phraseology of the hymns. In almost every instance of material change, an intimation is given of the fact-as on p. 676. The designation of tunes, and the application of the "Key of Expression " to the new Select Hymns, have, with a few exceptions, been made by an experienced teacher of sacred music. For the information of those who are not acquainted with "Christian Psalmody," it may not be irrelevant to state that the psalms and hymns of Watts, which are enclosed in brackets, are so marked, to indicate that they were, for some reason, omitted in that work. In regard to other points worthy of consideration, the Editor avails himself of the Preface to the former editions. "The effect of public psalmody is often exceedingly marred by a psalm or hymn being sung to an ill-adapted tune. The leaders of singing choirs are not always persons of good taste and judgment; and the best qualified leader cannot always, at the moment, so fully possess himself of the sentiments of the portion given out, as immediately to recur to a tune well suited to express them. It might, therefore, it was thought, be highly useful to sit down at leisure, and refer each psalm and hymn, not merely to a proper key, but to a suitable tune. "The grand defect of our public psalmody, in general, is the want of proper expression. Should a preacher deliver a sermon in an unanimated, monotonous manner, not varying the movement, or quantity, or tone of voice, nor even observing the pauses-be his sermon ever so good, or his pronunciation ever so exact-his hearers might sleep, and his labor be lost. So the best psalm may be sung to the best tune, and every note, in the several parts, be sounded with the utmost exactness, and yet the performance have little interest or effect. That performance of psalmody, and that only, is entitled to be called good, in which the movement, quantity, and tone of voice, are well adapted to the general subject, and so varied as justly to express the different thoughts, sentiments, and passions. This, it is confessed, is an attainment of no small difficulty; and requires no ordinary degree of judgment and taste, attention and practice. Its importance, however, demands that every thing which can be done in aid of it, should be done. To assist singers extensively, in this essential, but neglected part of good psalmody, no method appeared more eligible, than that of so marking the psalms and hymns by means of certain symbols, as to indicate, as correctly as possible, the requisite variations of movement, quantity, and tone of voice." "In assigning particular tunes for the several psalms and hymns, regard has been had, not merely to the different key, but also to the peculiar air and character of each tune, and its appropriate adaptation to the psalm or hymn for which it is assigned. If, therefore, in any instance, the leader of the choir, for some par ticular reason, think it not best to sing the tune, or either of the tunes referred to ; still the reference may be of use, as a direction to the sort of tune suitable to be chosen. "Of the several parts of this undertaking, that of marking the psalms and hymns with reference to expression, was not the least difficult. To indicate, indeed, all the variations, which a skilful and well-practised performer would observe, were impracticable; to designate some of the principal of them only, is what has been attempted. The method adopted for this purpose is simple, and easy to be understood. : "The movement is divided into five degrees, which are supposed to be indicated by five vowels, in Roman letter: viz. a-very slow; e-slow; i-common; o— quick; u-very quick but in the actual marking, the i is omitted; as it was deemed unnecessary for passages requiring only the common movement to be marked. The quantity of voice is also divided into five degrees, which, in like manner, are indicated by the same vowels in Italic letter: viz. a—very soft; e-soft; i-common, but omitted in the marking; o-loud; u-very loud. "In some passages, a variation is required both of movement and quantity. The Pathetic in general, and some other kinds of sentiment, require the slow and soft; this expression is denoted by the letter p. The Grand requires the slow and loud; this expression is denoted by the letter g. The Beautiful requires the quick and soft; this expression is denoted by the letter b. The Spirited requires the quick and loud; this expression is denoted by the letter s. "Soine passages require not any considerable change from the common, either In movement or quantity; but either a peculiar distinctness of utterance, or some peculiar distinction in the tone or modulation of voice. This expression, or rather these varieties of expression, are denoted by the letter d. This symbol is, indeed, not so much to indicate the particular manner of performance, as to arrest attention, and notify that some peculiar manner is required. Where it is applied, however, whether to passages marked as quotations, or to such as express abhorrence, scorn, indignation, or any other passion or feeling, the judicious performer will, in general, readily perceive the requisite expression. "If a psalm or hymn begins without any symbol of expression, it is to be considered as common, until some symbol is applied. When any symbol is applied, that is to be considered as being continued, until some other occurs. The short dash (-) after any other symbol, denotes the passage to be in all respects common. "The general character of each psalm or hymn, as before intimated, is intended to be designated by the tune, or tunes, to which it is referred; and in applying the symbols of expression, each passage of the psalm or hymn has been considered relatively to the prevailing character of the whole, and to the bearings of the several passages. Hence, some passages are marked differently from what they would have been, had the psalm or hymn to which they belong, been of a different prevailing character, or the passages with which they stand connected, required different kinds of expression. In some "In the Punctuation, regard has been had to musical expression. instances, therefore, different points or pauses are inserted, from what would have been used, had the grammatical construction, only, been regarded. The dash is intended to denote an expressive suspension. In order to good expression, a distinct and judicious observance of the pauses, is absolutely necessary. "In reference to persons, the relative who is preferred to that, because it is better for musical sound. For the same reason, in reference to things, that is preferred to which." "It only remains for the Compiler and Editor humbly to commend the work, in its several parts and forms, to the candour of the religious public-with the devout hope, that it will promote their improvement and delight in the high praises of GOD; and above all, to the favour of HIM, who is fearful in praises,' and whose approbation is the highest meed-with the fervent prayer, that, under his gracious blessing, it may contribute to the advancement of his great salvation, and to the glory of his adorable NAME." To these sentiments of a revered and beloved parent, I would humbly and cordially subscribe. Amherst College, Jan. 20, 1834. 1* SAMUEL M. WORCESTER. A TABLE, TO FIND ANY PSALM OR HYMN BY THE FIRST LINE. And will the God of........................... 174 Blest is the man who..... 51 Brightest and best of........... 659 404 ............ 618 Broad is the road.. 465 342 341 706 Behold, the grace.......................... Arm of the Lord..... BACKWARD, with... Begin, my tongue,. Behold the glories............. 552 473 Buried in shadows of........................ 640 262 415 Come hither, all ye...... 358 Come, Holy Ghost, descend.. 102 735 702 353 425 104 628 360 666 673 437 357 738 527 ...... 394 529 Behold, the lofty sky. 79 Behold the love.. 105 Behold the man! how....... 662 Behold the morning.. Come in, thou blessed............. 741 743 196 80 Come, let us anew.. 749 Behold the potter.. 351 Behold the rose.. Behold the Saviour at.......................... 684 Come, let us join a........ ....... 478 324 Come, let us join our cheerful..... 321 ..... 440 Come on, my partners... Page. 719 For ever blessed.. Come, sound his praise abroad.... 195 Come, thou long-expected Jesus... 602 ...... 519 For ever shall my.. From age to age exalt.. Fage. 275 180 574 Frequent the day of.. 736 628 216 556 230 257 702 722 433 419 516 Come, we that love the Lord...... 391 757 460 From year to year in........... Give to the Lord, ye sons......... Happy soul, thy days......................... 756 How sad our state by nature....... 428 412 How shall I my Saviour.. 556 ...... 275 How shall I praise.. .......... 397 ... 98 52 605 694 494 How shall my soul find....... In sin by blinded passions......... 531 How blest the righteous.. How, condescending and......... ............ 445 In vain we lavish out............. 296 476 In vain we seek for peace......... 667 249 I saw beyond the tomb............ 680 72 I send the joys of earth............ 380 435 I set the Lord before.............. 74 How heavy is the night........... 342 I sing my Saviour's............... 444 How helpless guilty nature........ 527 How honourable is the............ 295 How large the promise.. How long, O Lord.. How long wilt thou............... 69 It is the Lord, our Saviour......... 205 |