IN THE CROSS ....... HOLY BIBLE, BOOK ......159 IN THE CLEFT OF THE.... 72 .193 IT IS WELL WITH MY.... 12 I I am a stranger here.... 75 I AM HAPPY IN HIM. ....... 31 .131 .192 29 JESUS BIDS US SHINE.....176 7 254 5 I am so glad that our....184 .... 81 I can hear my Savior...153 MAJESTIC SWEETNESS ....256 .....195 .275 N NEARER MY GOD TO THEE 239 NEARER STILL NEARER... 125 ...... 32 NEARER THE CROSS 274 52 NEAR THE CROSS .127 ... 53 No beautiful chamber....203 255 No DYING THERE .139 Lamp of our feet In looking thro' my tears 23 13 Columbia the gem of.331 GENERAL INDEX SAVIOR LIKE A SHEPHERD.243 THE FIGHT IS ON.......132 ● DAY OF REST AND......263 Savior thy dying love...129 The glory song O GIFT DIVINE HAPPY DAY 66 277 O HOW I LOVE HIM.. 211 ...... SAVIOR WASH ME IN THE.247 THE GREAT U LOVE THAT WILT NOT..245 Sing me the song my....208 ..... 19 PHYSICIAN...234 75 The Lord is in his holy..182 O SACRED HEAD NOw.....2571 Sing them over again to.121 THE LORD'S PRAYER.....180 73 O sweet is the story of.. 92 The love of Jesus O WHERE ARE THE......120 SOMEBODY NEEDS YOU.... 20 THE OLD BOOK AND THE..216 SOMEBODY'S BOY SOME DAY ...... 326 THE SHINING SHORE.....135 AND THE...207 O ZION, HASTE ........ 220 Praise God from whom..339 SUN OF MY SOUL........227 THE TEMPERANCE ARMY..330 32 170 Unanswered yet 28 THE CHILDREN'S HOSANNA173 UNDER THE SNOW........175 W .329 2 WALK IN THE LIGHT.....235 GENERAL INDEX 152 WHERE THOU CALLEST ME 34 WHAT SHALL THE....... Order of Services .327 1. Blessed is the man...... .312 ..310 ....318 309 .... .314 LXV. Praise waiteth for thee..295 CIII. .308 TOPICAL INDEX Advent (See Christmas). Aspiration: 21, 24, 26, 29, 33, Assurance: 7, 8, 12 16, 25, Atonement: 6, 23, 36, 38, 46, Bible: 32, 103, 117, 119, 121, Christ: 1, 11, 18, 25, 55, 61, Evening Hymns: 2, 9, 33, 37, | Order of Services: 319, 320, 40, 69, 110, 115, 123, 125, Faith (See Trust). Fellowship: 2, 4, 9, 18, 34, God: 8, 19, 37, 56, 58, 258, Grace: 19, 23, 41, 92, 122, Gratitude: 110, 122, 148, 156, Guidance: 3, 16, 18, 22, 32, Heaven: 10, 51, 52, 67, 71, Helpfulness (See Service). Holy Spirit: 30, 34, 42, 58, 321, 322, 323, 324. Patriotism: 331, 332, 333, 334, Praise: 11, 44, 73, 108, 229, Savior: 4, 13, 42, 50, 62, 74, Christmas: 1, 11, 96, 172, 198, Invitation: 6, 13, 15, 16, 17, Service: 8, 16, 20, 22, 28, 35, 203, 212, 213, 214, 219, 222, Closing: 17, 37, 40, 97, 123, 27, 28, 43, 53, 56, 57, 59, 60, Fellow- Jesus: 2, 3, 4, 5, 7, 14, 16, 17, Conflict: 15, 55, 64, 80, 104, Consecration: 5, 21, 24, 29, Cross: 36, 46, 71, 104, 127, Devotion (See Worship). Duets: 7, 60, 66, 106, 116, Easter: 1, 11, 61, 70, 98, 189, Joy: 1, 84, 95, 100, 245, 264. Love: 41, 47, 48, 49, 50, 66, 78, 91, 93, 102, 155, 187, Memorial: 7, 10, 16, 22, 26, Missions: 6, 20, 35, 43, 45, 47, 45, 57, 63, 65, 80, 87, 111, Solos: 7, 10, 36, 42, 52, 54, Sunshine Songs: 62, 68, 74, Temperance: 15, 55, 63, 75, Trust: 4, 5, 7, 8, 12, 14, 16, Warfare (See Conflict). Worship: 2, 3, 9, 11, 12, 31, ORCHESTRAL SUGGESTIONS This part has been written as a transposed violin part, sounding a fifth lower than it appears in print. The necessity for learning the viola clef, always an obstacle to violinists, has thus been done away with, and any violinist may now play this part exactly as if written for his own instrument. As the viola is larger than the violin, the fingers should be placed a little farther apart than on a violin. Viola players being conversant with the violin clef, must remember to read it as used on a violin. As the viola is a necessary component of the string quartette, this manner of writing for the instrument should help introduce it where the difficulty of reading the clef has been heretofore the main obstacle. Any fairly large violin may be strung and used as a viola where no viola is available. of course, is only a makeshift. CELLO This The cello is a free lance. Sometimes it follows the bass part literally again it follows the tenor, and still again it plays an octave lower in unison with the soprano. And at other times an independent obligato part has been considered more effective. Only an experienced cellist should attempt the cello part; a second cellist, or a less experienced one, should play the lower or bass part. This part generally forms a second or an alto to the flute part, although for the sake of interest the two parts sometimes are interchanged. In some cases an independent part consisting of melodic variations and accompaniment chord and arpeggio figures has been supplied to interest advanced performers. Beginners or second clarinet players may play from first or second cornet parts. Use care always to note first before playing, whether the part is written for B flat or for A clarinet. organs and pianos are now tuned to international pitch, so be sure that your clarinet is a "low" pitch instrument. It is difficult to play a high pitch instrument in tune, although it can be approached by drawing out the mouthpiece about one-half inch (approximately). A C clarinet should play from the first violin part. FIRST AND SECOND CORNET Most These parts are written upon the same staff and follow in general the soprano and alto parts respectively. Be sure, before playing, to note whether the part is written for B flat or for A cornet. Most modern cornets are provided with a quick change slide to A. Ascertain also if your instrument is in tune with the organ or piano. While the parts are written full, it sometimes during the verses and softer passadds to the general effect to rest ages, and then play the choruses, refrains and louder passages, thus adding the very desirable quality of contrast-high-light and shadow. Two cornets are amply sufficient to balance a dozen violins. THE TROMBONE The trombone is the cello of the brass instruments, though not nearly so nimble of speech, and much more grave and solemn of tone, especially in the lower reg ister. It is of admirable effect, when sparingly used, in the softer passages. Too much of the trombone tone is a grave fault in the orchestra as this instrument is unusually prominent and cannot be too carefully played. The two clefs are used so that, in the absence of a trombone, the treble reading the same as a Bb cornet. part may be played by a Bb baritone FRENCH HORNS These instruments when properly used, will serve to add fine mellow coloring to the lower register of the harmony. They are generally employed to duplicate the tenor and bass parts and will be found at their best when sustaining long notes, thus giving firmness and resonance to the harmony, as no other instruments. They should be employed wherever available as their use will enhance the effectiveness of the orchestra very much without disturbing in the slightest the Great general balance of tone. care has been taken in these arrangements to make all the horn parts easily playable. They should be used in pairs to bring out their best effects, but when only one is available, the upper part should always be used, as the lower one is often in unison with the trombone. PLACING THE Orchestras are usually seated in the form of a half circle, the higher strings (1st violins) in the middle and nearest the director, the lower strings (2nd violins, violas, cellos and basses) to the lett of the director as he stands facing the platform, the wood wind (flutes, clarinets, etc.) next the director on the right, then the brass (cornets, horns, trombone) still farther to the right. This order is the one usually followed as it gives all an equal chance to see the director. Undue prominence of any one instrument is generally (unless a solo part) an evidence of bad taste on the part of the player. In an orchestra, the clarinets, cornets and trombone should strive to subdue and mellow their tone in order that balance and orchestral blending may be possible. One trombone will balance a dozen violins. This book, "Joy to the World," is orchestrated for 14 different instruments. For list and prices, see title page |