284 HOLY BIBLE, BOOK ...159 IN THE CLEFT OF THE.... 72 IT IS WELL WITH MY.... 12 I ...... I am a stranger here.... 75 .131 I AM HAPPY IN HIM.. 192 29 I am so glad that our....184 ...... I LOVE HIM ...... GENERAL INDEX ... ..... J JESUS BIDS US SHINE.... .176 7 6 JESUS SAVIOR PILOT ME..232 1 48 22 ...... ....... ... JUST THE LOVE OF JESUS.. K I'LL BE A SUNBEAM.......160 KEEP THE HEART SINGING 86 .144 I'LL LIVE FOR HIM...... L I'VE FOUND A FRIEND...4-134 Lamp of our feet 32 IN HIS KEEPING. ..... ...... ...... MAJESTIC SWEETNESS MY JESUS I LOVE THEE...241 ..256 GENERAL INDEX .132 ODAY OF REST AND.. O GIFT DIVINE 263 ...... SAVIOR LIKE A SHEPHERD.243 THE FIGHT IS ON .211 34 HAPPY DAY ...... 93 194 THE OFFERING .......... 105 O WHERE ARE THE......120/ SOMEBODY NEEDS YOU.... 20 THE OLD BOOK AND THE..216 O ZION, HASTE Once Jesus was a child..162 SOMEBODY'S BOY THE SHINING SHORE.....135 PASS ME WOT 158 .... Sweet are the promises.. 90 325 P ....... B ..... Raise me Jesus TO THY..204 SAFELY THROUGH SAVED, SAVED SAVE ONE SOUL FOR..... ....... .... TAKE THE NAME OF...... 17 95 THE BANNER OF THE... .104 U 82 THE BIBLE .134 THE BIRDS' NEST 32 ...... 7 ....... ..102 WALK IN THE LIGHT.... 235 Weary gleaner whence..116 W 1. 2 V. GENERAL INDEX .152 WHAT SHALL THE..... Order of Service No. 1 (The names of Jesus) ...... ......319 Order of Service No. 2.. 320 Order of Services And seeing the multitudes (Matt. 5)....316 Blessed is the man.....281 XXIII. The Lord is my shepherd.287 Blessed is he XXXII. 290 LXI. LXIII. Responsive Readings Order of Service No. 3. YIELD NOT TO 327 Selected Psalms Y .321 LXV. Praise waiteth for thee..295 XCI. He that dwelleth in the..298 Blessed are the undefiled.303 CXXII. I was glad when they....304 CL. Praise ye the Lord.... 308 TOPICAL INDEX Advent (See Christmas). Assurance: 7, 8, 12 16, 25, Atonement: 6, 23, 36, 38, 46, 85, 105, 106, 108, 118, 125, Bible: 32, 103, 117, 119, 121, Evening Hymns: 2, 9, 33, 37, | Order of Services: 319, 320, Faith (See Trust). Duets: 7, 60, 66, 106, 116, 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, Fellow- Jesus: 2, 3, 4, 5, 7, 14, 16, 17, Heaven: 10, 51, 52, 67, 71, 73, 79, 81, 82, 95, 107, 108, Helpfulness (See Service). Holy Spirit: 30, 34, 42, 58, Invitation: 6, 13, 15, 16, 17, 27, 28, 43, 53, 56, 57, 59, 60, 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, TATAW Easter: 1, 11, 61, 70, 98, 189, 54, 57, 61, 64, 65, 70, 80, 86, Praise: 11, 44, 73, 108, 229, Savior: 4, 13, 42, 50, 62, 74, Service: 8, 16, 20, 22, 28, 35, Solos: 7, 10, 36, 42, 52, 54, Sunshine Songs: 62, 68, 74, Temperance: 15, 55, 63, 75, 86, 87, 104, 132, 140, 163, Trust: 4, 5, 7, 8, 12, 14, 16, 22, 25, 37, 42, 72, 76, 77, Warfare (See Conflict). Worship: 2, 3, 9, 11, 12, 31, ORCHESTRAL SUGGESTIONS 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 FIRST VIOLIN This part in most cases is a duplicate of the melody or soprano part of the hymn. Experienced players, who play fluently in the second and third positions, may play the part as if written an octave higher (8 vo.) which will add brilliancy to the general effect. This part may also be used for Oboe, C clarinet or C cornet. SECOND VIOLIN an This part is either a duplicate of the alto part, or when double stops are used, a combination of alto and tenor. Sometimes accompaniment figure of broken chords is used. Only experienced players should attempt to play double stops, as it is absolutely essential that all play in strict tune. Less experienced players should play "divisi," that is, divided into two sections, one playing the upper and one the lower part. VIOLA 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. This of course, is only a makeshift. CELLO 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. BASS The bass follows the vocal bass part as far as the harmonic basi is concerned. In many cases the rhythm of the vocal parts has not been adhered to in order that the general effect might be more sustained rather than the staccato effect inseparable from rapid passages when played on this instrument. FLUTE The flute is generally a duplicate of the soprano part in the upper octave. In many instances, especially in the more brilliant numbers, interesting chord figurations, scale passages and trills are included in order to enhance the general effectiveness of this instrument. Beginners may play the first violin part an octave higher than written. FIRST AND SECOND CLARINET 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. Most organs and pianos are now tuned to international pitch, so be sure that y 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 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 ornets 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. 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 general balance of tone. Great 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 |
0 Recenzii Recenziile nu sunt verificate, dar Google caută conținutul fals și îl elimină atunci când îl identifică Scrie o recenzie |