Tomorrow Shall Be My Dancing Day

English Christmas carol For the choral work by Gustav Holst, see This Have I Done for My True Love. This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed.Find sources: "Tomorrow Shall Be My Dancing Day" – news · newspapers · books · scholar · JSTOR (February 2014) (Learn how and when to remove this message) "Tomorrow Shall Be My Dancing-day" is an English carol usually attributed as "traditional"; its first written appearance is in William B. Sandys' Christmas Carols Ancient and Modern of 1833. However, it is almost certainly of a much earlier date; Studwell (2006) places it in the 16th century. Cahill (2006) based on the phrase "to see the legend of my play" speculates that the text may be based on an earlier version associated with a mystery play of the late medieval period. Numerous composers have made original settings of it or arranged the traditional tune, including Gustav Holst, John Gardner (op. 75.2, 1965), Igor Stravinsky, David Willcocks, John Rutter, Philip Lawson, James Burton, Ronald Corp, Philip Stopford, Andrew Carter, Jamie W. Hall and Jack Gibbons. The verses of the hymn progress through the story of Jesus told in his own voice. An innovative feature of the telling is that Jesus' life is repeatedly characterized as a dance. This device was later used in the modern hymn "Lord of the Dance".

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Tomorrow shall be my dancing day; I would my true love did so chance To see the legend of my play, To call my true love to my dance;

Chorus (sung after each verse) Sing, oh! my love, oh! my love, my love, my love, This have I done for my true love.

Then was I born of a virgin pure, Of her I took fleshly substance Thus was I knit to man's nature To call my true love to my dance.

In a manger laid, and wrapped I was So very poor, this was my chance Betwixt an ox and a silly poor ass To call my true love to my dance.

Then afterwards baptized I was; The Holy Ghost on me did glance, My Father’s voice heard I from above, To call my true love to my dance.

Into the desert I was led, Where I fasted without substance; The Devil bade me make stones my bread, To have me break my true love's dance.

The Jews on me they made great suit, And with me made great variance, Because they loved darkness rather than light, To call my true love to my dance.

For thirty pence Judas me sold, His covetousness for to advance: Mark whom I kiss, the same do hold! The same is he shall lead the dance.

Before Pilate the Jews me brought, Where Barabbas had deliverance; They scourged me and set me at nought, Judged me to die to lead the dance.

Then on the cross hanged I was, Where a spear my heart did glance; There issued forth both water and blood, To call my true love to my dance.

Then down to hell I took my way For my true love's deliverance, And rose again on the third day, Up to my true love and the dance.

Then up to heaven I did ascend, Where now I dwell in sure substance On the right hand of God, that man May come unto the general dance.

The carol’s most memorable feature is its use of dance as a metaphor for Christ’s life – a daring choice for a 16th‑century hymn. By framing the Incarnation, Passion and Resurrection as steps in a divine reel, the song invites singers to feel the narrative rather than just recite it. That kinetic imagery makes it a natural fit for festive gatherings where movement and music intertwine, from choir rehearsals to community ceilidhs. The dance idea also resonated with later writers, most famously in the 20th‑century hymn “Lord of the Dance”, proving the concept’s flexibility across styles and generations.

If you’re planning a Christmas programme, the plethora of arrangements can be overwhelming. For a traditional parish choir, the easy‑going harmonisation by David Willcocks offers a balanced SATB texture that sits comfortably within a liturgical setting. A more adventurous ensemble might try Gustav Holst’s orchestral‑enhanced version, which adds brass flourishes and a light rhythmic drive – perfect for concerts with a full orchestra. Smaller groups benefit from John Rutter’s compact arrangement, which trims the repetitive refrain while preserving the song’s rhythmic pulse. Test the chosen setting with a short run‑through to ensure the tempo feels lively but not rushed; the dance metaphor relies on a clear, steady beat.

Listeners tend to focus on the jaunty melody and overlook the lyrical progression that mirrors the Gospel narrative. Each stanza is sung from Jesus’ own perspective, moving from “I was born a little child” to the crucifixion and triumphant resurrection, all described as steps in a dance. This first‑person storytelling adds a personal, almost intimate dimension that can be lost if the piece is treated as merely a festive filler. When performing, emphasise the shift in tone between verses – softer, reflective lines for the Nativity, then a more vigorous tempo for the Passion – to let the audience hear the full theological arc behind the merriment.