ASHE EEATURTER whe AN Gospel Classics Arranged by Mark Hayes 12 Artistic Arrangements for Worship Services, Concerts and Recitals From my first memories as a child to my present career as a composer and arranger, hymns and gospel songs have been an important piece in the musical fabric of my life. I started playing piano for congregational worship when I was 13 years old. During my high school years, I sang in the church choir. While at college, I learned to arran; various choral groups. Shortly after graduation, my first collection of solo piano arrange ments for church pianists was published, fulfilling a dream of mine. hymn During devotional times, fivorite old hymns are often what I play at the piano. As an arranger, I look for ways to breathe new life into old gospel songs. As a worship leader, I receive immense satisfaction when I see worshipers respond to a new setting of an old hymn and experience its timeless truth in a fresh way. Despite the changes in worship that are occurring in churches all over the world, hymns and gospel songs—the music of our faith traditions important to us. These old melodies and messages connect with us on a deeply emotional and spiritual level. They feed and nourish our souls. are alive and well and still very ‘To that end, I am pleased to present this collection of clasic hymns and gospel songs—my first piano collection with Alfed Publishing. It’s always a challenge for me to find the “heart” of a song and express that in my own unique way. You'll find these arrangements, to be joyous, reflective, passionate and playful. May they delight your ears, stir your spirit, and feed your soul Daye ce co mac, Performance Notes . ‘He Hiwern My Sout HEAVENLY SUNLIGHT... 16 How Great THOU ART... - 56 T Witt Arist AND Go To Jesus we 22 Tt Fty AWAY... wee 31 IN THE GARDEN ....... = 26 Otp RuGGED Cross, THE 251 ON JoRDAN’s STORMY BANKS 47 Sweer By AND BY ....... oa ‘Ture Is 4 BALM IN GILEAD ..... = 36 ‘Wuen I Can Reap My TITLE CLEAR . -12 Wun THE ROLL Is CaLteD Up YonpeER . 41 About the Chord Symbols. a. 63) Hymn Texts cee 64 ACD reconiing of the selections contained in this book, performed en Rial ie te e ee Copyright © MMIIL by Alfed Publishing Co, Inc All rights reserved. Printed in USA. Wilts én sink oe maa,Performance Notes Sweet By and By .....0-+22++0003 ‘The concept of heaven probably means some- thing different to every person. In this musical representation, I've tried to created a state of peace and tranquility through the Iushness of the chords and the unhurried, undulating thythm of the eighth-note patterns. At measure 29, the time signature switches to which provides an almost lilting quality. The coda at measure 105 returns to a dreamlike, almost celestial state, with a simple ascending melody taking us to higher realms He Hideth My Soul .....----- 2-8 ‘The initial mood of this arrangement is one of delicacy and simplicity. Find a tempo that allows you to play the 16th-note passages easily and unhurried. Take time to read the text (p. 64) of this hymn, especially noting the joyous lift in the last verse so you may communicate that to your listener. The 32d notes in measure 56 fit easily under the hand, In order to achieve greater clarity, try raising your fingers a bit more when playing this passage, even though it’ fast. ‘When I Can Read My Title Clear . . . 12 ‘This hymn tune lends itself to a contemporary, rhythmic treatment that expresses the joy and wgerness with which we look forward to heaven. The left-hand pattern almost sounds like a drum cadence. Rhythmic stability is crucial here. Pay careful attention to the staccato artic- ulations and use the damper pedal sparingly. Heavenly Sunlight .......+-++++ 16 If ever there were a gospel song that is full of joy and happiness, this is it, As I set out to arrange this piece, I decided to give it a “happy” shuffle feel in $time, as opposed to its original § time signature. Keep it light and jazzy. Take care to emphasize the melody, which is usually in the top voice of the right hand, except at measures 38-51, In this left-hand melody section, tenutos indicate the melody. As with any rhythmic and syncopated piece, it’s crucial to keep a steady tempo. IWill Arise and Go to Jesus ........ 22 ‘This haunting melody lends itself particularly well to.a more romantic feel. The motive at the begin- ning is almost Chopinesque. Notice the tempo changes throughout. Play the section at measure 30 deliberately and passionately In the Garden . - ‘The introduction of this old gospel song is medi- tative, and has the intentional sound of Erik Satie’s Gymnopédies. V've written this arrangement in J instead of § to make it easier to read, but don’t be in too much of a hurry. Play it with a languid feel where appropriate. Feel free to move ahead in more of a waltz tempo at measures 60 and 83, then return to the original tempo at measure 105. You're walking in the garden, with all the time in the world, Vil Fly Away ....- et I'm not sure how I got the idea to set this great old gospel song in a quasi-ragtime* style, but T think it fits perfectly! The first statement is reflec tive and needs time for the “color” chords to resonate, Once you reach measure 17, cut loose and have fin! Keep a steady tempo. Because of the inner voices, take extra care to project the melody throughout. The stride pattern in the left hand is a prominent characteristic of ragtime and can be challenging. I would suggest some “eft hand only” practice until you can be consistently accurate with all those leaps. (Performance Notes continue on page 63) + Authentic rgsime splayed with even eighth notes; however, Trae an, sete oh” clohthe for a jazzier feel.im SWEET By AND By a i Joseph P. Webster Ww Arr. Mark Hayes Slowly (4 Eomai7 cm A meng 4 jai 3 3 2 { mf’ espressivo poco accel. eee | 2 a tempo Fat 2 poco rit, G6 oe « oc Gmnaio Gs mo Dm 6 eG 6 OG Conai? bmi Am DissEm? An? cp (a) [3] Gmaio mai? Ba o 2] aw aus? Disus DTG Emo ‘moving ahead 25) cma Ba? Ant co > a Faster (¢ = ca. 100) 29) ‘Goal? “Am? Gmaj? C2 An? BD Chas DT Bn? EmT/B Bai? 2 poco rit, atempoDRG DIavA om or cmos 7 Gp Slightly faster (« = ca. 116) « Bai Ey Ant mf iting — AmiG cw bao Gnaio Amb Da Gao Dat a cma? ] oo» fe en AmtiD an cw maim op Buyo cm ‘rese. poco a pocoa tempo @) Bo 56 5 BaD co? ByG Be 7] ie By BF Bona BOF " Boss »93] Dies) Bima? EnT6s) C151) C9 cd lems Gn ba 101 Slower (¢ = ca. 88) ni6s) BHD BF 109]: HE HIDETH My SOUL ae & William J. Kirkpatrick ’ Moderately (4) = a. 120) ‘Arr. Mark Hayes Caja am] chic Frajti6) pedal ad tib. a tempo Ce cain oe op cm eo espressivo eo ‘ cy Denia, Fan765) . FIG o 2 z © o ony am 2G CG Ent Gus Gf cmp 9 AG aS com © F Dat oe oo Grog a fa] cor Faas Coit Frets R a tempo 12 poco rit, a tempo Din Goins BuIA Bin FevAs 29 BiG IG Dix Dye hm? IAS Gaal Een? Dantas cub aD ar Fie> Aim DB G6 & Bm? DIaIAD DWA> Dit GIN AST 7 r ano . | SS ; . pb DoD Goa? En6/G DIF DIE Fm DIC BAP BING) BS fw Em A) AP b or Emi GTDUA as D Em? GA D c Enya a9 Dmg Ginaitia z DIA DIA. Am? DTA Gn Das DFE Slightly slower De ° Bo Gms > be > 6a‘WHEN I CAN READ My LITLE CLEAR & Scottish Melody ae Arr. Mark Hayes Moderately (+ = ca. 100) rr, Mark Hayes Dm Ramaj? Cis) 2 pce: amp rhythmic and crisp pedal ad lib. “ae eo S R Bye F RP BE 3] He Gmc © ilop Domai? omic Fe Dm FC Gn Coe) Crus Gmc 2s BoA. Gm we a. Be oma] ae Bac HC Cn Bom op bm % we mee Bc 37 F FE Dm FIC be BA Gn? F Fac Bae Fe c R Pee rap Fc Dm 5 B 3] Got cies yc Cer ep COE oD) G Gms] c_- cms cw. op D ms ort mt op cma Ba? Em c D cp e DG OG G GD cp cp D> « Em F c Am? © Dus DD Ges) Gai o Amc Guus CF FA AmtHEAVENLY SUNLIGHT a E SY George Harrison Cook - } rr, Mark yes Moderate shuffle feel (4=ca.120) (¢9=4 ) ‘Arr, Mark Hay Gmaip majo mit Gna map Gavia Dr bo? Ent Zoom a Am? GBC AUK AnD @ 5 Bm] em Ant Gausia DrBu? En? Am? br « Am? ABT ow or © Bu? Amt Amc Bat pedal ad lib. a En 6 Bere En? AD Amt Fal GBC ATIC Dita a = Ee Ant bra But En? Am? Am DT c Amt at Amt Amt Gouin cp melody c But Ent Bm Ema Ent ar #) anit on © ATK Ana « Bm Eat oO Bm emt Anter Amt Diss Ena op En? ar F cases Dr a Em? An br nai En? Am BimiD AnD G AMG BwiG AMG Ga i majo Amal GmaigD Ans Ant Boni Gap D Anais bring out melody » 7 AES Be Anu Bu?57] cut Fn? Ai Fa {100} ANB Bo Bint Cm Da & aS Abus E Ta % ses Ab & x Ther & Fat Be Br a Fu? DB Bw BT 107] oo » F Bin/E> E59 AS Bin? BET ANC Db Bl? ATS) AbI WILL ARISE AND GO TO JESUS as Southern Folk Melody \S Stowly (J =ea.69) ‘Arr. Mark Hayes En ome Bot En ceu705) NC fee 3 2 pedal ad lib. Ed 5] cmir De Bo op Am? ow FanT68) 3 2 Faster (d =ca. 88) ros » en eS En c Bus BT ita] Em Ey cmt Ent a Envpoco rit. EF] ae Bn car crese. € poco accel. 1s Slightly slower (6 =ca. 80) Emp Se? emt vt i . 33] cewos) coi? pe Ba? AmSlightly faster (+ = ca.88) Eng Cmhaes) Eng R Gna? Ant GB Ame B Gmait @ AnG cf Em > ‘Cmsj ads Cai? BT ica] ean em ke ; aos Foal? Fo AWE Dm Amv F Fo ‘tempo EIGE Am se AmG DmvF i) IDm? Amc EsuyB B65) . atempo ns Am mo] GE Emi Fimo) Fai? on 2 Fa] ome or Awl Dat B79) Drv Eas P motto rit.IN THE GARDEN Xs Ww C. Austin Miles Slowly, unhurried (4 =a. 80) ‘Art. Mark Hayes Caja) of cmajpasisy Fm§ Em? * ib, Slightly faster ( oq] ig Dat ap GH cmd 7 Caio Gu coe Dnt a Am’ Dati a Am Ani 2 maim pe or AWG G13) G8Domai?) FG GIs Gh Gna? HG aw Bits) B foe Slower (d =a. 92) FB] Ama mami) cae a 1 311) BS og Dave ES] cg Gmc oS ogB76) E DE EW? Amz? am GB Drsus bo or FENG e Faster (+= ca. 104) Dani cis) Ge eT a oneal A rit. | joyously Dm ——-Dminajt) FIG OS GRE 5 bw naj? BG Bai765) BiFsyE Fanos)Slower (« cue ca. 92) moving ahead fm Goss Aon, cresc. poco a poco aa . Bit36) bio 5G C co B SDF motto rit, —— tempo & Per BaF Bs ow Gi Gwe cm Ba Td F 2Aid Aino Sra Slower (¢ = ca.88) 2 ; EAB Ber 9 cn cays B [| BB Bo, a tempo rit, poco a poco , « bai? 107] Ammaiovc Divi Bf (ova ee eni i Ty Fry Away ee, Albert E. Brumley Ww Slowly, unhurried (6 = ca. 80) Arr. Mark Hayes Foo BOF FP Bae F Bo Bimal Am? Gm? Bae mf pedal ad lib. F GovF Fin? Gmye Gm) Ata —_A7__ Dsus Dm Bhai? Am? Abm7.Gn7_ 9 if Ff LJ R Gat amt Bangi? AmC Foal? Cn B95) Bhi? Ant Gn Bae F BYE GF F Gu? FAB Fie Da FIC o Brc Cte Gk Gar F © Copyright 1952 in “Wondeafol Mess padi, 92 asLH detached FIC Bb F Govt F GmiF FNC. F 3 FIN Fm FB FIC o7 a e 7 a oe 3 3 a Za be 7. Ge Ge om Ne. 1G Md GID Amo Gi 6 br om HOOop BT amt Gp mB Amt on © Ame QD GiDAmD GD 3 cme op Gc Goce GD per Em EayD 2] ao AW a8 ANGE GD En as be G orSTIEINE £9 fh BOEING TIN NEE ae Cp Spiritual ~*" Moderately slow (4 = ca.80) ‘Att, Mark Hayes c Ani? £ofe« e 2 se = | freety BiG Amal? ani AJB Gani Amie Fan705) 2 or Cet Cim BET 3 Amai7Gén7 FD (poco rit, cr aft16) atempo Faster ( = ca. 92 Fa Emp > Fence Amac Foul Fen Engin Fan TOs) BiG Ami B cin Fino AmB BHD Slower (4 = ca. 76) : a "ae Bay Aws2 A Asus} FARA. Ea Fan7/B Emi 7 atempo cant Bor ED Amsi7Gen? Fa cma Fant > atempo Dr Faster ( = ca. 92) strongly Dini Di Fate Bim? Dimajias Gnas? Fn? Ban? uy ef f Doe Gena Aitus DHA Gama DimaiTiAb FRA FIBm Bet r @ tempo — os Diyas Bion ia DhiAs atempo 3s Br? Abn] DIAS Gomaj7 Fri? Fimo atempo 8va a Dans GommaiTIN> AT poco rit. atempo {a D Gmaitin AS D Dre @atempo ah im Ant br (a 9 ct 1 =~ atempo a Gmai? Fen? EIS) 1 9 DA Gmaita 87 molto rit.WEIN 1b INWL ls WALLEW UP LTONUVENR ee & Bright pop feel (+ = ca. 132) BrnajiC AnD BomajtiC Ant nf’ = pedal ad lib. BhmaiTAc AnD Drs EF FG = Bai : Fr Bs 3965) Bg we Rn BomsiiC CH9 Flo o fe] 07 09 Gat a ByC CHE Fai BeBOF BAF F BD GD As Dm Ge cme | cw Fj Gm Bhaji Ch Faip Got = |F Ant pio 2] Gm Ging) nt Bic ° Bnaic © 1965) F (Gm 1650+ Bix6mDb cl ch ote om om Dimi? = of PP wvAnti a Ant cD CxS Bye Figo Be Go B Dm Dain) Dit a Ge we & Bhn6/Db——_Bmaj9NC Fai? n B95) Bo tb PIA mo GF Gmc cH4] rma Gare Fai? oan (7) Fina bie Gn Gmimiy Gat a coe o Bhaji CH Fa] Fao R Bs HA Gat BIS¢1) Be fs] ne cw F Gat FIAto Heaven—Emily D. Wilson cm? C7 BD Gm Gmina) Gt Ch Cave mar Ff » 0] Baal Fn Ba Beni? Da? Cn am BaD Ey FT Brus & Braj Gav (3) mao Got Amt pm vig [2] Gm Gia) Gt o Bungie CHOcat por Bo FA nt BimD> ino] Ame Gmc oa Fnaitic mic o iia] n Dm BimgiTic AntiD 8 BanaiTic Ami 2 FG in BheaiTACON JORDAN’S STORMY BANKS ey M. Durham Moderately fast, steady (4 = 120-126) ‘Arr. Mark Hayes Am? Dm? Gn} ° pedal ad lib. 3 Ant Dm Gm} ° com Amt ao Basie AbHG> GT Faia Be F Gur 10] cone F nv coon: FIA Bhnaj? Fnac 4 Bp nue Gane F CR BYF By FcR ED18) ar a F nor F Binal 968) Bhai? Ant Gn} FA Gini amc Gwe F Dm? Gm} © ami Dm mo omic Dans? Dm en Dm crim Boma? HA Gmy F PI D> BYE F nrB) 5 BonaiTC CB) FIA mos Gm165yD» 3) Gn cr F or Bins the cm a AGG AmrD — Gmaj? mai? En? F cme Ami pic=] ow Drax br ot om c 7] an pie om coi on mses Cbs 4] om Din D7 G28 e op Dinu D7 G2 a Ant Fai?1HE OLD KUGGED CROSS an w& Slowly, freely (4 = ca. 56) Thi CR ait nt BaF GEC BaF ANE Gmai7 pedal ad lib. atempo Bb CIB) By © moto rit. gis Gy With great feeling (+ =ca.84) Bim CHG im tbs FT im =p i atempo cain) Fras FP Bim Bim Rs Bh cH T poco rit. 16 Bo or Fn CF cmos) Fw Fe?et NC Gomyj7 Bom cm765) s sya 8va ES Bom EimvB> Bom Em mb) Fv EomiGo Fras Ff 3 Bm Bima 33) Em cms) Bh Fr atempo Bae oH & 37 Bim Bim oH Gr eS Fm Bink? Emu G65) Biv FC7 Bim cm Fo Co ® cmos) Fras " Bim (3) mit & Ben? CIB Bim cm ABs C7 & aye Fi) Fe ONG GF Bm cn e a tempo 66 cminésy Fras Bn Fi Bien poco rit| I we iwl # im afc mos sme = 2] Reflectively (4 = 84-88) = a ively ( Te pang Ene Dnt EtG Dia o a moving ahead CS om? Dr Cul HG Fai G9 Em? En ee or EA ~” Amid AnD be aPB] ep ea) oe An Gn cn AWE Dn? En? F [nr a ato om FmgiAb EG Emi@ Gmail Dm? i83] Fac Giws GT cai is] am Emit be ee o6 i motto rit. ¢ dim.) ppHow GREAT THOU ART @ Words and Music by Stuart K. Hine ‘Art, Mark Hayes Dramatically (¢ = ea.72) Dina SIs hai EisTIA TING GINS FTIXh 5 2 oe E poco accel. pedal ad lib. £ ‘= Dyas Bre arr = poco rit, Bt EDs > 5m Ds EDs f i 9 we 3 2 = 5 — = te. = Sf with bravurat ~ a | = = eo — > EDs > Es > EDs bs p> Copyright 1953 8. K. Hine. Assign Music, Ine, Renewed 1981 by Manna Masi, Ine All Riwhts Rep espressir dim. e rit. 8va Dimi? DAR BE G2 Bot NIC DoF Bm? Fim Abus) atempo \e* Ger 8s . Dimast AsTarsGHADF mAb ATG — Dima (ii 22 (35: ra] m7 con6s) CZ CH) m2 Fionn tamil oun ss =— poco rit. a tempo D> Dee Goal En Dour Bat D>mI AD» DH6 Goma? ANGE Ds Bm IAS GimsiiAS ET 38 a Faster (4 = ca. 69) Be] Ds it o tint mf = pocoraccel fe} cmb5) Fp imMimaj?) Bom. DiaIAy Baotiay atempo boa Bw» P ~ poco rit. a? al[3] cman, Gngia Goya oa. DIA mia, Slowly (4 = ea. 58) GA Grinsi7VA Gav AT Doni AnTID D9 maj Em? co ‘thoughtfully 2 8vas Banaras mine) om ‘m7 BIA Gait RF ORT En? 7 DA DA GIA at > maEma molto rit, Slightly faster ( = ca. 69) S] Dail Bo BimaiTB Ami65) iE] e Fn Fin? EbusiG EWG As? Ab AMOS) Am{O5) GovB) EB Toefl EDe/Bb Coit Cm ESD Dp 2 ‘poco accel.a c, pc Cc De I-35 M8a-3a,35 ¢ De ce co jee4 {44 Fi 5 tf 35 Strongly F oh (+ = ca. 63) Bu pene Datos Dm Dive Dit Dat molto rit, a_i = Slowly (+ = ca. $8) En? Am Dm] cen c c GD Cr F _e 2 2 © with reverence oman [8] @ Fj? BI BAD CAE CE Dm} GT C2 B Foie DatiAm Fans) Gos ic ve vel atempo tempi Sva—— ic] £ . Sg ggg SF, SIF with bravura qeapeg ses 2 svat > Sma b. = 7 x a i ba) va | wis = * pPerformance Notes (continued from page 2) ‘There Is a Balm in Gilead . 36 Many gospel songs and spirituals speak of the life hereafter. Gilead, a historic place in biblical times, is also a metaphor for the afterlife—a place where we will be made whole. My design for this song was to create a mood of peace and tranquility, a musical place that would feel soothing and nurturing. Make the descending-sixth passages in measures 1-6 and 35-41 as flowing and connected as possible. Enjoy the warmth of the key of D-flat at measure 42. ‘When the Roll Is Called Up Yonder ..... 41 If L were playing this arrangement with a live rhythm section, | would tell the players to play in a Latin, almost samba style. Ever since I visited Brazil, I've looked for ways to use those wonderfull Brazilian rhythms and jazz harmonies in my music. This arrangement quotes an extra hymn, hen We All Get to Heaven, tucked away in the middle of the piece. Play with exuberance and enjoy the contemporary edge! On Jordan’s Stormy Banks . AT T have arranged this hymn tune in a syncopated pop style to highlight the excitement and anticipation of the Promised Land inherent in the text. The most important thing to do when playing this piece is to keep a steady tempo. Whenever music is syncopated, it requires a consistent, steady beat so the syncopa- tions can be played without rushing, Enjoy the reharmonizations of the melody. The Old Rugged Cross 51 Although this hymn is a sentimental favorite of many, the subject of the cross is far fiom pleasant. As I read through this hymn text, I opted to set the first two verses in a minor key to underscore the agony of the cross. This arrangement starts in the style of the great romantics, ike Rachmaninoff, and needs to be played with great passion as well as nuance throughout. I wrote in an orchestral fashion, using the fall range of | the piano. When the key center shifis to C major at measure 82, it comes as a welcome relief, partly because of the heaviness of the minor sound that precedes it. Linger at that transition before moving into the major key. Take time to read the fourth stanza of the hymn text before you play this final verse. It speaks of the joy that awaits us in heaven. Let the dissonance sink in at measures 121-122 before the resolution to the final C-major chord. How Great Thou Art ..........++++.56 This piece is definitely the “tour de force” of the collection; consequently, it is the most technically demanding piece to play. I've attempted to capture some of the grandness of God in this arrangement and crafted it in an intentionally orchestral style, For those of you who can't play repeated octaves comfortably, feel free to leave out some notes. For instance, in measures 1-3, you could play the right hand as single notes instead of octaves. The passage in measures 6-7 is simply a repetition of broken D- flat and E-flat chords. To practice, try playing each group of 32d notes as a block chord, in order to master each inversion, Its very important to take time with the various moods within this piece. Read the hymn text and pay carefull attention to how it is painted through the music. You may play this piece as slowly as needed in order to perform it artistically, capturing the grandeur of this beloved hymn. About the Chord Symbols Chord symbols have been added to each arrange- ment to help people who play by chord as well as by notes, to edueate budding arran harmonies, and to encourage pianists in the art of improvisation. ers in naming new Note: Some chord symbols utilizing the slash mark may indicate inversions that are different from the written notes, especially in some lefi-hand chords. In those cases, the chord symbols reflect “implied” harmonies, indicating notes that a bass guitarist or other similar instrumentalist might play.‘Sweet By and By ‘Words: Sanford E Bennett, 1836—1598 “Music: Joseph P Webster, 1819-18 ‘There’ a land that is fairer than day, and by faith we can see it afar For the Father waits over the way to prepare ws a dwelling place there ‘We shall sing on that beautiful shore the melodious songs of the blest [And out spirits shall sorrow no more, not a sigh for the blessing of rest. ‘To our bountifial Father above, ‘we will offer the tribute of praise For the glorious gift of His love and the blessings that hallow our days, Refiain Inthe sweet by and by, we shall meet on that beautifil shores, In the sweet by and by, we shall meet on that beautiful shore, He Hideth My Soul ‘Words: Fanny J. Crosby, 1820-1915, Music: William J. Kirkpatrick, 1838-1921 A wonderfial Savior is Jesus my Lord, ‘A wonderful Savior 10 me: He hideth my soul in the cleft of the rock, ‘Where rivers of pleasure I see, ‘A. wonderfil Savior is Jesus my Lord, He taketh my burden away; He holdeth me up, and I shall not be moved, He giveth me strength as my day. With numberless blessings each moment He crowns, And filed with His fullness divine, Tsing in my rapture, oh, glory to God For such a Redeemer as mine! “When clothed in His brightness, transported I rise “To meet Him in clouds of the sky. His perfect salvation, His wonderful love Tl shout with the millions on high. Refiain He hideth my soul in the cleft of the rock ‘That shadows a dry, thirsty lands He hideth my life in the depths of His love, And covers me there with His hand, ‘And covers me there with His hand, ‘When I Can Read My Title Clear Words: aac Watts, 1674-1748 Music: Scottish Melody ‘When I can read my ttle clear to mansions in the skies, I bid farewell to every fear, and wipe my weeping eyes: ‘And wipe my weeping eyes, and wipe may weeping eyes, TM bid farewell to every fear, and wipe my weeping eyes. Should earth against my soul engage. and fiery darts be hurled, Then I ean smile at Satan's rage, and face a frowning world; [And face a fiowning world, and face a frowning world, ‘Then I can smile at Satan’ rage, and face a frowning word. Let cates, ike a wild deluge come, and storms of sorrow fall ‘May I but safely reach my home, my God, my heaven, my all My God, my heaven, my all, my God, my heaven, my ally May I but safely reach my home, my God, my heaven, my all. “There shall I bathe my weary soul in seas of heavenly rest, [And not a wave of touble roll across my peacefil breast: ‘Across my peaceful breast, aeross my peaceful breast, ‘And not a wave of erouble toll across mry peaceful breast Heavenly Sunlight Words: Henry J. Ze! Music: George Harrison Cook, Walking in sunlight, all of my journey Over the mountains, thro’ che deep vale: Jesus has said “Tl never forsake Thee’ Promise divine that never can fil 1859-1942 1948, Shadows around me, shadows above me, Never conceal my Savior and Guides He is the light, in Him is no darkness, Ever I'm walking close to His sie. In the bright sunlight, ever rejoicing, Pressing my way to mansions above: Singing His praises gly ['m walking, Walking in sunlight, sunlight of love Refrain Heavenly sunlight, heavenly sunlight, Flooding my soul with glory divine; Hallelujah, ! am rejoicing, Singing His praises, Jesus is mine LWill Arise and Go to Jesus Words: Joseph Hare (reffain anonymous) Masic: Southern Folk Melody Come, ye sinners, poor and n ‘Weak and wounded, sick and sore Jesus ready stands to save you, Full of pity, love and power e.ye thirsty come, and welcome, y glorify: True belief and true repentance, Every grace that brings you nigh. 1 heavy-den, Tost and ruined by the falls Ifyou tarry till you'e better, You will never come at al Rea will arise and go to Jesus, He will embrace me in His arms. In the arms of my dear Savior, (Oh, there are ten thousand charms In the Garden ‘Words & Music by C, Austin Miles, 1868-1946 come to the garden alone while the dew is sil on the roses; And the voice I hear falling on my ear, the Son of God discloses. He speaks, and the sound of Fis voice is so aveet, the birds hush their singing: ‘And the melody that He gave to me ‘within my heart is ringing, ad stay in the garden with Him though the night around me be filling, But He bids me go, through the voice of woe, His voice to me is calling. Refiain ‘And He walks with me, and He talks with me, And He tells me Lam His own. ‘And the joy we share as we tarry th None other has ever known,ll Fly Away Words & Musie by Albert E. Brumley Some glad morning when this life i o'er, PL fy away, To a home on Gods celestial shore, 1'Il ly away. When the shadows of this life have gone, I'l fly away Like a bird ffom prison bars has flown, Pl By away, Just a few more weary days and then, Il Aly away. ‘Toa land where joys shall never end, Tl fly away. Refian. Filly away, © glory, Il fy away, When I die, hallelujah, by and by, T'l fly away. © Copyrihe 1932 in “Wonder Mosage” by Hartford Muic Ca esewe 194 byAlbrtE,Bruaey and Sons/SESAC: fain, by CG) Aight rereed. Used by perio. There Is a Balm in Gilead Spiritual Refi: There isa balm in Gilead to make the wounded whole; There isa balm in Gilead to heal the sin-sick soul, Sometimes I feel discouraged, and think my work’ in vain, But then the Holy Spiri revives my soul again, If you can’t preach like Peter, if you can’t pray ike Paul, Just tell the love of Jesus, and say He died for al. When the Roll Is Called Up Yonder Worcs & Music by James M, Black, 1856-1938 When che trumpet of the Lord shall sound, and time shall be no more, And the morning breaks, eternal, bright, and fairs ‘When the saved of earth shall gather cover on the other shore, And the roll called up yonder Pll be there, (On that bright and cloudless morning when the dead in Christ shall rise, And the glory of His resurrection sha ‘When His chosen ones shall gather to their home beyond the skies, And the roll is ealled up yonder I'll be there Let us labor for the Master from che dawn dill setting sun, Let us alk of ll His wondrous love and care: Then when all of if is over, and our work on earth is dane, And the roll is called up yonder Ill be there. Refiain When the roll is called up yonder, When the roll is called up yonder, When the roll is ealled up yonder, When the rol is called up yonder, Ul be there On Jordan's Stormy Banks Words: Samuel Stennete, 1727-1795 Masic: M, Durham (On Jordan’ stormy banks I stand, and east a wishfal eye To Canaan’ fair and happy land, where my possessions li All o'er those wide extended plains, shines one eternal day: There God the Son forever reigns, and seatters night away. No chilling winds nor poisonous breath fan reach that healthfal shore; Sickness and sorrow. pain and death felt and feared no more ‘When shall I reach that ha ‘When shall I see my Fath Refiain: 1 am bound for the promised land, | am bound for the promised land: © who will come atid go with m Tam bound for the promised lad The Old Rugged Cross Wortls & Music: George Bennard, 1873 On a hill fr away stood an old rugged eros. The emblem of suffering and shame: that old cross whe! the dearest and best For a world of ost sinners was slain, ‘Oh, that old rugged eross so despised by the word, Has a wondrous attraction for mez dear Lamb of God left His g it to dark Calvary, In the old rugged cross, stained with blood so divine, A wondrous beauty Ts For ‘owas on that old cross Jesus suffered and died, ‘To pardon and sanctify me. To the old rugged cross I will ever be true, Its shame and reproach gladly bear; ‘Then He'll call me some day to my home far away Where His glory forever Ill shae, Refi: So I'll cherish the old rugged cros. ‘Till my trophies at last I lay down; [will cling to the old rugged eros, [And exchange it some diy for a crown, How Great Thou Art ‘Words & Music: Start K, Hine, 1899-1989 © Lord my God! When I in awesome wonder Consider al che worlds Thy hands have made, see the stars, hear the rolling* thunder, Thy pow'r throughout the universe displayed. ‘When through the wood and forest glades I wander ‘And hear the birds sing sweetly in the trees, When I look down from lofty mountain grandeur, ‘And hear the brook and feel the gentle breeze. ‘And when I think that God, His Son not sparing, Sent Him to die, 1 scarce can take it in That on the cross, my burden gladly bearing, He bled and died to take away my sin ‘When Charis shall come with shout of acclamation ‘And take me home, what joy shall fill my heart! ‘Then I shall bow in humble adoration And there proclaim, my God how great Thow art! Rea: ‘Then sings my soul, my Savior God to Thee: How great Thou art! How great Thou art! Then sings my soul, my Savior God to Thee: How great Thou att! How great Thou art! © Copyright 1958 5. K. Hins, Assign so Mana Masi In, Renewed 19851 by Mans Mince s Revered, Used by person rote Re ace City, OF 97135) * Author’ original words are “works” and “mighty