"Father, We Praise Thee"

Last year, I noticed two instances in "Father, We Praise Thee" where a melisma provides a sense of entirety for an "all."

The first instance is in the first line of the second verse.  "Monarch of all things, fit us for Thy mansions" is sung to this phrase from the tune "Christe sanctorum":

Here, "all" itself is sung with a melisma (F# E).

The second instance is in the last line of the third verse (also the last line of the hymn):  "Through all creation," sung to this phrase:

Here, "creation" is sung with a melisma (G F# E D), giving a sense of that modifying "all."  Since each syllable is sung to a different pitch and since the last note has a longer value, there's an additional sense of this entirety.

"Father Most Holy"

While working on the post about the Biblical sources of "Father Most Holy" last year, I noticed some small features in the hymn.  It's sung to the tune "Christe sanctorum"; here's the last musical phrase:

The end of the second verse calls the Trinity "Hope of all living."  "Living" is sung with a melisma (F# E D), musically giving a sense of the entirety of that "all."

The fourth verse ends with the lines "Glory we offer, praise Thee and adore Thee, / Now and forever."  Here, "forever" is sung with a melisma (G F# E D), musically giving a sense of duration.

The whole note in this phrase is the longest note value in the entire tune, and it also provides a sense of the breadth of "all living" and the duration of "forever."