others, respectable in character, and judicious in matters of this kind. From several of them he has received very valuable hints; and to the Rev. Dr. Griffin of Boston, and the Rev. Mr. Willard of Deerfield, he is under particular obligations. Upon himself, however, the responsibility of the work at large, both as to design and execution must rest. His Abridgment of Dr. Watts has been executed with a cautious and trembling hand; and, he would fain hope, in a manner not to offend the pious and judicious admirers of that justly venerated psalmist. In regard to Christian doctrine and sentiment, Watts remains unaltered and unimpaired; and in what is retained of his Book, even the verbal alterations are very few, and only such as seemed most obviously requisite.

It deserves particular notice, that the numerical designations of the psalms and hymns, parts and stanzas, retained, are the same as in Watts unabridged, and when the last verse or verses are omitted, the omission is denoted by a No confusion, therefore, need ensue in a congregation should the minister use this book, while the people are yet furnished wholly or in part with the common book.

The Selection of Hymns from various Authors has been made with laborious care; after a perusal of all the Hymns which the Compiler could well procure, and with repeated and solicitous revisions. To have adopted all the hymns extant which are good, would have swelled the book to an undue size. The design was to select a competent number of such as would form the best supplement to Watts; regard being had at once to intrinsic merit, to particular subjects and occasions, and to variety of metre.

Of Tunes as well as of hymns, it is much less easy to make a selection than a collection. It is not expected, indeed, that singing choirs will restrict themselves entirely to the use of the tunes contained in this book, even in the churches,or congregations in which the book may be adopted. The Compiler, however, is fixed in the persuasion, that these tunes are of the kind of musick the best adapted to general use in the house of God. While they have long borne the test of musical criticism, they are simple, easy, and grave; while they will gratify a highly cultivated taste, they may be performed without difficulty or embarrassing solicitude, by a common choir, and heard without distraction or wondering curiosity by a common congregation. He is also fully persuaded, and in this persuasion he is sure of the concurrence of the best judges, that the adoption of a few well chosen tunes for permanent use, would be vastly preferable to a great variety and a frequent change. The prurience, indeed, for variety and change is the bane of our public psalmody. It can never be sufficiently regretted that good tunes, as soon as the singers have learned to perform them with tolerable correctness, and just as the con

AA

gregation begin to be pleased with them, should be capriciously exchanged for others. Good tunes, to be performed with any adequate effect, must be perfectly familiar to the performers. It is impossible that a psalm or hymn should be performed with proper expression, when the tune is not familiar; and until singing choirs will be content with the use of a few standard tunes, not entirely excluding, however, the occasional use of others, Expression, that most important part of good musical performance, will be but little known. Besides, good tunes must be familiarized by use, before their beauties and excellencies will be in any good degree perceived and felt; the longer and better they are practised, the more they will be loved and admired; and when they are lightly esteemed, or willingly exchanged for others, it must be owing not to a familiar acquaintance with them, but to the want of such acquaintance.

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 adaption 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 Italick letter: viz. a-very soft; esoft; 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 intended, 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 expres sion, 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 reiative 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 will not be surprising to the Compiler, if not a few should consider all that he has done and said with reference to expression, as worthy of little attention: for he is fully. aware that, by a great majority even of singers in our country, this subject has been almost totally overlooked. He does, however, entertain the hope, that by some, and by many, it will not be lightly regarded. In this hope he is strengthened by the knowledge he has of a pretty extensive excitement, which promises well for improvement in this respect. Expression is certainly the very soul of good musical performance, and cannot be too earnestly recom

mended. In singing schools, and in meetings for singing, the practice has been to employ the time in merely learning, or rehearsing tunes, with very little attention to psalms or hymns. This is a capital fault. If in those schools and meetings, a due proportion of the time were employed in singing psalms and hymns, with particular regard to expression, the exercise would be vastly more interesting and improving. Such a practice would eminently serve to engage attention-to awaken thought and feeling-to cultivate judgment and taste; above all, to preserve the minds of singers from fickleness and levity-to embue them with the divine sentiments of Holy Song-and to impress them with the importance of singing "with grace in their hearts unto the Lord."

It only remains for the Compiler humbly to commend this Book 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 advancement of his great salvation, and to the glory of his adorable NAME.

See the explanation in the foregoing Preface. The

Preface should be read attentively.

PART I.

WATTS'S PSALMS ABRIDGED.

PSALM 1. C. M. York. Canterbury. [*] The Way and End of the Righteous and of the Wicked. LEST is the man who shuns the place,

1B where sinners love to meet;

Who fears to tread their wicked ways,
And hates the scoffer's seat.

2 But in the statutes of the Lord,
Has plac'd his chief delight;
By day he reads or hears the word,
And meditates by night.

o 4 Green as the leaf, and ever fair,
Shall his profession shine;
While fruits of holiness appear,
Like clusters on the vine.

p 5 Not so the impious and unjust;-
What vain designs they form!

d Their hopes are blown away like dust, Or chaff, before the storm.

g 6 Sinners in judgment shall not stand
Amongst the sons of grace,

When Christ the Judge, at his right hand,
Appoints his saints a place.

L. M. Quercy. Bath. [*]

The Difference between the Righteous and the Wicked.

1

APPY the man whose cautious feet,

Hur the broadway at sinners go;

Who hates the place where atheists meet,
And fears to talk as scoffers do.

2 He loves t' employ his morning light
Amongst the statutes of the Lord;
And spends the wakeful hours of night,
With pleasure pondering o'er the word.