xt71jw86mg4j https://exploreuk.uky.edu/dips/xt71jw86mg4j/data/mets.xml Watson, Lindsey 1854 1 score, 272 pages, 16 cm. Call Number: M2117.W27 S56 1854 Donor: John Lair Music Collection (Fine Arts copy) scores (documents for music) M2117.W27 S56 1854 English J.P. Morton and Co Contact the Lucille Little Fine Arts Library for information regarding rights and use of this collection John Lair Music Collection Hymns, English The Singer's Choice: a Collection of Tunes, Hymns and Anthems, Original and Selected, Designed for Church and School Purposes, [1854] text The Singer's Choice: a Collection of Tunes, Hymns and Anthems, Original and Selected, Designed for Church and School Purposes, [1854] 1854 1854 2024 true xt71jw86mg4j section xt71jw86mg4j ‘ Hllllllmllll‘lfllll‘llflfllfl‘lflllllllllll(llllUllHlllHllllllllllll . ~

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THE

SINGER’S CHOICE:

A COLLECTION OF

TUNES, HYMNS AND ANTHEMS, ORIGINAL AND
SELECTED, DESIGNED FOR CHURCH
AND SCHOOL PURPOSES.

COMPILED, ARRANGED AND COMPOBED

BY LINDSEY WATSON.

 

“I will sing with the Spirit, and with the understanding also.”—1 COR. xiv. 15.

 

LOUISVILLE:
MORTON & GRISWOLD.

 

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Entered according to Act of Congress in the year 1854, by
L}NDSEY WATSON,
In the Clerk’s Office for the District of Kentucky.

 

From the Presiding Elder of Bowling Green District.

I HAVE examined the manuscript of a book of tunes and hymns
selected and compiled by Mr. L. Watson, of Hart 00., Ky., and 1
take pleasure in stating that he has displayed a highly cultivated
taste and a sound judgment in the preparation of the book. The
work. if published, would doubtless be useful and popular among
Christians of all sects, and especially among Methodists, from whose
publications the majority of the hymns are taken.

J. F. SOUTH.

GLASGOW, Feb. 19, 1853.

  

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PREFACE.

I run: no apology to make in presenting the following work to a
generous public. The great and increasing interest of the mass,
particularly the church, on the subject of music, has led me to make
this effort, and, if possible, to fill some of the vacancieS'left by. the
many and worthy musicians who have of late been successfully
laboring in the great and delightful field of music. There are many
excellent works on music, by eminent and worthy musicians; yet
there are many individuals calling for a work different from any yet
published. There are so many different notions in relation to church
music, that it would be a rare accident for one to please all.

I was, for a great while previous to my commencing this under-
taking, often solicited by many of my friends and acquaintances to
get up a work for church and school purposes, that would contain, in
well-arranged order, the most of the tunes generally used in our wor-
shiping assemblies, protracted meetings &c. I at length reluctantly
undertook the work, and the “Singer’s Choice” is the product.

In the selection of music, and the adaptation of words to music,
I have been materially aided by many ministers of the gospel, and
by many experienced musicians. Rev. William Gunn, than whom I.
more popular singer has probably never been in Kentucky, whose
Spirit is now at rest in the pilgrim’s home, singing where his lungs
will never tire, dilligcntly examined, and in many cases revised the
manuscript, inserting many of his choice hymns and tunes, which,
no doubt, will be readily recognized by all persons who were familiar
with his peculiar taste; but he was not allowed to live to see the
work completed.

Great pains have been taken with regard to the order of the work,
particularly in the arrangement of metre and matter. When a sub»
ject has been introduced in any metre, it is finished before another
is commenced. This arrangement suited my tastekbetter than to
have one h'ymn on one subjeét. and the next on. another, thus making
a perfect mixture of subjects. The work is free from sectarianism,
and nothing of the doggerel character has in any case been 1.156%}...
Some national pieces are used, but they contain dotting "derogatorv

‘9 \ hr

  

 

 

  

iv . PREFACE.

to the spirit of religion and morality; nor did I use them until ]
consulted eminent and talented preachers and others on the subject.

There is also a number of the popular choruses now in common
use, at protracted meetings and other places of revivals, also a num-
ber of the more lengthy pieces. anthems, &e. Some tunes are
original, and have never appeared in print before. I am opposed to
so much changing of tunes or harmonies, from the fact that such
changes often produce discords in congregational singing; conse-
quently, I have not changed the parts of any of the old music, in
any shape, but have used it as it has been learned by those that lead
in singing at church. There are many fine pieces of poetry in the
work, never before published, which have been furnished by various
ministers and others, expressly for this work. -

I do not suppose that the book is perfect; but I believe it will
render efiicient aid in acquiring a more correct knowledge of the
principles and practice of music, and in the discharge of the duties
devolving upon persons who sing at church.

I know that it is an easy matter for the critical and conceited to
find fault—far easier than to produce a work of this kind without
faults. Such as; it is, however, I submit it to a generous public,
hoping that it Wlll prove highly useful to these who wish to learn
music, and to the church. I now submit the work to the considera-
tion of the serious and candid, and humbly dedicate it to the service
of Him Whose eye is on the heart;

“ Whose frown can disappoint the proudest strain,
Whose approbation can prosper even mine.” ,
L. Wusox.

Louisville.

 

 PRINCIPLES OF VOCAL MUSIC.

IT is a truth that all science is founded on facts. and when stripped
of all their adventitious circumstances, and simplified and explained
in a clear and perspieuous manner, may be easily understood by the
learner. It is from a more perfect knowledge of these facts among
modern teachers of all sciences. that education is more easily obtained
in modern times, than it was in earlier days. Hence, the principles
of music, when well explained, are not as obscure as is generally
supposed by those who have never studied them. Modern writers on
the science of music commonly make four divisions in the principles
of music, viz:

1. Turn. 2. MELODY. 3. I‘IARMONY. 4. STYLE.

TIME.

TIME treats of the length of tones; thus, a whole note is equal to
two halves. We will new exhibit the length of all the notes now in
common use among singers.

Whole Note. Half. Quarter. Eighth. Sixteenth. Thirty-second. Sixty-fourth.
:1 .1 1 1 1 l
. 9 a, ”a 9999

Rests are marks of silence, and show that there must be a cessation
of sound for a definite length of time. The letter R stands for rest
in Numeral Music, and its length is known by the same marks that
the length of the notes is known. Here is a table of rests:

Whole Note Rest. Half. Quarter. Eighth. Sixteenth. Thirty-second. Sixty-fourth.
:R . R R R R R

9 99 '9” 99”

A piece of music is written on what is called a stafi, which, in
Numeral Music, are two parallel lines. The piece of music is divided
into strains; each strain is divided into measures, and each measure

 

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6 PRINCIPLES OF VOCAL MUSIC.

is divided in still smaller portions, called parts of measures. Here
is the staff divided into strains and measures:

Bar. Measure. Bar. Measure. Bar. Measure. Bar. Measure. Bar. Measure.

I l l I I ll

End of a. strain.

Thus, you see, the end of each measure is known by the single bar,
and the end of a strain is known by the double bar.

We know the length of the different measures by the number of
beats they contain ; thus, double measure has two beats, triple measure
three. Here is a table exhibiting the different modes of time :

Double Time. Triple Time. Quadruple Time. Double'l‘riple Sextuple Time.
l3;21|.2l.3l|l23|.45l.l-lll23-ll.5.5|:lll[23415-5-lll231561.5-.1-l|
20 Two Beats. 30 Three Beats. 4c Four Beats. ZBCTwo Beatsbc Six Beats. ‘

Double Time has two quarter notes, or their equivalent, in a measure,
and the time is performed with two beats, one down and the other
up. Triple time has three varieties. The first has three half notes,
or their equivalent, in a measure. The second has three quarter
notes, or their equivalent, in a measure. The third variety has three
eighth notes, or their equivalent, in a measure. All three varieties
of triple time are performed with three heats to the measure.

Quadruple Time has four quarter notes. or their equivalent, in the
measure, and the time is performed with four beats to each measure.

Double Triple Time has six eighth notes to each measure, and the
time is performed with two beats to the measure.

Sextuple Time has six quarter notes to the measure, and the time
is performed either with two or six beats to each measure, according
to the choice of the performer.

EXAMPLES ON THE DIFFERENT MODES OF TIME.

DOUBLE TIME.

SGdu du du (in (in du d u (111 d u du du
A 12|34|34|.5||naiee|5533|313l2-3|.1l.nu
9 9

 

<20 99”,

TRIPLE TIME.
5G (1 l u dlu dlu dlu d l n dlu din dlu dlu dludlu
A .1.2.3|:1-|| 1231.5-l 113355 .B-N123l15|4-l 1 [it-u
30 9,9997 999 a 7

First Variety. Second Variety. Third Variety. ’

 

 

 PRINCIPLES OF VOCAL MUSIC. A 7

QUADRUPLE TIME.
5Gdlru dlrn dlru dlru dlru (l l r u dlru dlru dlru
A 12311.4.3 | :2 | .n.3 | 4.53 | 22113355 .1.2 | .1-2 | .3-nu
4G 9 9 9 9 9 9 9 9

 

 

DOUBLE TRIPLE TIME. .
5G d u d u d u d 11 d u d u d u d u
[A 1323|135312- |1-n-|5553|n651|321-{ In“
[230 9 9 9 9 7. 9 9 9 9 9 7- 9

 

SEXTUI’LE TIME.
5Gdludluord u d u d u du d u
A 132154 | 321553 | .6-.5-| 131321 | .5-443 [ .2-.1-u
60

The letters set above the notes in the above examples show the
direction the beat is made, thus, (1 stands for the downward beat,
and u for the upward beat. In the example on quadruple time, d
shows the downward beat, 1 the left, r the right, u the upward beat.
All the rests in music should be timed as accurately as the music '
itself.

The common movement in heating time is equal to one second of
time; the slow movement is one-third slower; and the quick move
ment is one third quicker. Th: ‘ifl'erent movements are known by
certain letters placed at the rid” ‘of the time figures, under the
beginning of the parallel lines; thus, the letter a shows common
movement, the letter s stands for slow movement, the letter 0 for
quick, the letters SR slower, and QR quicker.

 

 

MELODY.

The second division in the science of Music teaches that some
sounds are higher than others; thus, 3 is a higher number than 1, and
5 a higher number than 3, and 8 a higher number than 5. The seven
primary sounds are higher in the same proportion as the numbers
are in counting, or as the numerals occur in counting from 1 to 7, as
is exhibited in the following series of sounds, except the two semi-
tones, whose places are mentioned in this example:

 

 

[56 lst Semitone. 2d Semitone. 1
A 1 2 | 3 4 | 5 c l 7 ll
20 Do Re Mi Fa Sol La Si D0

The syllables under the notes in this example, are the names we
apply to the figures when singing.
We discover from the above example that there are but seven

 

  

 

 

 

 

 

 

8 PRINCIPLES OF VOCAL MUSIC.

primary or principal sounds belonging to vocal music; but we may
repeat the octave a number of times. Two repetitions are, however,
as high as most of voices can sound distinctly. Here is the staff,
with the three octaves :

 

. Third Octave, 1 2 3 4 5 6 7 8
Second Octave, l 2 3 4 5 6 '1 "
First Octave, 1 2 3 4 5 6 7

 

The first sound, or tone 1. is the governing tone of the octave.
Each piece of music has its proper key note, or governing tone, and
each octave has its relative key or governing tone.

The grand octave always has the tone 1 for its governing tone, but
the plaintive octave has the tone 6 for its governing tone. We will
now exhibit the plaintive scale with its semitones :

I’LAINTIVE SCALE.

 

 

 

 

 

llP Semitone.- Semitone.
IA” I12|34ls56l1
[2—0 a 7 Do Re Mi m 501 La

La Si

PLAINTIVE SCALE, ASCENDING AND DESCENDING.

l?
A |12|34|356H65|43|21| n
23‘7”: - 7 6

The letter G, placed over the beginning of the staff, stands for the
grand scale, and the figure prefixed shows the altitude of the scale
the music is keyed on. Thus, the figure 5 and letter G sl10w that the
music is keyed on the fifth altitude of the grand scale. The letter
r stands for the plaintive scale, when placed over the beginning:r of
the two parallel lines or staff.

 

' EXERCISE IN MELODY.
I5G _ .1 1 1 1 1
A 13155|35| n 5|a’9|55|.3n

 

 

20
Morning bells I love to hear, Ringing merrily, loud and. clear.
\Ve discover in the examples of the two scales, as given above,
that the semitones occur at ditfcrcnt places in the two scales for we
find the first half tone in the grand scale comes between 3 and 4,
and the second between 7 and 3. But in the plaintive scale, the first
occurs between 2 and 3, and the second between 5 and G.

 

 PRINCIPLES or VOCAL MUSIC. 9

HARMONY.

When two or more tones are sounded at the same time. between
each of which there is not less than one tone and a half. the sound
produced by their union is called a concord. Thus. 1 and 3 produce "
a concord, and 1 3 and 5 do the same. Here is a table of coueords,
four parts :

 

 

 

 

 

 

 

1 1 11
13|5 | 5|31|.1|;35§ 1531.1“
1 1 =1 1

3511|1 |53|.3||5 |11| 5|.3n
1 y 1 1 1 ._‘
5 |13|31| 5|.on 113311 1.3”
t . 1.1 .1
1l35|53|1| |113l55|31|u

 

 

There might be a great many more examples used in this division
of the science, but this must answer our purpose.

STYLE.

Style, the fourth and last division of the science of music, teaches
that some tones are loud, and some soft—it teaches the strength of
tones. Tones should he made in a free, clear, and firm manner.
Tones have three degrees of loudness, and three degrees of softness,
as loud, louder, loudest; and soft, softer, softest. When a tone is
begun, continued and ended with an equal degree of force, it is
called an organ tone. A tone that is commenced softly, and gradu-
ally increased in force, and then gradually grows softer, is called a
swell, or an Eolian tone. A tone that is fortned of the first part of
an Eolian tone, is called an increasing tone. A decreasing tone is
formed of the last part of the Eolian tone. A tone that is forcibly
struck, is called an explosive tone.

When we sing, we emphasize and accent as in reading and speaking.
Emphasis is laying more than ordinary stress on certain tones used
to expteSs emphatic words, sentences, Ste. Accent is placed on
certain parts of the different measures. and is simply making some
tones louder than others, for the purpose of git/it’d,r force and meaningr
to the music. \Vithout accent. sine-in;r is not music, but is merely a
dull monotonous succession of sounds. Double time is accented
exclusively on the first part ofeach measure. Triple time has a full
accent on the first third, and half accent. on the second third part of

 

  

 

10 PRINCIPLES OF VOCAL MUSIC.

each measure. Quadruple time is accented on the first and third
equal portions of the measure. Double triple and sextuple time are
accented on the first and fourth equal portions of the measure.

The two last mentioned modes of time have six equal portions to
the measure. Double triple time has six eighths to the measure.
Sextuple time has six quarters to each measure.

There are certain marks or characters used by musicians for the
purpose of giving a more correct idea of the different sounds, such
as the swell, decreasing tone, &c. The following are some of the
characters used:

<>~ >—- < 3!!!

Eolian Tone. Decreasing Tone. Increasing Tone. Staceatoes.

0C

The breath should not be drawn in singing, any more than in
speaking, in the middle of a word; and when several notes are
applied to one syllable, there should not be any interruption between
them. but the several notes should be spoken smoothly, but not very
distinctly. Here are the general rules for taking breath while singing :

It should not be taken between two syllables of the same word.
It should not be taken between adjectives and nouns, nor licinccn
verbs and adverbs; neither should it be taken immediately after
propositions and conjunctions. The breath should not be drawn
oftener than the fullness and firmness of the tone requires. In
making vocal sounds, the sound should be made chiefly at the Opening
of the throat; the tongue, the teeth, the palate and lips should only
be used for the purpose of articulation, and the modification of sounds.
The best position for singers is standing erect, the head looking
directly forwards, and the chin a little raised, and the mouth duly
0 en.

The limits of this work will not admit all the rudiments of music,
but enough are used, if in the hands of a skillful teacher, for learners
to soon understand enough of the principle to do their own singing.
For a complete explanation of the principles of the Numeral System
the learner is referred to the Juvenile Numeral Singer, published by
Rev. Thomas Harrison, the patentee of the system.

/

 THE SINGER’S CHOICE.

 

l . AYLESBURY. S. M.
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l THE Lord my Shepherd is,
I shall be well supplied ;
Since he is mine, and I am his,
What can I want beside?
2 He leads me to the place
Where heavenly pasture grows,
Where living waters gently pass,
And full salvation flows.

 

 

 

 

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3 If e’er I go astray,
He doth my soul reclaim,
And guides me in his own right way,
For his most holy name.

4 While he affords his aid,
I cannot yield to fear;
Though I should walk through death’s dark shade,
My Shepherd’s with me there.

5 In spite of all my foes,
Thou dost my table spread;
My cup with blessings overflows,
And joy exalts my head.

6 The bounties of thy love
Shall crown my following days;
Nor from thy house will I remove,
Nor cease to Speak thy praise.

 

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THE smene’s CHOICE.

2-. IDUMEA. S. M.

 

 

 

 

 

 

 

 

 

 

 

 

 

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AND must this body die,
This well-wrought frame decay ’?
And must these active limbs of mine
Lie mould’ring in the clay?
Corruption, earth,.and worms,
Shall hut refine this flesh,
Till my triumphant spirit comes
To put it- on afresh.
God, my Redeemer lives,
And ever from the skies
Looks down, and watches all my dust,
’l‘ill he shall hid it rise.
Arrny’d in glorious Terrace
Shall these vile bodies shine,
And every shape. and every face,
Be heavenly and divine.
These lively hopes we owe,
Lord, to thy dying love:
0 may we bless thy grace below,
And sing thy grace above !

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1 THE SINGER’S CHOICE. 13
3. ALBION. S. M.
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1 THE praying spirit breathe,
The watching power impart;
From all entanglements beneath
Call off my anxious heart;
My feeble mind sustain,
By worldly thoughts opprest;
, Appear, and bid me turn again
‘. To my eternal rest.

2 Swift to my rescue come,
Thine own this moment seize;
Gather my wand’ring‘r spirit home,
And keep in perfect peace:
Surfer’d no more to rove
O’er all the earth abroad,
Arrest the pris’ner of thy love,
And shut me up in God.

\i

 

  

5|.6

THE SINGER’S 011010111.

4. GOLDEN HILL. S. M.

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AWAKE. and sing the song
0f Moses and the Lamb:

Tune every hea1t and every tongue,
To p1a1se the Saviour’ 5 name.

2 Sing of his dyinrr love;
Sing of his rising power;
Sing how he inteicedes above
For those whose sins he bore.

3 Tell, in se111phic strains.
Wh: it he has done for you;
How he has taken ofi 10111 chains,
And form‘d your hearts anew.

4 dis faithfulness prodaiin
\Vhile life to 1011 15 wiven:
Join hands and hemts to piztise his name,
’L‘ili 11e 1111 mect- in heaven

 

  

THE SINGER

5.

’5 0110103.

NINETY THIRD. S. M.

 

 

 

 

 

 

 

 

 

 

 

 

 

YE servants of the Lord,
Each in his office wait,
Obscrvant of his heavenly word1
And watchful at his gate.

2 Let all your lamps be bright,
And trim the golden flame;
Gird up your loins, as in his sight,

For awful is his name.
3 \Vateh, ’tis your Lord’s com-
mand :
And while we speak he ’5 near;
Mark the first signal of his hand,
And ready all appear.

4 0 happy servant he
In such a posture found !
He shall his Lord with rapture
see,
And be with honor crown’d.

 

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A CHARGE to keep I have,
A God to glorify;

A never-dying soul-to save,
And fit it for the sky;

To serve the present age,
My calling to fulfill ; -

0 may it all my powers engage,
To do my Master’s will!

2 Arm me with jealous care
As in thy sight to live;
And, 0 thy servant, Lord. prepare,
A strict account to give! -
Help me to watch and pray.
And on thyself rely -,
Assured, if 1 my trust betray,
I slzzill forever die.

 

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16 THE SINGER’S CHOICE.

7. BRIDGETOWN. S. M.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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TEACH me, my God and King,
In all things thee to see;

And what I do, in anything,
To do it as for thee;—

2 To scorn the senses’ sway,

While still to thee I tend:

In all I do be thou the way,
In all he thou the end.

3 All may of thee partake,
Nothing; so small can be,
But» draws, when acted for thy sake,
Greatness and worth from thee.

4 If done t’ ohey thy laws,
li’en sei-vile luhors shine ;
Hallow’d is toil, if this the cause,
The meanest work divine.
'5 Thee, then, my God and King,
In all things may I see;
And what I do, in any thing,
May it he done for thee I

 

  

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

THE SINGER’S CHOICE. 17
8. MILTON. S. M. CLARK.
30 A A
1) .353 | .5.4 |.3-|| 5 | 36.5 1 .554 | .3-11 3 {.5-5 | .5 .5|
40
3G ‘1 A AA M
A .131 |.5.e | .5- ll 5| 35 1 5432 | .1- ll 5 | .5-4 | 4321[
4Q
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[4o 7 .6 34 .5 .7-5
13G A AA
‘1) .4431 I .5-"3 ! :11 | :R I :n I .R-I "5 | 4336 | .5.4 | :3 ll
HQ LOUD. *
33c. 21 1 AA AA
lit .ev | .7-11 1.5-6 | 5321 l .4.3 | .2-[13 [4564 | .3.2 | :1 ll
5Q — . SOFT LOUD.
13c.
‘13 .4. 2|.5-u1|. 1- l.123|.2.1[ “ll/x I In“
4 05- 6504 0555

WELCOME, sweet day of rest,
That saw the Lord arise;

Welcome to this reviving breast,
And these rejoicing eyes!

2 The King himself comes near,
And feasts his saints to- day;
Here we may sit, and see him here,
And love, and praise, and pray.

3 One (1511 within the place
Which thou dost Lord, fiequent,
Is sweeter than ten thousand days
In sinful pleasures spent.

4 Mv willing soul would stay
in suchD 51 f151me as this,
And sit and sing heiself away
To everlasting bliss.

 

  

 

 

 

. s M“; ...~_, ._-..:,: when...“ ..

 

 

 

 

 

 

 

 

 

 

 

 

 

18 THE SINGER’S CHOICE.

9. SHIRLAND. S. M.
60 AA P P
1) .1} .132432|.3[{.3|.2.2|.3.2[.2n.11
4Q .7 ' ‘
60* AA P A AA P A
A .1[.2.3[425 |.1[[.1[2.5[36551l.5[l13f
4Q 7 7
60. P 1’
B .1; .1[ f §{.1( (.1.2[ u.”
4Q .5 .4. .5 .1 .5.7 .5

P

SGAA AA AA A
D 1 2|2113l3221l1 u {1236{.5.4|.3u
4Q 77 7 .7
(G AA AA AA P A
A 3224(433515443l32a.2[3456l.3.2l.1[g
4Q v
6G r
B [4.11 i t; l.1,.‘l l ll
45 .5 .5 .4 .1 .5 .5 3 4 .5 .5 .1

 

STAND up, and bless the Lord,
Ye people ofhis choice;

Stand up, and bless the Lord your God,
With heart, and soul, and voice.

2 Though high above all praise,
Above all blessing high,
Who would not fear his holy name,
And laud, and magnify?

3 O for the living flame
From his own altar brought,
To touch our lips our minds inspire,
And wing to heaven our thought!

 

4 There, with benign regard,
Our hymns he deigns to hear;
Though unreveal’d to mortal sense,
The spirit feels him near.
5 God is our strength and song,
And his salvation ours ;
Then be his love in Christ proclaim’d
With all our ransom’d powers.

  

 

 

 

 

 

 

 

 

 

 

 

 

THE SINGER’s CHOICE. 19

10. THATCHER. S. M. HANDEL.
6G A A A
1) 3|543|321| 1| |1 1|.12|.3n
3o .7 7 7
6G A A
A1I321|543|.2n |12‘3| |.1||
3c 5 .6 7
6G f"
B ‘1 | I II I A I I II
30 1 5 6 .3 4 .5 5‘3 2 1 .4 2 .1
63 A ’ A
113|3 6 5|.4 3|.2 3I'5II»5I4 3 6|.54|.3||
30
6G A
:xll54 31.2 ll 1].2||3]45o|.32|.1||
3o .7
6G
B 1I A I I I II 1I A I I II
30 1 2 3 .4 5 .5 5 .5 6 3 4 .5 5 .1
OVVHATataste is this I],

\Vhich now in Christ we know,
An earnest of our glorious bliss,
Our heaven begun below!

2 When he the table spreads,
How royal is the cheer!

\Vith rapture we lift up our heads,
And own that God is here.

3 The Lamb for sinners slain,
\Vho died to die no more,

Let all the ransom’d sons of men,
With all his hosts adore.

4 Let earth and heaven be join’d,
Ilis glories to display, ;
And hunn the Saxiour of man

kind
In one eternal day.

 

I

THEE, King of saints, we praise
For this our living bread ;

Nourish’d by thy preserving grace,
And at thy table fed.

2 Who in these lower parts
Of thy great kingdom feast,
We feel the earnest in our heami
Of our eternal rest.

3 Yet still a higher seat
We in thy kingdom claim,
Who here begin by faith to eat
The supper ofthe Lamb.

4 That glorious, heavenly prize,
We surely shall attain,

And in the palace of the skies
With thee for ever reign.

_. .. emmm. .

 

  

 

 

 

 

 

THE

12. GALANA.

SEN GLR S CHOICE.

S. M.

L. \VATSON.

 

‘GG

 

 

4C 1

6G

 

1") 7 I
40 .5 3 3 4
6G

 

 

C:
:51

A.1|556
40
6G
B l |11

40.15544:

 

THE pit\ of the Lord,
To those that fear his name,
Is such as tender pa1ents feel,
He knows our feeble frame.

2 He knows we are but dust,
Scatter’d with cverx l)1'e- -1th:

His anger, like a iising wind,
Can send us swift to Ddeath.

3 Our days are as the grass,
01' like the morning flower;
If one sharp blast sweep 0 61 the
field,
It withers in an hour.

4 But thy compass ions, Lord,
10 endless years endme,

And children’ s childlen ever find
Thy words of promise sure.

 

13. S. M.

COME, sound his praise abroad,
And l1_\ mns of vrlor _v sing:

Jehoxah is the sov ereitrn God
llie unix ersal Kin".

2 He form’ (1 the deeps unknown,
He gave the seas their bound;
The wat’ ry worlds are all his own,

And all the solid «r1'.ou11d

3 Come, worship at his throne ;
Come, bow before the Lord:
We are his work, and not ourown,

He form’d us by his word.

4 To-day attend his voice,
Nor dare provoke his rod ;
Come, like the people of'his choice,
And own your gracious God.

 

 THE [SINGER’

l4. AMERICA. S. M.

S CHOICE.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

A
I)? 2 1 2 .3- 3 1
‘D .6|66 ’l n | 653l.6-|In| :2 l
740
And am I born to die ’l And must my trembling
A
1p 1 .3- 5 32 1 A 1 2 2 2 5
A .c|e 76| u 1 9f‘7t;5|.o-n | 1
4c ,’ ,
To lay thifbody down?
1P 1
B .6| 656|.3-ll3|1233| ||1|5553|
40 V .6-
l? 1 3 3 3 5 3 3 3 l----‘
1) .n- n | | nv6|5 3 551.6"
40 ’
spirit fly
A
1? 3 3 3 l—s 1 2 .3- 5 3 2 1 A
A H96|53 I ll |”765|.Gll
4C 7 7 9
In - to a world unknown ”.1, Into a world unknown?
1? 1 A
Beocu |76533|.3-n3|1233| n
40 ’ ’ .6

 

A land of deepest shade,
Unpiereed by human thought;
The dreary regions of the dead,
Where all things are forgot!
2 Soon as from earth I go,
What will become of me?
Eternal happiness or woe
Must then my portion be!
'Waked by the trumpet’s sound,
I from my grave shall rise;
And see the Judge with glory
crown’d, ‘
And see the flaming skies!
3 How shall I leave my tomb—
With triumph or regret?

 

A'fearful, or a joyful doom—
A curse or blessing meet?

Will angel bands convey
Their brother to the bar’!

Or devils drag my soul aWny,
To meet its sentence there ’2

4 Who can resolve the doubt
That tears my anxious breast?
Shall I be with the damn’d cast out,
Or numlmr’d with the blest’!
I must from God he driven,
Or with my Saviour dwell ;
Must come at his command to
, heaven,
Or else—depart to hell.

 

  

 

., ...xw, :.-- .

 

22 THE SINGER’S CHOICE.

15. O SING TO ME OF HEAVEN. S. M.

ARRANGED BY L. “WATSON.

 

 

 

 

 

 

 

 

 

A A A § A
11’ 1 1 3-53321‘23- 3-533
A 3l“6,7’l6'll3'l 939la99 u 399‘
230 ’ ’ ’
O sing to me of heaven, W'hen I am called to die; Sing songs of
lP l—\ 1
B l6633| IIR-IG-’7’l336-|lG-33l
230 6 9 v 6- 9 9 ’
Sing,r songs, &c.
A A
1p 23 A 1 3-533 2123-
A ”Gill-’SR-RHSIG’3-"3IG-HR-l Hv|Hv u
230 ’ ’ ’ ’ 5‘ REP. 3 86 4s.
holy eestacy, To waft my soul on high, To waft. &c.‘
I? A REP. 3 & 45.
B 1133l63-Rll1|3333l un-|(;-33|11?-‘u
23C 9 9 9 9 9 9 9 6- 9 9

 

2 \thn colll and sluggish drops
Roll off my marble brow,
Break forth in strains ofjoyf'ulness,
Let heaven begin below.

3 When the last moment comes,
Oh watch my dying:r face;
And catch the bright seraphic gleam,
That o’er each feature plays.

4 Then, to my enraptnred car,
Let one sweet song be given;
Let music charm me last on earth,
And greet me first in heaven.

5 Then close my sightless eyes,
And lay me down to rest;
And clasp my cold and icy hands
Upon my peaceful breast.

6 Then, round my senselese clay, '
Assemble those 1 love,
And sing of heaven, delightful heaven,
My glorious home above.

 m..- “adv-1.. . . . . 1 ..~_. «— .»~