Cac Hymn 718 Yoruba Apr 2026

| 2. Emi Mimo, ma bo, wo okan mi mo; | Holy Spirit, come, cleanse my heart; | | Gbogbo ese mi nu, ese mi nu; | All my sins erase, my sins erase; | | Jesu gba mi o, gba mi o. | Jesus save me, save me. |

Future research should compare this hymn with Muslim Wird (litany) in Yorubaland and examine how CAC hymnody influenced later Nigerian gospel artists like Ebenezer Obey (who began as a CAC chorister). Assuming a tonic of F major (Yoruba tunings vary) cac hymn 718 yoruba

| Word | Solfa | Rhythm (12/8) | |------------|--------------|------------------------| | Ig- | d (low) | Quarter note | | -ba- | m (medium) | Dotted quarter | | -la | d (low) | Quarter | | ni | r (medium) | Eighth | | mo | d (low) | Dotted half (hold) | | fe | m (high) | Quarter (accented) | | Future research should compare this hymn with

Hymn 718 demands embodied salvation – the singer does not just think about grace; they enact the struggle for it. CAC Hymn 718 is not a translation of a Western text. It is an autochthonous creed – a musical summation of Aladura soteriology. Its repetitive cries, pentatonic contours, and direct address to the Spirit reveal a Christianity that has been fully indigenized. For the Yoruba CAC member, singing Hymn 718 is not performance; it is being saved again in real time. It is an autochthonous creed – a musical