Twila Paris
A majestic declaration of God's sovereign kingship rooted firmly in Revelation's throne-room vision. Four stanzas build a robust theology of divine attributes - kingship, lordship, majesty, holiness - with congregational accessibility and zero theological ambiguity. Theoctave leap challenges some voices but serves the song's upward, exalting intention. This is corporate doxology at its clearest, suitable for any service context where high Christology and Trinitarian worship need musical expression.
Five lenses
Each of the four stanzas draws from specific biblical texts celebrating divine attributes. The opening declaration echoes Revelation 19:6 and the throne-room worship scenes throughout Revelation 4-5. The second stanza's 'Lord of lords' language comes directly from Revelation 17:14 and 1 Timothy 6:15. The third stanza's 'bow down before the throne' mirrors Revelation 4:10-11 and Philippians 2:10. The final stanza's 'Hallelujah to the King of kings' combines Revelation 19:16 with the Hebrew liturgical acclamation. No lyric strays from biblical witness; the song is essentially a mosaic of throne-room worship language from Scripture.
The song presents a high Christology with divine titles applied to Jesus throughout. Each stanza emphasizes a different facet of God's nature: sovereignty (King of kings), lordship (Lord of lords), majesty (before His throne), and holiness (the Lamb upon the throne). The Trinitarian acknowledgment in stanza three ('Father, Spirit, Son') situates worship within orthodox Christian theology. There is no subjective emotional emphasis, no therapeutic self-focus, only objective declaration of who God is. The repeated 'we will' construction makes this a volitional act of corporate worship, not a feeling-driven response.
The melody is straightforward and hymn-like, with a stately pace at 68 BPM that allows for clear enunciation and congregational unity. The original key of D places the highest note at D5, an octave above the starting note, which is singable for many but excludes those with limited upper range. Transposing down to C brings the ceiling to C5, slightly more accessible. The melodic contour is simple, mostly stepwise motion with the one dramatic leap for emphasis. Phrasing is predictable and easy to learn. The four-stanza structure with no chorus means cognitive load is higher than modern verse-chorus songs, but the consistent meter and rhyme scheme aid memorization.
The lyrics are dignified, reverent, and theologically dense without being obtuse. Each stanza is a self-contained theological affirmation with internal rhyme and meter consistency. The language is elevated but not archaic, accessible but not casual. The four stanzas explore sovereignty, lordship, worship posture, and redemptive triumph in logical progression. Imagery is throne-room oriented throughout: King, Lord, throne, Lamb, hallelujah. There is no cliche in the pejorative sense; these are biblical formulas used with precision. The voice is entirely corporate and declarative, with 'we will' establishing collective intent.
This song invites few objections. The theology is transparent and biblical, the melody is singable if slightly challenging, and the structure is traditional. The only likely critiques come from those who find the language too formal or the octave leap too demanding. Both are minor and context-dependent.
Full analysis
This is a masterclass in biblical worship songwriting. Every line of the four stanzas draws from Scripture, particularly Revelation's throne-room visions and the New Testament's high Christology. The song applies divine titles from Revelation 19:16, Exodus 3:14, and 1 Timothy 6:15 to Jesus without equivocation, making a clear statement of His deity. The 'great I Am' phrase links the New Testament Christ to the Old Testament Yahweh, affirming continuity between the testaments. The third stanza's Trinitarian reference places worship within orthodox Christian theology, and the final stanza's focus on the Lamb upon the throne ties sovereignty to redemptive sacrifice. This is theology set to music with no ambiguity, no sentimentality, and no detour from biblical witness.
The structure is traditional: four stanzas, no chorus, hymn-like melody. This places cognitive demands on the congregation that modern verse-chorus structures do not, but it also rewards repeated use. Once learned, the song becomes a theological summary the congregation can carry with them. The 'we will' construction in every stanza makes this volitional and corporate, a congregation declaring together what they intend to do. This is not passive observation; it is active commitment. The song does not ask how we feel about God but declares what we will do in response to who He is.
The octave leap is the song's most notable musical feature and its most challenging aspect. It serves the text well, creating a musical climax that matches the theological climax of glorifying the King. But it also excludes some voices, particularly older singers or those with limited range. Transposing to C or Bb helps, and worship leaders can invite congregants to drop an octave on the high notes without shame. The slow tempo and hymn-style phrasing provide enough space for this adjustment to work organically. This is not a song that demands perfection; it demands participation.
For Baptist worship leaders, this song is a gift. It teaches high Christology, Trinitarian theology, and eschatological hope without needing explanation. It pairs well with Scripture readings from Revelation, sermons on the sovereignty of God, or Advent services that emphasize Christ's kingship. It also serves as a theological anchor in services that include more subjective or experience-focused songs. If your congregation sings only songs about their own feelings or needs, this song reorients them to doxology. It asks nothing of them except to declare who God is and to commit to glorifying Him. That is the heart of Christian worship.
Defense brief
Who raises this: Music directors concerned with vocal inclusivity, especially in aging or smaller congregations.
Not applicable; this is a practical concern, not a theological one.
The leap serves the song's exalting purpose, but worship leaders can invite the congregation to drop an octave on the high notes or choose an alternative key. Consider leading this in C or Bb to bring the ceiling down.
Who raises this: Those shaped by contemporary worship's relational and affective language.
Revelation 4-5 presents worship as awe-filled, majestic, and objective. Isaiah 6, Ezekiel 1, and Daniel 7 all depict throne-room encounters with God that emphasize His transcendence, not our feelings. The Psalms include intimate language, but also doxologies like Psalm 145 and 148 that focus entirely on God's attributes.
This song serves a different function than relational worship songs. It trains the congregation in objective doxology, reminding us that worship begins with who God is, not how we feel. Pair it with more intimate songs if your service needs both.
Scripture map
Primary foundations
Supporting connections
Story behind the song
Written in 1982 when Twila Paris was in her early twenties, the song emerged during a period when she was deeply engaged in Scripture memorization and personal worship, particularly drawn to the throne-room visions of Revelation.
Artist interviews from the 1980s
The song was released on the album Kingdom Seekers and quickly gained traction in evangelical and Baptist churches seeking substantive theological content in their worship music during the early contemporary worship movement.
Album liner notes and worship music histories
We Will Glorify became a staple in hymnals and chorus books throughout the 1980s and 1990s, bridging traditional and contemporary worship styles with its hymn-like structure and accessible melody, and remains widely used in churches that value doctrinal clarity in congregational song.
Worship music surveys and hymnal publications
Themes
Sermon series fit
Audience fit
Maturity
Suitable for all levels; the theology is robust but the language is accessible.
Age group
All ages, though younger children may struggle with the octave leap and theological density.
Service type
Traditional, blended, or contemporary services that include hymn-style songs.
Visitor-friendly
High. The theology is clear, the melody is singable, and the language is not insider-coded.
Special contexts
Ordinations, mission commissioning services, baptism Sundays, or any service emphasizing the sovereignty and kingship of Christ.
Similar songs
If you love this song
Majesty (Worship His Majesty) - Jack Hayford
All Hail King Jesus - Jeremy Riddle
Crown Him with Many Crowns - hymn
Revelation Song - Jennie Lee Riddle
If this concerns you
King of Kings - Hillsong Worship (more contemporary structure, similar theology)
O Come, O Come, Emmanuel - hymn (majestic but more narrative-driven)
How Great Thou Art - hymn (includes personal testimony alongside doxology)