For example, the carol La nuit qu’il fut livré le Seigneur prit du pain (C3),[3] in which the melody is the same as Lavaromp ar chapeled stouet war an douar, as is also the case in Le pain que tu nous donnes (D83) (Gwerz ar vezventi), O viens, sagesse éternelle (E35) (O êlez ar baradoz), En toi Seigneur mon espérance (G7) (Me ho salud, korf va Zalver), Quand je viens vers toi (G 41) (Karomp Doue da genta), O Croix dressée sur le monde (H 30) (Me a laka va fizians), Jésus qui vit aux cieux (J10) (Kantik ar baradoz), Ami que Dieu appelle (S48) (Patronez dous ar Folgoad), Vous attendiez la promesse (E25) and Bénie sois-tu, sainte Église (K27) (Rouanez ar arvor), Seigneur, seul maître du monde (B24) (Kinnigom oll ar zakrifis), Seigneur que ta parole (A51) (inspiré de Pe trouz war an douar), Vous êtes sans pareille (V10) (la partition indique Air breton).
The carol Seigneur, en ton Église (D36) has also taken one of the two melodies from l’angélus Breton de Noël (Eun arhel a-berz an Aotrou), which is also that of Gwerz Zant Erwan.
[2] The cultural and religious importance of Breton hymns has been undeniable in Lower Brittany since the middle of the 17th century, due to the influence of the Church.
More than in other provinces of France, hymns were a better method used by Catholic pastoralists for catechesis for the then massively rural and illiterate population.
"The hymns of Dom Michel and Julien Maunoir, learnt by heart and sung for three hundred years by the Breton people, were their Bible; as they were not Protestants, they had no direct contact with Holy Scripture.
- Kantigou Brezonek Eskopti Sant-Brieg ha Landreger gant an toniou war gan, Saint-Brieuc, Prud'homme edition, 1934.
These notated collections do not include all the hymns, as some have their own unique melodies that are heard only in a single location and on the day of the pardon, and are therefore found on loose sheets.