God Save the King

"God Save the King" (also known as "God Save the Queen" when the monarch is female) is the de facto national anthem of the United Kingdom. It is one of the two national anthems of New Zealand and the royal anthem of the Isle of Man, Australia, Canada and some other Commonwealth realms. The author of the tune is unknown and it may originate in plainchant, but an attribution to the composer John Bull has sometimes been made.

Beyond its first verse, which is consistent, "God Save the King" has many historic and extant versions. Since its first publication, different verses have been added and taken away and, even today, different publications include various selections of verses in various orders. In general, only one verse is sung. Sometimes two verses are sung and, on certain occasions, three.

The entire composition is the musical salute for the British monarch and their royal consort, while other members of the British royal family who are entitled to royal salute (such as the Prince of Wales, along with his spouse) receive just the first six bars. The first six bars also form all or part of the viceregal salute in some Commonwealth realms other than the UK (e.g., in Canada, governors general and lieutenant governors at official events are saluted with the first six bars of "God Save the King" followed by the first four and last four bars of "O Canada"), as well as the salute given to governors of British Overseas Territories.

In countries not part of the British Empire, the tune of "God Save the King" has provided the basis for various patriotic songs, ones generally connected with royal ceremony. The melody is used for the national anthem of Liechtenstein, "Oben am jungen Rhein"; the royal anthem of Norway, "Kongesangen"; and the American patriotic song "My Country, 'Tis of Thee" (also known as "America"). The melody was also used for the national anthem "Heil dir im Siegerkranz" ("Hail to thee in the Victor's Crown") of the Kingdom of Prussia from 1795 until 1918; as the anthem of the German Emperor from 1871 to 1918; as "The Prayer of Russians", the imperial anthem of the Russian Empire, from 1816 to 1833; and as the national anthem of Switzerland, "Rufst du, mein Vaterland", from the 1840s until 1961.

The text first appeared in England in the late 1590s, with the publication of William Shakespeare's play Richard III. In Act IV, Scene I, Lady Anne says to Queen Elizabeth: "Were red-hot steel to sear me to the brains! Anointed let me be with deadly venom, And die ere men can say 'God save the Queen.'"

In The Oxford Companion to Music, Percy Scholes points out the similarities to an early plainsong melody, although the rhythm is very distinctly that of a galliard, and he gives examples of several such dance tunes that bear a striking resemblance to "God Save the King". Scholes quotes a keyboard piece by John Bull (1619) which has some similarities to the modern tune, depending on the placing of accidentals which at that time were unwritten in certain cases and left to the discretion of the player (see musica ficta). He also points to several pieces by Henry Purcell, one of which includes the opening notes of the modern tune, setting the words "God Save the King". Nineteenth-century scholars and commentators mention the widespread belief that an old Scots carol, "Remember O Thou Man", was the source of the tune.

The first published version that resembles the present song appeared in 1744, with no title but the heading "For two voices", in an anthology originally named Harmonia Britannia but changed after only a few copies had been printed to Thesaurus Musicus. When the Jacobite pretender Charles Edward Stuart led the 1745 rising, the song spread among those loyal to King George II. The tune published in The Gentleman's Magazine in 1745 departs from that used today at several points, one as early as the first bar, but is otherwise clearly a strong relative of the contemporary anthem. It was recorded as being sung in London theatres in 1745, with, for example, Thomas Arne writing a setting of the tune for the Drury Lane Theatre.

Scholes' analysis includes mention of "untenable" and "doubtful" claims, as well as "an American misattribution". Some of these are: