What "We Will Glorify" means
"We Will Glorify" is a corporate declaration of Trinitarian praise that moves verse by verse through Father, Son, and Spirit, grounding the congregation's worship not in felt experience but in cosmic reality. Written and recorded by Twila Paris, the song carries the stately, measured quality of a hymn dressed in the accessible language of contemporary worship. The default male key is F, female key Ab, at a tempo of 84 BPM in 4/4 time. That tempo matters more than it might first appear: slower than the song is typically sung, it opens room for the proclamatory weight each verse is trying to carry.
Scripture threads through every line. Revelation 5:12-13 gives the song its setting, the throne room where every created voice joins the Lamb's praise. Philippians 2:9-11 supplies the logic beneath the chorus, that every knee will bow and every tongue confess. First Timothy 6:15 names the Lord of lords and King of kings whom the song addresses. Together those texts make "We Will Glorify" less a praise song and more a liturgical statement, a congregation locating itself inside the biblical story of worship rather than generating an emotional moment.
The title itself carries the weight of the piece. "We will" is future-tense commitment and present-tense declaration at once. Whatever circumstances have brought the room together, the congregation plants a flag: this is who we are and what we do.
What this song does in a room
Four verses sung in full creates something rare: a congregation that has theologically moved by the time the song ends. Most worship songs circle one idea. This one travels. The Father, then the Son, then the Spirit, then the communal declaration of the Lord of lords, each verse adds a layer that the next one assumes. By verse four, the room is not simply singing about God but has rehearsed the full sweep of Trinitarian identity.
The pacing carries this. At 84 BPM with a stately arrangement, the congregation cannot coast. Each phrase requires deliberate enunciation. That physical slowness produces an internal shift, words that land rather than blur. A room that sings this song all the way through will feel different at the end than it did at the start, not emotionally wound up but theologically settled.
For congregations unfamiliar with Trinitarian language in worship, this song does catechesis without announcing itself as catechesis. The verses teach; the chorus declares; the whole sequence forms.
What this song is saying about God
The song makes one central claim from three angles: God is worthy of all worship because of who God is, not what God has done for me in this moment. That is a significant theological move. Much congregational music begins with the human experience, need, longing, gratitude, and works toward God. "We Will Glorify" begins with God and works outward.
The Father is addressed as Lord of heaven and earth. The Son is the Lamb upon the throne, worthy to receive all glory, power, and praise. The Spirit is the Holy One. The cumulative effect is Trinitarian completeness, worship offered to the whole God, not a preferred attribute.
There is a strand of Revelation's throne room running underneath all of it. The song does not merely express personal devotion; it joins a worship that was already happening. That cosmological frame relocates the congregation from consumer of an experience to participant in something eternal.
Scriptural backbone
Revelation 5:12-13, Philippians 2:9-11, and 1 Timothy 6:15 anchor the song's claims.
Revelation 5:12-13 provides the image: the Lamb, slain and risen, receiving the praise of every creature in heaven and on earth and under the earth. The song's chorus is a direct echo of that scene. When the congregation sings it, they are not generating new praise but joining what the angels are already singing.
Philippians 2:9-11 supplies the Christological foundation: at the name of Jesus every knee will bow and every tongue confess that Jesus Christ is Lord. The song embeds that confession inside a corporate "we will," making the eschatological inevitable feel immediate.
First Timothy 6:15 names God as the blessed and only Sovereign, the King of kings and Lord of lords. That title, used in the song, connects the praise to the New Testament's high Christology and to Revelation's closing vision of the returning King.
How to use it in a service
This song is purpose-built for Trinity Sunday, but it serves any service that wants to reorient a congregation from personal need toward the character of God. Open a service with it and the theological frame is set before the sermon begins. Close a service with it and the congregation leaves having declared something larger than the morning's circumstances.
All four verses should be sung. Cutting to chorus-only strips the Trinitarian arc that gives the song its structure. If time is a constraint, this may not be the right song for that slot.
It pairs naturally with sermons on the Nicene Creed, the nature of the Trinity, or Revelation's throne room. The doxological energy connects to benediction and the sending of the congregation into the week. Consider placing it at the end of the set before pastoral prayer, where the room needs to settle into who God is before being sent.
Things to watch for as the worship leader
The tempo is the primary pastoral decision. Most settings rush it. At a faster tempo the words become a blur and the proclamatory quality disappears. Hold 84 BPM with intention and trust that the congregation can handle the space.
All four verses should be rehearsed so the room knows where it is in the arc. If the congregation only knows the chorus, the theological payoff of the final verse is lost. Project all verses, not just chorus.
The song can feel formal to congregations accustomed to looser contemporary worship. Lead it with conviction rather than energy. The stateliness is not a flaw to compensate for but the point. A worship leader who understands what the song is doing will transmit that understanding to the room without a single spoken word.
Watch for congregational drift in the later verses. The fourth verse carries the heaviest theological freight and arrives when energy might be flagging. A slight physical lean-in from the leader on that verse signals the congregation to stay present.
A note for the team behind you (techs, vocalists, band)
Piano and organ are the natural pairing here. If the room has both, layer them with the organ taking the low register and the piano carrying the melodic line. Keep the arrangement spacious; the song does not need to be filled. Four-part vocal harmony from the choir or vocal team will strengthen the proclamatory texture considerably, so prioritize that in rehearsal over instrumental complexity.
For sound tech: the tempo needs to feel unhurried but forward-moving. A click track for the band is worth it here to prevent the natural tendency to push. Keep the mix mid-range warm, avoiding a bright top-heavy feel that pulls the song contemporary when it wants to feel timeless. Room reverb more than a tight, dry mix.