xt74mw28d27n https://exploreuk.uky.edu/dips/xt74mw28d27n/data/mets.xml Hall, Jacob Henry, b. 1855 McPherson, John, fl. 1892, joint author Ruebush, J. H. (James Hott), 1865-1948, joint author 1892 scores (documents for music) M2117.H17 F6 English Ruebush-Kieffer Co Contact the Lucille Little Fine Arts Library for information regarding rights and use of this collection Glenn C. Wilcox collection Hymns, English Sunday schools -- Hymns Singing -- Instruction and study Fountain of Praise. For Sunday Schools, Prayer, Praise and Revival Meetings, 1892 text 128 pages, 15 x 18 cm. Call Number: M2117.H17 F6 Provenance: Wilcox, Glenn C Fountain of Praise. For Sunday Schools, Prayer, Praise and Revival Meetings, 1892 1892 1892 2023 true xt74mw28d27n section xt74mw28d27n  

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DAYTON, VIRGINIA:
'THE RUEBUSH-KIEFFEVR COMPANY.

 

 

 

 

 

 

 

  

 

 

 

 

 

  

 

  

FOUNTAIN OF PRAISE.

FOR

SUNDAY SCHOOLS, PRAYER, PRAISE
AND REVIVAL MEETINGS.

BY
J. H. HALL,

JOHN MCPHERSON, ..
:32; J. H. RUEBUSH.

PUBLISHED BY

Copyright, 1892, by THE RUEBUSH-K EEEEEE Co.

 

 MUSICAL NOTATION.

BY J. H. HALL.

-~~—-—+ <>z<> a—ww—

Lesson I.

1. Question. \Vhat is a tone?
Answer. A sound in which pitch is perceptible.

, 2. Q. How many essential properties has a tone, and
What are they ?
Four. Length, pitch, power, and quality.
. \Vhat does length mean?
The duration of a tone.
‘What does pitch mean?
The highness or lowness of a tone.
What does power mean?
The loudness or softness of a tone.
What does quality mean?
The character or kind of tone.
. How are the relative lengths of tonesrepresented?
By characters called notes.

8. .- How many kinds of notes are there in common
use, and what are they?

A. Six.
note, the eighth note, the sixteenth note, and the thirty—

second note.

7.

A.
Q

A.
Q.
A.
Q.
A.
Q.
A.
Q

A.

'8

EXAMPLE 1. SHOWING NOTES.

,Whole Half Quarter Eighth Sixteenth Thirty-sec-
note. note. note. note. note. 0nd note.
0 p p- p 5 5

l l l/ w b

The whole note, the half note, the quarter ‘

 

Lesson II.

. How do we represent the pitch of tones?
. By a character called the stafl“.

. Of what does the staff consist?

. It consists of five lines and four spaces. *
. What is each line and each space called?
A degree.

How is this staff enlarged?

. By adding short lines above and below.

EXAMPLE ‘2. THE STAFF.

Added lines above—~—

Sfll line.——~~ ......,___,________w_w__
1th line.
3d liner

>42) >20

>42 {>8

~ljirigggace above.

,i4th space.
__ 31] space.

2d space.

. _ Mp lst space.

First space below.

 

 

24! line.
lst, iine.

 

Added line bel. lbw.—

How many tones in the musical alphabet?
Eight.

\Vhat is this series of eight tones called?

The scale.

How are the tones of the scale named?

After the first eight numerals, 1, 2, 3, 4, 5, 6, ’7, 8.
What syllables are applied to the scale in singing?
The syllables Do, Re. Mi, Fa, Sol, La, Ti, D0.
The names of what letters are used as pitch

13.
14.
15.

16.

17.
name

eiO Pt? .549 Pic F920

9
A. The names of the first seven letters of the alpha—
bet, A, B, C, D, E, F, G. ‘
* As the eye can take in five lines easier than SIX, or more so
can it take in four spaces easier than six, as some have (izt). éee
Ex. 2.

U)

 

 RUDIMENTS OF MUSIC.

EXAMPLE 3. THE SCALE REPRESENTED 0N STAFF.

TD‘—&:f:i
5, 6, 7. R.

E, G. A B, C.

Mi, Fa, Sol, La. Ti D0.

M ee 1* ah,Solc Lab, Tee, Doe.

 

 

 

 

 

—A~ O

Numeral names. 1, 2,
Pitch names. C, I),
Syllable names. Do, Re,
Pronounced. Doe Ray,

3

is
and what are they called?
A. Two. Relative and absolute.
19. Q. \Vhat is relative pitch?
A. The position a tone occupies in the scale.
Q. \Vhat is absolute pitch ?
A. The fixed, unchangeable position of a tone, in-
dependent of scale relation.

20.

Lesson III.
Q. \Vhat is a measure ?
A. A group of beats.
Q. How is a measure represented?
A. By the'space between two perpendicular lines
drawn across the staff called bars.

EXAMPILE 4.

Bar.

‘21.

2'2.

MEASUREs AND BARS.

Bar. Close.

 

 

w". *u» fie -777 i— 7—— “... Fm, W", _. ._ .
{AI—MeasuraflAr —A~—Vleasure. —- -————Measure.—e%r
J

 

 

 

23. Q. What is heating time?
A. Indicating each pulse, or beat of a measure bya
certain motion of the hand.
24. Q. What is accent?

A. A slight stress upon a certain pulsation, or beat,
to mark its position in a measure.
25. Q. Into how many ways does music cause its beats
to flow, or group, and how?

Q. How many kinds of pitch ham we in music

 

A. Two. By an accented beat follou ed by an un-
accented beat, —~0r by an accented beat follow ed by two
unaccented beats.

EXAMPLE 5.
SHOWING SINGLE GROUP BE’UVEEN THE BARS.
Accented, unaccented acccu t.cd unaccented unaccented.
l-NW‘ . I,IAC_:_,_1_W' _4__;A_
l“ --1A01M—-7~C*~*-~6~ G——~—

1 ‘—
v

i

“5—“:

 

 

 

EXAMPLE 6
SHOWING DOUBLE GROUPS BETWEEN THE BARS.

Accented,unaccented,A. u-a. A. u—a. u-a. A. Mi. u—a.

i
Lesson IV.

. What is a measure having two beats called?

. Double measure.

. How do we beat time in double measure?

By two motions of the hand, down, up.

What is a measure having three beats called?
Triple measure.

How do we beat the time in triple measure?

By three motions of the hand, down, right, up.
What is a measure having four beats called ?
Quadruple measure. 1

How do we beat quadruple measure?

By four motions of the hand, down, left, right, up.
What is a measure having six beats called?

. Sextuple measure, or compound double measure.

. How do we beat sextuple measure?

. By six motions of the hand, down, left, left, right,
up, up,—or down, up,—comprehending three pulsations
to each motion of the hand

V

V

>40 we as ea eao es we >0

 

  

RUDIMENTS

Q. What is a measure having nine beats called?

A. Compound triple measure.

Q. How do we beat compound triple measure?

A. By there motions, down, right, top—comprehend-
ing three pulsations to each motion of the hand.

36. Q. What is a measure having twelve beats called?

A. Compound quadruple measure.

37. Q. How do we beat compound quadruple measure?

A. By four motions, down, left, right, up,——compre-
hending three pulsations to each motion of the hand.

38. Q. How are the various measures accented?‘

A. In double measure the first beat is accented. In
triple measure the first beat is accented. In quadruple
measure the first and third beats. In sextuple measure
the first and fourth beats. In compound triple measure
the first, fourth and seventh beats. In compound quad-
ruple measure the first, fourth, seventh and tenth beats
are accented.

39. Q. What are the signs for the difl'erent kinds of
measure?

A. The sign for double measure is the figure ‘2.
Triple measure the figure 3. Quadruple measure the fig-
ure 4. Sextuple measure the figure 6. Compound triple
measure the figure 9. Compound quadruple measure the
figure 12.

35.

EXAMPLE 7.
SIGNS OF THE DIFFERENT KINDS or MEASURE.

40. Q. What are the figures at the beginning of a com-
position called?

A. Measure signature.

Q. “That does the numerator denote?

A. The number of beats in a measure.

Q. What does the denominator indicate ?

41.

4‘2.

 

or MU_src'.

A. The kind of note which is reckoned to each heat
of the measure.
43. Q. If the lower figure is 2, what will be the beat
note?

A. The half note.
44. Q. If the lower figure is 4, what will he the beat
note?

A. The quarter note.

45. Q. If the lower figure is 8, what will he the beat
note.

A. The eighth note.

EXAMPLE 8. SHOWING MEASURE SIGNATURES.
Quadruple measure.

:e—w-g
8}
a

Triple measure.

 

 

 

 

 

Sextuple measure.

fi ,,
.4?____

 

 

to
AU ,. ____

 

 

 

Compound triple measure. Compound quadruple measure.

II 6) I]
[a
a; -
(u

 

 

 

 

 

 

 

 

 

Lesson V.

46. Q. What is the rule for applying words to music ?

A. Apply one word or syllable to each note.
Q. \Vhat is a slur ?
A. A curved line connecting two or more notes
which represent different pitches.
48. Q. What is a tie?

A. A curved line connecting two or more notes
which represent the same pitch.

47.

 

 ‘Rl'DlMl‘lN'l‘t‘ Ul“

49. Q. What is the rule for applying words when the
slur or tie occurs?

A. Apply one word or syllable to as many notes as
are thus connected.

EXAMPLE 9.
Slur. Tie

SHOWING SLUR
or Slur.

AND TIE.
Tie.

A

Q. What are rests?
A. Characters indicating silence.
51. Q. How many kinds of rests are there, and what
are their names?

A. Six. The whole rest, it the half, the quarter, the
eighth, the sixteenth, and the thirty-second rest.
52. Q. As regards duration, rests correspond to What?
A. To the notes of the same denomination.

men. A

- men.

5

0.

EXAMPLE 10 SHOWING RESTS.

‘Whole Haquumter Eighth Sixteenth Thirty-sec-
rest. 1est. 1est. ‘ rest. rest 0nd rest.

#1: 11 l
LessonVL

53. Into how many classes are human voices 1‘ gen
erally div ided, and what are they called?
A Four. Soprano, alto tenor and bass.

54. Q. What is the chief diflerenee between the voices
of women and men, as regards pitch?
A. Women’s and children’s voices are naturally an
octave higher than men’s voices.
Q. What is meant by Middle 0?
* The whole rest is also a whole measure rest.

1‘ For lessons in voice training, see “Practical Voice Cul-
ture.” by Hall & Ruebush.

55.

“ below it.

MUsic. 5

A. The pitch 0. which all voices have in (:0111111011.
It is the 1n1ddle of the great vocal compass, and ladies
can smg as many tones above it, as gentlemen can sing
Middle C is a low tone for women and :1 high

‘ tone for men.

56. Q. \Vhat is a clef?
A. A character used to locate the letters and deter-
mine the pitch of tones as represented by the staff.
57. Q. What are the names of the clels in general use,
and where does each locate Middle C. "

A The G clel', the F clet', and the C clef. The G
fixes middle 0 on the added line below, the F clef the
added line above, the C clef the third space.

EXAMPLE 11.
That}, or Sop. Clef.

SHOWING THE CLEFS.

The F, 01 Bass (lief. The G, or Tenor Clef.
Middle Cre—

_ Cafe—Iv—M— .-
I 1‘

*c 11132121: a!
7 , - -.__
EXAMPLE 12.

Posrrn N or L ETTERS ON THE STAFFS, WITH G AND F CLEFS.
e. Celt“. G

n _ ___
—U:

E

 

 

 

 

 

 

 

 

 

 

E
9——
~B C

 

[’1 A

F
DE
A

 

)\ ) 7
F Clef. Bliddle ~C-

Lesson VII.
Q. What is an interval?
A. The difference of pitch between two tones.
59. Q. How many intervals have we in the major scale,
and 110w are they measured 3
A. Seven intervals, and are measured by steps and
half— steps.

58.

 

60. Q. What is the order of intervals in the scale?

 

  

RUDIM ENTS OF MUSIC.

A. From 1 to 2, a step, 2 to 3, a step, 3 to 4, a half—
step, 4 to 5, a step, 5 to 6, a step, 6 to 7, a step, and 7 to

8, a half—step.
EXAMPLE 13.
SHOWING ORDER OF INTERVALS IN THE SCALE.

$1..

7

 

 

 

A
v

 

U
1, step 2, step 3, 2,2157}, step 5, step 6, step 7,;‘t‘gé'8.
Do, Re, Mi, Fa, Sol, La, Ti, Do.

0, D, E, F, G, A, B, C.
Q. What are intermediate tones?
A. Pitches introduced between the regular tones of
the scale where the steps occur.
62. Q. What are intermediate tones called; and how are
they represented?

A. Chromatit tones, and are represented by charac-
ters called sharps (fl), flats (b), naturals (h), double—sharps
(X), and double flats(bl7).

63. Q. For what is a sharp (if) used?

A. To make a degree of the staff represent a pitch
a half-step higher.

64. Q. For what is a flat (1?) used ?

A. To make a degree of the staff represent a pitch
. a half-step lower.

65. Q. For what is a natural (m used?

A. To make a sharper] degree represent a pitch a
half-step lower, (thus acting like a flat),——0r to make a
flatted degree represent a pitch a half-step higher; (thus
acting like a sharp.) '
EXAMPLE 14. THE NATURAL ACTING As.A FLAT.

:1—

-,,_:1'__ "A_ in

a #+——

61.

p. . St:
__ - —“i::fig‘"“i:j:
G, rfi, F, F, D,
Do, Ti, Ta, L., Sol,

 

 

 

 

EXAMPLE .15, THE NATURAL ACTING As A SHARP.

0, Bl), A, B, 0.
So], Fa. Mi, Fa, Sol.
66. Q. For what is a double-sharp (96) used ?

A. To make a degree already sharped, represent a
pitch a half-step higher, and is restored to the effect of a.
single sharp, thus:

67. Q. For What is a double-flat (H7) used?

A. To make a degree already flated, represent a
pitch a half—step lower, and is restored to the efi‘ect of a
single flat, thus:

EXAMPLE 16. DOUBLE-SHARP RESTORED.
film? I
-1 fig g

A- _ #w—O—X!‘

Gfi,
. ' Bi,

9

 

 

 

 

 

 

.3
F.
D0.
EXAMPLE 17. DOUBLE-FLAT RESTORED.

;l;——~}—.—.~+»_ =; A ——
W9-fi~-—C#P?dflN—fide—:e_—:I

 

l

 

 

 

 

 

T

13b, Ebb, Ab, Rb, G.
Sol, Sa, Fa, Sol, Mi.
68. Q. ‘Vhat are the sharps (hi), (5.6), flats (l2), (llb), and
naturals (h), occuring in a piece of music called?
A. Accidentals.
69. Q. How far does the influence of an accidental

extend ?
A. Throughout the measure in which it occurs, un-

less it is changed by another accidental-

 

6

 

 RUDIM l‘IX'l‘S 01“

Q. \Vhat is a Chromatic Scale?
A. A scale in which all the intermediate and dia-
tonic tones occur in successive order.
71. Q. How many tones, and how many intervals in the
chromatic seale ?

A. Thirteen tones, and twelve intervals of a half-
step each.
EXAMPLE 18. CHROMATIC SCALE ASCENDING.

’70-

c, 51.1, D, be. E, F, Ffi, o, efi, A, Afi, B, 0.
Do, Di, Re,1{i, Mi, Fa, Fi,So1, sa, La,Li, Ti, Do
EXAMPLE 19. CHROMATIC SCALE DESCENIHNG.

 

 

 

i
@9, ....._1

T712U 1;;
0Eh, 1), D1), (7.
Medic, Ra, Do.

0, B 13b,A, A12 1: (112,131.
Do, Ti Ta, La, Lay,h‘<>1\‘a, Pa- Mi,

Lesson VIII.
Q. \Nhat is a brace?
A. A character used to connect two or more stafl‘s.
EXAMPLE 20. SHOWING THE BRACE.
1 1
.... ‘ - fl “1 ,.,_,__+, A,

“ jg; ' ”1

 

 

_.,____.~__,‘_, In eg,
191
Chil - dren 0f
'1‘—
Tenoglll E

f ,
the heav’nly King.

 

1
_ :g:,é:jj:

 

.
1
1
1

— ——1———4+~~ 178. o,

 

L 1'

 

 

 

firms; 1; m
1 1
l I

1 T

MUSIC.

73. Q. What is the effect of a dot placed after a note
or rest ?

A. It adds one half to the rhythmical value of the
note or rest after which it is placed.
'74. Q. What is the effect of a second dot placed after a
note or rest?

A. The second dot adds one half to the value of the
first dot.

EXAMPLE 21. SHOWING THE DOTS.
A

Dot. Effect. Double dot. Efi'ect.‘

75. Q. What is a repeat, and what does it mean ?
A. A repeat is dots placed in the spaces of the stafi',
and shows that the passage is to be repeated.
76. Q. What does I). 0. mean?
A. Return to the beginning and close at FINE.
EXAMPLE 2:2. SHovviNG REPEAT, D. C. AND FINE.
Repeat. FINE. Repeat. D. C.

1 77. Q. “711th does I). 8. mean?

‘ A. Return to the sign (5:) and close at FINE.

. What- does the hold or pause, (m) denote?

1 A. That the tone indicated is to he prolonged at the
option of the leader.

EXAMPLE 23. SHOWING D.’ 8., 575' FINE AND PAUSE.
m FINE. D. S.

0 U

.., —... . ”Mm-M_MM -

 

  

8

79. Q. What is a triplet, and how indicated?

A. A group of three notes performed in the time of
two of the same kind, and is indicated by the figure 3.
80. Q. What is a unison passage?

‘ A. A passage in which two or more parts sing the
same tones.

EXAMPLE 24. UNISON PASSAGE, AND TRIPLETS.
\- 3 .

:Q’d
”J

 

 

 

 

 

 

 

 

 

 

81. Q. What is meant by the inclosed? ,1 Ist time.

{ 2d time.
A. It has reference to the first and second endings,
and in the repeat, omit 1st time, and pass to 2d time.

EXAMPLE 25. FIRST AND SECOND ENDINGS.

 

Ist time. 9d time.

Gome,come,come, sing ajoy-ful lay;
Gome,come,come, (Omit . . ) ’Tis our fes-talday.

2. Q. What is syncopation?
A. Commencing on an unaccented beat and contin-
uing it into the following accented beat, thereby tempo—
rarily changing the accent.

84.

 

i&c.

RUDIMENTS OF MUSIC.

EXAMPLE ‘26. SYNCOPATION.

 

 

Sing withfirm ac-cent the syn— co- pa- ted tones.

Lesson IX.

Q. What is a. key ?
A. A family of tones hearing a certain fixed rela-
tionship to each other.
Q. What is the difference between a scale and a key?
A. A scale consists of eight successive tones, while
a key has only seven, and may be arranged in any p0ssi~
ble order.
85. Q. ‘What is a. key tone?

A. The tone from which all other tones are reckoned;
the point of repose.
86. Q. How is a key or scale named?

A. A key or scale is named from the letter that is
taken as the key tone.
87. Q. What is a signature?
A. The Sign by which a key is known or indicated.
Q. \Vhat is transposition? *
A. Singing or playing a scale, exercise, or tune, at
a lower or higher pitch.
89. Q. that is modulation!

A. Going from one key into another during the course
of a composition.
90. Q. What is the rule for finding the key-note with

83-

88.

sharps as signature ?

A. The syllable Ti occurs on the same degree occu-
pied by the last or right hand sharp, and the key-note,
Do, is always found the first degree above the last sharp.

* To illustrate all transpositions, modulations, intervals. 83:.
Procure a copy of Hall’s Improved Musm Chart.

 

 RUDIMENTS

EXAMPLE 27. SHOWING KEY-NOTES. (SHARPS.)

91. Q. What is the rule for finding the key-note with
flats as signature?
A. The syllable Fa always occurs on the same de—

gree occupied by the last or right hand flat, and the key— ‘

note D0, is found four degrees below, or five above the
last flat, counting the degree occupied by the flat.

 

OF MUSIC,

EXAMPLE 28. SHOWING KEY-NOTES. (FLATS)

 

47 5 «Day—FM

_ _ _v e o“ _
__ __ ,_-‘~;L__¥_...AF A In ___ _ ,__,
#ié__3_z__;rr A, n}; 3 Fa“,

., “3'Z—iiFF‘ '

92. Q. In the absence of sharps and flats where do we

find the key-note?

A. On the added line below the stafi'and third space,

Gr clef ; and second space F clef.

EXAMPLE 29. SHOWING KEY~NOTE.
Do

‘ ___—ff3‘5‘ani .

 

 

(NATURAL. )
-0-

 

-C—

Lesson X.

EXAMPLE 30. SHOWING SIGNATURES AND KEY—NOTES

Key of C. G. D. A.

~fl-

IN THE VARIOUS KEYS.
E B.

Ffi.

* For complete scales em. see rudiments in “Star of Bethlehem,” by the same author.

 

 RUDIMENTS OF MUSIC.

LeSSOn XI.

93.

Q. What is a minor scale?
, A. A scale in which the intervals from one to three
and from one to six are minor.

94. Q, How many tones in the minor scale, and what
syllable is used as key-note?
A. Eight tones, and La is key-note.

95. Q. What is the order of intervals in the minor scale?
A. Steps must occur between 1 and 2, 1} and 4, and
4 and 5 ; half—steps must occur between 2 and 3, 5 and 6,
and 7 and 8; while from 6 to 7 must he a step and a
half—step, and 7 of this form of the minor scale is always
sharped.

96. Q. What is this form of the minor scale called?

A. The Harmonic minor scale. ‘*

EXAMPLE 32.

M F
PPP

Lesson XII.

99. Q. \Vhat do we understand by power of tones?

EXAMPLE 31.

 

 

 

 

1,5tep f2, half~3, step 4, step 5,half-G,step&7,half—8.
A, (B, step U, D, E step F a half— (lfistep A.
. La, 1‘], Do, lie, Mi, Fa step Si,‘ La.
1 97. Q. \Vhat is meant by relative major and minor keys,
or scales?

. A. They are so called on account of the close rela—
tion the two keys bear to each other.
98. 'Q. What is the rule for finding the key-letter 01' the
relative major and minor keys?

. A... Six of each major scale is taken as one of its rel-
ative minor scale, and three of each minor scale is taken
as one of its relative major scale, both scales, or keys,
have the same signature.

 

THE FIVE POWERS REPRESENTED.

101. Q. What does movement mean?

A. The rate of - speed at which a piece of music

A. The degree of stress or force used in their pro- sounds best.

ductlon. 102. Q. How many principal degrees of speed are there,
100. Q. How many principal degrees of power are and what are they?
there, and what are they called? A. Five. (1), Moderato, meaning moderate speed.

A. Five, (1) Pianissimo,orpp; meaning very soft. (2), Allegro, meaning fast. (3), Presto, meaning very
(2), Piano, or p; meaning soft. (3),Mezzo, orm ; mean— fast. (4), Andante, meaning slow. (5), Adagio, mean-
ing medium. (4), Forte, or f ; meaning loud. (5), For- ing very slow.
tissimo, or ff ; meaning very loud.

* There are other forms of the minor scale, but less frequently used; such as the natural and melodic form.

 

 afiTBEflUl’ZDAYsSQBOOLfls

By Rev. G. P. HOTT.

LATE in the year of 1781 Robert Raikes, of Gloucester, England, founded the first Sunday School.
Early in Old Testament times instruction had been given to the children, but not until the close of the 18th
century were any schools formally organized. Mr. Raikes was a printer by trade, and his business led him
into a part of the city where many children spent the Sunday on the streets in riot, playing at chuck and
cursing and swearing. To better the condition of affairs he hired four ladies to open on each Sunday a
dame School and instruct all the children he could send them. They‘were to receive a shilling each, and
instruct in reading and the Catechism. This was a beginning. An open letter published in 1784 drew gener—
al attention to the work. Schools sprang up in all the principal towns. A society was formed in London
in 1785 to promote the cause, which in a few years spent £4000 in paying teachers. Queen Charlotte ex-
pressed to Mr. Raikes her approval of his work. But to pay the requisite number of teachers was too
heavy a burden to be borne long, and in 1811 the schools in Gloucester were closed with many throughout
the kingdom. Who introduced gratuitous teaching is not known. It grew out of the same charity that in-
troduced the school, and accompanied the change from secular to religious teaching. This was affected
early in the present century. The Sunday School Union was formed in 1803. Schools were established
in Scotland in 1782. Some traces of Sunday School work are found in Ireland as early as 1770, but in
1785 the Raikes system was introduced.

Sunday Schools were introduced in the United States, first in New York in 1816 by some benevo-
lent ladies. America now leads the world in having about 7,000,000 of children enrolled in the schools.
In one century the number in the Sunday Schools increased from 7 to 14,000,000. The Methddist
Church alone in twenty —three years reported one half million converts from this source. It not only enrolls
the names of the poor, but the greatest men of earth aid in the noble work. Let- its songs be sung With
joy and its praises be heard in all lands, and let Him who first blessed little children have all the glory.

 

  

sEHOUIZCAmeOWPRZXflEE?

—A—m,®rm—

FOUNTAIN OF PRAISE.

“In that day there shall be a Fountain, opened to the house of David, and to the inhabitants of Jerusalem,
for sin and uncleanness.”—ZI£CH. 13: l.
R. A. G. IL A. GLENN.

 

 

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1. There’s . ' er flow - ing and free, Praise
Like the nngh . ' ‘ of 0 - cean a - long, Praise the
le - lu , us shout the rious news, Praise the
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full and free,
roll a - long,
glo - ries news,

0h, praise the Lord, Rich - est bless - ing free - _ly
0h, praise the Lord, Tell them of sal - va - tions
oh, praise the Lord, Free - 1y flows this bless - ed

Praise the Lord, oh, praise the Lord,

Praise the Lord, oh, praise the Lord,

Pralse the Lord, oh, praise the Lord,
Written for this bouk.

 

  

FOUNTAIN OF PRAISE.—-Conclu6.ed.

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off- eredthere for you and
Founb — am. in

Fouut - uin, let not. one re —

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fuse,

CHORUS.

Hal-1e - lu - jah, hal-le - lu

jah, hal - 1e - lu

sweet words and song, .> Praise theLord, ...............

3

0h, praise the

Praise t 1e Lord, oh,praise the Lord.
Praise the Lord, 0h,praise the Lord.
Praise the Lord, 0h,p1‘aise the Lord.

- jah, Let the peo— pf praise the Lord from shore to shore,
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AS WE PART.

“ Keep yourselves in the love of G0d.”———JUDE 1: 21.

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the might of Thv arm, Lead us all where the sweet wa-ters flow.
the blood that from Cal - v11. — lyfiowed, Lord, the least of us do not de—spise.
that land when the bright an — gels stand, There to meet and to part nev- er- more.

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cheer each been t, Give us peace and joy and gladness in all paths we go,
Lord, go with us, ev- er shield us, i

 

  

AS WE PART.—Concluded.

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Bless us all, great and small, Be our shield and great protector till Th'y home we know.
Now,dear Savmur, great Redeemer,

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PRAY FOR THE WANDERER!
Rev. G. M. HOTT. “ O God hear the prayer of Thy servant.”—DAN. 9: 17.
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in the dos - ert wildJValking a. drear - y way; Suff’ring and sin - de-flled; Go - ing a- stray!

’l‘en- der - ly bid them comeBack from sin’s Wilderness ;Come to our Father’s home, Saved by His grace:

. Plead now at mer - cy’s gate For each poor wand’ring one,Soon it will be
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too late, Life will be gone.

 

 

 

 

 

 

 

 

 

 

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Pray for the wan- der - er, Pray for the wan—Ger - er, Pray for the wan - der— er,

Go - ing a. - stray!
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 SAVIOUR, WASH ME IN THE BLOOD.

COWPER. “ As white as SHOW.”-—ISAIAH 1:18. 1 ‘ E. 0. EXCELL.

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There is a fount- ain filled with blood, Drawn from Immanuel’s veins ,}Saviou1', wash .....................

me
And sm— ners plunged beneath that flood,Lose all theirguilty stains.

2 The dy- ing thief ro-joiced to see, Tl1atFountai11,in his day,
' And there mayI, tho’ Vile as he, Wash all my sins a — way.

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Saviour, wash me in theblood,

 

 

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the blood, the blood of the Lamb Saviour wash me in the blood in the blood, the blood of the Lamb,

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ash me in the blood, And I shall be whit- er than the snow.
wash me in the blood, in the blood ,the blood of the Lamb . .

3 1—— -&°

From ‘ umphaut Songs,” by permission.

 

  

 

 

PEACE IN JESUS.

“My peace I give unto you.”-—JOHN 14: 27.

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0 the peacethatin Je-sus I find! Hmvit cheers me a -mid allmy care; It is sweet to the
. Yes I know thatmy Saviour is mine,’l‘hatHe nev- er will leavcme to die; Tho'in weakness I
. By His Spir - it He dwellswithmenow,And His voice is so gen-tie and still; As be- fore Him in
. Then still uear- er to Him muyl live; More and more of His love, is mypray‘r, Ev-’ry bless-ings I
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Rev. A. KENYON. J. E. HALL.

 

 

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sor- row—ing mind, 0 the peace, 0 the peace, That my
0ft - en re - pine He will fill all my soul by and by.
worship I bow. It is sweetio submit to His Will.
need will He give, And re - ceive me at home o-ver there.

In this precious salva- tion to share}

sweet peace, sweet

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peace, That my viour has given to me!
sweet peace,

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Saviourhasgiven to me! 0 the peace, 0 the
sweet peace, sweet peace,

 

 LAURA 2. 97.441“. L.

CHILDREN’S DAY CAROL.

( 01116 Y0 children hem-ken unto Ina—PS. 31: 11

J. H. RUEBUSH.

 

 

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Sn glo - ri ~ 011s per - feet the light,
RL-jOiC - ing and trust—mg His love.

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 CHILDREN’S DAY CAROL. Concluded.
ii
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These rad - i- ant, bios-souls all fash— ioned in Him 111111;: mes sn- 1:954 swwatt'i'mn :1 « hove.
He’ll guard us so ten -der - 1y ’11“ LL the law He 1:: iidvs 11s to 111: 111— s1 ms 01 rest.
May we at the last, be as gems in Hiscrown, A home with the 1111115011 ((1 “e $00k.

 

 

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OH WOND’ROUS CROSS.

“Look unto me and be ye saved.”—ISA. 45 : 22. I. CALVIN BUSHEY.

 

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I. W‘gén I sur . the ivond - 7rous messaew... w ch the
2. For - hid it, ‘ .. . that, I should boast,.......... Save in the
3. See from His His head, His 1’eet,............. Sor- row and

 

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Prince............ of 10 - ry died, ............... My rich-est gain...‘..... .. I count but.
death.............. of J l‘istour Lord, ............... All the vain .things,.. thatcharm me
love ................. flow ming’-led dow‘n ............... , Did e’er such love ..................... and sor - row

pour ‘. pride...,...........
' fi . ‘ blood ...............

sac -
thorns com - crown...............

Copyright, 15392, by The Ruebush-Kiefl‘er Co.

 

 

 OH WOND’ROUS GROSS. Concluaed.

CHORUS.

 

 

 

 

 

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REAP FOR THE MASTER.

. “ G0 work 10-day in my vineyard.”——MATT. 21 : 28.
CHAS. H. GABRIEL, J. H. HALL.

 

 

 

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