎵 Band Direction
Keys: arpeggiated or block chords in the waltz pattern, warm and full. A gentle melody in the right hand adds beauty without cluttering. Bass: root on beat 1, simple fill on beat 3. Drums: if you use them at all, a light brush pattern on the snare and a hi-hat on beat 1 and 3 is plenty. I have led this hymn with just an acoustic guitar, and it was one of the most beautiful moments of worship I have experienced. Sometimes simplicity is the point.
🎤 Vocal
Key of G sits in a comfortable mid-range — the melody never goes higher than D4. Virtually anyone can sing this regardless of vocal experience. Female and male leads both work naturally. Capo 2 gives you A for a slightly brighter feel. Capo 5 sounds in C, which some congregations find warmer. Maltbie Babcock wrote the poem that became this hymn in the late 1800s. Before going out for his morning walk near Lockport, New York, he would tell his wife: "I'm going out to see my Father's world." He never saw it set to music — he died young, and Franklin Sheppard matched it to the tune years later. Verse 3 — "though the wrong seems oft so strong, God is the ruler yet" — was written by someone who still believed that, even though he did not live to see it resolved. When we sing that verse on a hard week, we are joining him in that same faith.