Let Us Oft Speak Kind Words
232

Text: Joseph L. Townsend (1849–1942; LDS)
Music: Ebenezer Beesley (1840–1906; LDS)
Tune name: BICESTER

The song of birds, the light of the morning sunbeam, the murmur of fountains— the most pleasant and universally loved beauties of nature— are metaphors for this hymn’s central message, the beauty and comfort of kind words. And here also is a perfectly matched tune, “sweet tones” of music to reflect the “sweet tones of the heart.”

Joseph L. Townsend was still living when George D. Pyper was writing Stories of Latter- day Saint Hymns in 1939. George D. Pyper wrote, “Brother Townsend is one of those who seek retirement in home life rather than publicity but at the solicitation of the writer, he very kindly furnished the information concerning the origin of a few of his songs.” Here is George D. Pyper’s summary of the information Joseph Townsend provided at that time about “Let Us Oft Speak Kind Words,” which had first been published in the Juvenile Instructor in 1879:

“‘Kind Words are Sweet Tones of the Heart’ [‘Let Us Oft Speak Kind Words’], one of the most popular and appealing of Brother Townsend’s songs, was composed while he was laboring in the superintendency of a very large Sunday School. He heard a number of fault- finding remarks among the people. It occurred to him how much finer it would be if he could hear kind words spoken oftener. With this thought in mind he wrote the song which has been translated into many languages. Some have called it his best sermon. It is said that it stopped the gossiping tongues of the people and produced a kindlier feeling in the town where he lived” (111–12).

This hymn is unusual in that the accompaniment of the verse section does not include the usual four parts sung by the congregation. Since the bass clef (lower) staff is for the accompanist only, the men of the congregation should sing either the melody or harmony line given in the upper staff. (The verse is marked Duet for this reason. In the 1950 hymnbook, the verse was written in a unison arrangement.) The chorus, marked Harmony, is written as usual with four parts. The effect of this contrast, when the congregation is alert to it, can be very striking: the verse is a sweet, lyrical reminder; the chorus is a more vigorous admonition, with fuller harmony and dotted rhythms.