the variety of good hymns, which are more directly suited o the circumstances of the times, and are also likely to be of permanent value. It was, however, impossible for him to obtain hymns of high character, for all the special occasions, which the diversified movements of the age have called into existence. He has endeavoured to pass by productions which are merely ephemeral; so that the new Select Hymns may more nearly correspond with those, which have received the seal of public approbation. High authority could be given to confirm his decision, in regard to almost every hymn, which has been added. Want of room compelled him to omit many hyinns, which other wise would have had a place in the Selection.—This edition will be found to be specially enriched with hymns, which relate to the life and glory of Christ,—the alarming condition of the unconverted, the feelings of the convicted and the penitent,-the diversities of Christian experience,—the benevolent operations of the church,-the institutions and ordinances of the gospel,-to times and seasons,~ more particularly, the solemn periods of sickness and death, eternity and judgment. Very seldom has the Editor allowed himself to make any alteration in the 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 particular 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. "Some 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 the Punctuation, regard has been had to musical expression. In some 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 ad. vancement 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. SAMUEL M. WORCESTER. Amherst College, Jan. 20, 1834. A TABLE, TO FIND ANY PSALM OR HYMN BY THE FIRST LINE. 63 Page. ACCORDING to thy...... 664 A charge to keep I have... 705 Adore and tremble........ 311 Alas! and did my........ 379 Alas! what hourly........ 542 All glory to the........... 493 All hail the power........ 521 All mortal, vanities........ 304 All ye who feel........... 689 All ye who love the....... 287 Almighty Ruter........... Although the vine........ 565 Am I a soldier............ 563 Amidst thy wrath......... 110 Among th' assemblies..... 174 Among the princes........ 179 And are we wretches..... 438 And is the gospel.......... 513 And let this feeble........ 644 And must this body....... 441 And now the scales....... 423 And will the God of...... 174 And will the great........ 594 Angels! from the realms.. 658 Angels, roll the rock...... 520 Are all the foes of Zion... 135 Are sinners now so....... Arise, my gracious God... Arise, my soul............ 424 Arm of the Lord.......... 618 As birds their infant...... 616 Asleep in Jesus, blessed... 759 As new-born babes........ 365 Assembled at thy great.... 734 At every motion of our.... 678 Attend, my soul.......... 507 Attend while God's....... 451 At thy command.......................... 486 Awake, and sing.......... 571 Awake, awake, each...... 681 Awake, my heart......... 302 Awake, my soul.......... 630 Awake, our souls!........ 312 Awake, ye saints......... 640 Awake, ye saints, to...... 262 Away from every......... 448 BACKWARD, with...... 318 Begin, my tongue,........ 415 Behold, how sinners...... 358 70 75 ...... Page. 79 105 Behold, the blind......... 454 ...... 552 Page. 357 Children of God, awake!.. 735 727 84 Page, Dismiss us with thy....... 587 246 489 676 180 For ever shall my....................... ........ 714 |