DISTRICT  OF  MASSACHUSETTS— to  wit: 

District  Clerk's  Office. 
BE  it  remembered,  that  on  the  thirteenth  day  of  September,  in  the  year  of  our  Lord  one  thou- 
sand eight  hundred  and  thirty,  in  the  fifty-fifth  year  of  the  Independence  of  the  United  States  of 
America,  Joseph  Lewis,  Secretary  of  the  Handel  and  Haydn  Society,  of  the  said  district,  has 
deposited  in  this  Office,  the  title  of  a  book,  the  right  whereof  he  claims  as  proprietor,  in  the  words 
following,  to  wit: 

"The  Boston  Handel  and  Haydn  Society  Collection  of  Church  Music;  being  a  selection  of 
the  most  approved  Psalm  and  Hymn  Tunes,  Anthems,  Sentences,  Chants,  &c. ;  together  with 
many  beautiful  extracts  from  the  works  of  Haydn,  Mozart,  Beethoven,  and  other  eminent  com- 
posers.   Harmonized  for  three  and  four  voices,  with  a  Figured  Base  for  the  organ  and  piano  forte. 

A  trole  mn  %  "  " '    t  h  Z  uX  i  l'n '  s  w '•  n  m^Ba'ae  •' 
Id  one  uniir.i  .',"l"ur       to'  l)'"iT.-n  -"—Thornton. 
F.dited  by  Lowell  Mason.    Ninth  Edition,  with  additions  and  improvements." 

In  conformity  to  the  act  of  the  Congress  of  the  United  States,  entitled,  "  An  act  for  the  en- 
couragement of  learning,  by  securing  the  copies  of  maps,  charts  and  books,  to  the  authors  and 
proprietors  of  such  copies,  during  the  times  therein  mentioned  :"  and  also  to  an  act,  entitled,  "An 
act,  supplementary  to  an  act,  entitled,  an  act  for  the  encouragement  of  learning,  by  securing  the 
copies  of  maps,  charts  and  books,  to  the  authors  and  proprietors  of  such  copies  during  the  times 
therein  mentioned;  and  cxtendins;  the  benefits  thereof  to  the  arts  of  designing,  engraving  and 
etching  historical,  and  other  prints." 

JOHN  W.  DAVIS, 
Clerk  of  the  District  of  Massachusetts. 


PREFACE. 


THE  several  later  editions  of  this  work  have  presented  an  almost  uniform  appearance.  It  was  thought  better  to  forego  the  advantages,  ar 
to  correctness  and  good  taste,  which  would  have  resulted  from  introducing  various  improvements,  than  to  subject  choirs  and  schools  to  the 
inconvenience  arising  from  frequent  alterations  in  the  tunes.  It  is  obvious,  however,  from  the  progressive  nature  of  science  and  taste,  in  respect 
to  music  as  well  as  other  subjects,  that  this  uniformity  cannot  be,  and  ought  not  to  be  perpetual.  Within  the  last  few  years,  much  attention 
has  been  directed  to  the  subject,  and,  as  was  to  be  expected,  great  improvement  has  been  made,  not  only  in  the  manner  of  performing  psalm 
and  hymn  tunes,  but  also  in  their  composition. 

Is  it  to  be  supposed  that  in  psalmody,  science  and  taste  have  accomplished  all  they  can  accomplish  ?  and  is  it  desirable  that  all  attempts  at 
improvement  should  be  checked  ?  This  is  impracticable,  if  it  were  desirable.  The  same  tunes,  and  in  the  same  form,  will  not  always  please. 
New  tunes  will  be  composed,  and  old  tunes  will  receive  new  harmonies,  and  other  alterations  will  be  introduced,  more  in  accordance  with 
the  existing  taste.  The  question,  then,  is,  whether  this  book  shall  be  enriched,  by  being  made  to  conform  to  these  improvements,  or  whether, 
by  remaining  stationary  while  the  public  taste  is  advancing,  it  shall  be  suffered  to  fall  into  neglect. 

Unless,  therefore,  it  be  maintained  that  the  present  psalm  and  hymn  tunes  cannot  be  improved,  and  that  no  better  can  be  substituted  in  their 
stead,  or  else,  that  bad  tunes  are  as  valuable  as  good  ones,  there  may  be  as  valid  reasons,  founded  in  public  utility,  for  introducing  alterations 
into  books  of  psalmody,  as  for  introducing  alterations  into  text  books  on  arithmetic  or  grammar. 

In  accordance  with  these  views,  it  has  been  thought  advisable,  after  deferring  it  several  years,  to  make  at  this  time,  a  thorough  revision  of 
the  Handel  and  Haydn  Collection,  and  to  present  to  the  lovers  of  church  music,  from  the  new  materials  which  have  been  accumulating,  those 
pieces  which  are  most  interesting  and  valuable  ;  and  to  make  such  other  additions,  together  with  such  alterations  in  the  tunes  of  former 
editions,  as  the  improving  state  of  psalmody  and  of  the  public  taste  seemed  to  require.  In  doing  this,  it  has  been  found  very  difficult  to  pursue 
a  proper  medium  between  an  excessive  desire  for  novelty,  on  the  one  hand,  and  undue  prejudices  in  favor  of  early  associations,  on  the  other. 
Utility  has  been  the  aim.  No  alteration,  not  even  the  most  trifling,  has  been  made,  except  for  the  purpose  of  rendering  the  book  more  truly 
valuable. 


PREFACE. 


The  present  edition  of  this  work  is  believed  to  possess  advantages  over  any  preceding  edition,  in  the  following  respects  :  viz. 

1.  New  Music.  .Nearly  one  hundred  metrical  tunes  have  been  introduced,  presenting  a  great  variety  in  respect  to  style,  and  a  large  portion 
of  entirely  new  tunes.  These  have  been  selected  with  great  care,  and  it  is  believed  that  nearly  all  of  them  are  of  such  a  character  as  to  promote 
the  great  design  of  psalmody,  and  are  well  adapted  to  secure  its  appropriate  effect.  It  would  have  been  easy  to  have  given  a  larger  portion  of 
light  music,  and  of  imitative  and  fugueing  pieces ;  but  it  was  supposed  that  the  good  sense  and  improved  taste  of  the  public  would  be  better 
satisfied  with  those  tunes,  which,  while  they  have  a  sufficient  flow  of  melody  to  interest  and  please,  are,  at  the  same  time,  sufficiently  chaste 
and  dignified  for  public  religious  worship.  Several  of  the  tunes  newly  introduced  are  in  the  chanting  style.  These  will  be  found  well  adapted 
to  psalms  and  hymns  of  a  didactic  or  prosaic  character,  which  require  to  be  recited  rather  than  to  be  sung. 

2.  II  vkmont.  The  editor  has  aimed  so  to  adapt  the  parts  to  vocal  execution,  as  that  they  may  be  easily  performed  without  instrumental 
accompaniment ;  while,  at  the  same  time,  it  is  believed  that  the  organist  will  find  a  richer  and  fuller  harmony  in  this,  than  in  any  preceding 
edition.  Combinations  and  progressions  will  occasionally  be  found,  which  could  hardly  be  justified  by  rules  drawn  from  the  works  of  Haydn 
and  Mozart,  but  which  are  common  in  the  works  of  older  writers,  and  especially  in  church  music.  In  the  course  of  the  work  there  will  be 
found  several  tunes,  harmonized  in  the  style  of  ancient  psalmody,  and  closing  on  the  dominant,  or  on  the  relative  minor  or  major  mode.  Al- 
though these  will,  perhaps,  appear  singular,  yet  no  good  reason  is  known  why  this  ancient  style,  which  is  peculiar  to  the  church,  should  not  be 
preserved.    Some  of  them  contain  very  rich  harmony,  and  when  properly  performed,  are  very  solemn  and  truly  devotional.* 

3.  Classification.  Such  pieces  as  are  principally  designed  for  private  use,  and  for  those  who  have  made  considerable  proficiency  in 
music,  have  been  separated  from  the  common  psalm  and  hymn  tunes,  and  placed  among  the  anthems  and  select  pieces.  All  the  tunes  from 
page  2;")  to  page  246  will  be  found,  under  various  circumstances,  appropriate  to  the  purposes  of  public  worship.  To  a  considerable  extent, 
tunes  in  the  same  key,  or  in  keys  nearly  related,  have  been  placed  together.  This  will  be  found  convenient  where  choirs  are  accustomed 
occasionally  to  change  the  tune,  while  going  through  with  a  hymn,  for  the  sake  of  securing  more  appropriateness  between  the  music,  and  the 
sentiment,  in  the  several  stanzas. 

4.  Anthems  and  occasional  imeces.  Several  of  the  longest,  and  probably  the  least  useful  of  these,  have  been  omitted,  and  their  places 
supplied  with  others  which  are  shorter,  easier,  and  more  applicable  to  the  various  circumstances  of  public  worship.  The  chief  object  of  this 
work  is  to  furnish  church  music  for  common  use  ;  and  it  is  not,  therefore,  to  be  expected  that  it  should  contain  a  very  great  variety  of  anthems, 
choruses,  and  pieces  suitable  for  musical  exhibitions  and  concerts.  A  collection  consisting  of  such  pieces,  the  Handel  and  Haydn  Society  have 
presented  to  the  public  in  Choral  Harmony,  to  which  individuals  and  choirs  are  recommended. 

*  See  Dunbarton,  p.  09. 


PREFACE. 


5.  Introductory  Rules.  These  have  been  written  entirely  anew,  in  the  form  of  question  and  answer.  Although  very  brief  and  perfectly 
simple,  they  are  believed  to  contain  every  thing  necessary  for  acquiring  the  art,  of  reading  music. 

Whether  the  present  edition  of  this  work  lias  actually  been  improved  in  the  several  respects  just  mentioned,  the  public  will  judge. 

In  regard  to  future  alterations  little  need  be  said.  It  is  not  to  be  supposed,  as  before  intimated,  that  science  and  taste  have  yet  accom- 
plished all  that  they  are  capable  of  accomplishing  for  church  music,  and  that  nothing  further  can  be  done  to  enrich  and  purify  it,  and  render  it 
more  capable  of  communicating  elevated  enjoyment,  and  of  expressing  and  exciting  devout  feeling.  Nor  can  it  be  desired  by  any  candid  and 
reflecting  person,  that  such  improvements,  when  made,  should  not  be  given  to  the  public  in  books  designed  for  common  use.  The  public  have 
a  claim  to  them;  and  no  book  which  should  reject  them  could  long  continue  to  deserve  or  receive  public  patronage.  Still,  those  changes 
should  be  introduced  in  such  a  manner  as  to  occasion  as  little  embarrassment  as  possible.  On  this  account  it  is  intended,  that,  for  some  time 
to  come,  future  editions  of  this  work,  should  they  be  called  for,  shall  receive  such  alterations  only,  as  are  imperiously  demanded  ;  and  that  they 
shall  so  nearly  correspond,  as  to  admit  of  their  being  used  together,  without  much  inconvenience.  One  tune  may  occasionally  be  exchanged 
for  another,  promising  to  be  more  pleasing  and  useful,  and  additions  may  be  made  ;  but  in  general  it  will  probably  be  thought  advisable  to 
present  new  music  to  the  public  through  the  medium  of  supplementary  publications. 

No  pains  have  been  spared  to  correct  and  enlarge  this  edition  of  the  Handel  and  Haydn  Society  Collection,  and  to  adapt  it  to  the  taste  and 
wants  of  the  community.  It  contains,  in  addition  to  the  most  common  standard  tunes  used  in  public  worship,  a  great  variety  of  new  music, 
embracing  tunes  of  all  the  different  metres  ;  and  without  any  invidious  comparison  with  other  valuable  works  in  the  same  department,  it 
is  deemed  safe  to  say,  that  no  similar  publication  contains  such  an  amount  and  variety  of  church  music.  Previous  editions  of  the  work  have 
been  honored  with  much  more  of  public  favor  and  patronage  than  was  anticipated.  This  edition  is  presented  to  the  lovers  of  psalmody,  and  to 
all  others  who  feel  an  interest  in  this  part  of  public  worship,  with  the  hope  and  confidence  that  it  will  be  found  still  more  worthy  of  their  approba- 
tion and  support. 


EXTRACTS  FROM  REVIEWS  OF  THE  WORK. 

"  It  is  a  collection  [Handel  and  Haydn  Society]  containing  most  of  the  old  approved  tunes  whose  melody  or  air  is  dignified,  solemn,  reverent, 
chaste,  and  every  way  suited  to  divine  worship — harmonized  judiciously  upon  the  improved  and  essential  principles  of  modern  musical 
science.  This  is  ground  enough  for  recommendation."  "The  harmony  throughout  is  executed  in  the  highest  style  of  scientific  accuracy  and 
skill.  Hut  what  is  still  more  important,  it  has  been  written  with  a  constant  reference  to  the  grand  object  of  church  music,  the  excitement  of 
devotional  feeling.    It  is  emphatically  religious  harmony." — Christian  Spectator,  published  at  New-Haven. 

"  We  congratulate  the  friends  of  Church  Music  on  the  appearance  of  a  book,  containing  a  sufficient  number  and  variety  of  tunes  for  public 
and  private  worship,  harmonized  with  judgment,  accuracy,  and  elegance.  Believing  it  to  be  calculated  to  improve  the  public  taste  in  relation 
to  psalmody,  and  to  secure  this  delightful  part  of  public  worship  from  its  languishing  state,  we  sincerely  hope  it  may  be  generally  adopted,  and 
become  the  standard  of  sacred  music." — Christian  Advocate,  published  at  Philadelphia. 

We  feel  fully  assured,  that  the  Handel  and  Haydn  Collection  is  calculated  to  elevate  the  standard  of  sacred  music,  and  to  secure  the  object 
of  it-  institution,;  and  wr  warmly  recommend  its  introduction,  as  a  sure  means  of  improving  this  part  of  the  public  services  of  religion." — 
Boston  Telegraph. 

"After  a  thorough  examination  we  are  decidedly  of  the  opinion,  that  clergymen  and  others,  who  are  desirous  of  improving  the  present  state 
of  sacred  music,  can  employ  no  means  so  effectual  as  the  circulation  of  this  admirable  collection." — Boston  Recorder. 

"  It  is  a  work,  containing  one  of  the  most  complete  collections  of  psalmody  that  ever  was  embodied." 

"It  demonstrates  the  advancement  of  the  Americans  in  music."  "  Without  pretending  to  have  looked  minutely  into  each  of  the  tunes,  con- 
tained in  this  volume,  we  can  assert  of  the  many  we  have  examined,  that  they  are  well  arranged,  that  the  harmonies  are  faultless,  and  that  the 
devotional  character  of  both  music  and  words  has  been  attended  to  most  strictly." — Harmonicon,  published  at  London. 

"  The  concurrent  testimony  of  good  judges,  so  far  as  we  have  had  the  opportunity  of  knowing,  is,  that  the  selection  of  melodies  is  singularly 
judicious  and  complete." — Missionary  Herald. 

"  This  collection  excels  in  the  selection  and  variety  of  the  tunes,  and  in  the  perfection  of  the  harmony."  "  A  book  so  valuable  must  become 
the  standard  of  music  in  our  churches,  since  its  harmony  and  style  are  fixed  on  the  immoveable  basis  of  science  and  correct  taste." — New- 
Haven  Chronicle. 


INTRODUCTION  TO  THE  ART  OF  SINGING. 


LESSON  I. 

OF  THE  STAFF. 

1.  What  is  a  Staff? 

A  staff  is  five  lines  with  their  intermediate  spaces. 

Example. 


2.  What  is  the  use  of  a  Staff? 

Most  of  the  musical  characters  are  written  upon  it. 
#-  3.  In  what  order  are  the  lines  and  spaces  of  the  Staff  counted  ? 
From  the  lowest,  upward. 

Example. 


4:  What  is  each  line  and  space  of  the  Staff  called  ? 
A  degree. 

5.  How  many  degrees  does  the  Staff  contain  ? 

Nine  ;  there  being  five  lines  and  four  spaces. 
G.  What  are  used  when  more  than  nine  degrees  are  wanted  ? 

The  spaces  below  or  above  the  Staff;  also  additional  lines  called 
added,  or  leger  lines. 

Example. 


ss  abov%. 


Space  below.  ~ }  Leger  lines  below. 


LESSON  II. 

OF  THE   REPRESENTATION  OF  MUSICAL  SOUNDS   UPON  THE  STAFF. 

1.  How  many  primary  musical  sounds  are  there  ? 
Seven. 

2.  How  are  they  named  ? 

After  the  first  seven  letters  of  the  alphabet,  A,  B,  C,  D,  E,  F,  and  G. 

3.  How  are  musical  sounds  represented  upon  the  Staff  ? 
By  the  letters  after  which  thev  are  named. 

4.  What  is  a  Clef? 

A  Clef  is  a  character  used  to  fix  or  determine  the  situation  of  the 
letters  upon  the  staff. 

5.  How  many  clefs  are  there  ? 
Three. 

6.  What  are  they  called  ? 

The  Base,  or  F  Clef;  the  Tenor,  or  C  Clef;  and  the  Treble,  or 
G  Clef. 

Example. 


The  Base,  or  F.  Clef.        The  Tenor,  or  C  Clef.  The  Treble,  or  G  Clef. 


7.  Which  of  the  Clefs  are  most  used  in  vocal  music  ? 


The  Base  and  Treble  ;  the  latter  being  appropriated  to  the  Tenor 
and  Alto  as  well  as  to  the  Treble. 

8.  How  are  the  letters  placed  upon  the  Staff  according  to  the  Treble 

Clef? 


Situation  of  the 
letters  upon  the 
Staff,  ;  ccord  in- 
to the  Treble 
Clef. 


INTRODUCTION  TO  THE  ART  OF  SINGING. 


9.  How  are  the  letters  placed  upon  the  Staff  according  to  the  Base 
Clef? 


Situation  of  the  %   K„„r.,: ' — 3.  v  

letters  upon  the  J   zt  d—  ■ 

Staff,  according  \  s  jjpk    «  

to  the  Base  Clef,  i  IZ'Zy^:   rj  

ID  How  does  the  use  of  the  Treble  Clef  for  Tenor  and  Alto,  differ 
from  its  use  for  Treble  ? 

When  used  for  the  Tenor  or  Alto  it  signifies  G  on  an  octave  lower 
than  when  used  for  Treble. 

Note.  The  following  example  exhibits  the  G  Clef  as  variously  used, 
the  Base  Clef,  and  the  relative  situation  of  each. 


Middle  C  being 
the  legrr  line  be- 
low the  Treble 
and  the  leger 
line  above  the 
Base  Staff. 


11.  What  is  the  use  of  the  Tenor  or  C  Clef? 

It  is  used  for  the  Tenor  on  the  fourth  line  ;  and  for  the  Alto  on 
the  third  line  of  the  Staff;  and  always  represents  the  middle  C. 

Note.  This  clef  is  also  in  common  use  in  European  music  for  the 
Treble  or  Soprano,  and  when  thus  used  it  is  placed  upon  the  first  line  of 
the  Staff. 


LESSON  III. 

OF  NOTES   AND  RESTS. 

1.  What  are  notes  ? 

Characters  written  upon  the  Staff  as  signs  of  musical  sounds,  show- 
ng  their  length  and  order. 

How  many  kinds  of  notes  are  there  ? 


Six. 

.  What  arc  they  called  ? 
Semibreve,  Minim,  Crotchet,  I 


,  Semiquaver,  and  Demisemi 


Example. 

zzzz ±izzz4  zi?  ==1  rfe-^zzf  r«=feg-fcg^: 

4.  What  is  the  proportionate  duration  or  length  of  the  notes  ? 

One  Semibreve  is  equal  to  2  Minims,  or  4  Crotchets,  or  8  Quaver? 
or  16  Semiquavers,  or  32  Demisemiquavers. 

One  Minim  is  equal  to  2  Crotchets,  or  4  Quavers,  or  8  Semiqua- 
vers, or  10  Demisemiquavers. 

One  Crotchet  is  equal  to  2  Quavers,  or  4  Semiquavers,  or  8  Demi- 
semiquavers. 

One  Quaver  is  equal  to  2  Semiquavers,  or  4  Demisemiquavers. 
One  Semiquaver  is  equal  to  2  Demisemiquavers. 

5.  What  is  the  use  of  a  dot  after  a  note? 

A  dot  after  a  note  adds  one  half  to  its  length. 


Example. 


INTRODUCTION  TO  THE  ART  OF  SINGING. 


6.  What  is  the  use  of  the  figure  3,  placed  over  or  under  any  three 
notes  of  the  same  kind  ? 

«lt  shows  that  the  three  notes  over  or  under  which  it  is  placed  are  to 
be  performed  in  the  time  of  two  notes  of  the  same  kind  without  the 
figure. 

7.  What  are  such  notes  called  ? 
Triplets. 

Example.* 


Rests  are  marks  of  silence. 
v     9.  How  many  are  there  ? 
Six. 

10.  What  are  they  called  ? 

Semibreve  rest,  Minim  rest,  Crotchet  Rest,  Ouaver  rest,  Semiqua- 
ver rest,  and  Demisemiquaver  rest. 

Example. 

Semibreve  rest.  Minim  rest.     Crotchet  rest.    Quaver  rest.    Semiquaver  rest.  Demisemiquaver  rest. 


11.  How  long  is  the  performer  required  to  remain  silent  at  a  rest  ? 
As  long  as  he  would  be  singing  its  corresponding  note,  or  note  of 

the  same  name. 

12.  How  may  the  length  of  a  rest  be  augmented  ? 
By  the  use  of  adot,  as  is  the  case  with  notes. 

*  The  figure  6  is  sometimes  placed  over  or  under  six  note?,  si?nifyin<;  that 
they  are  to  "be  performed  in  the  time  of  four  notes  of  the  same  kind  without  the 


LESSON  IV. 

OF  VARIOUS  MUSICAL  CHARACTERS. 

1.  What  is  the  use  of  a  Flat? 

A  Flat  lowers  the  pitch  of  a  sound,  half  a  tone. 

2.  What  is  the  use  of  a  Sharp  ? 

A  Sharp  raises  the  pitch  of  a  sound  half  a  tone. 

3.  What  is  the  use  ef  a  Natural  ? 

A  Natural  restores  a  note  made  flat  or  sharp  to  its  original  sound. 
Example. 


4.  What  are  Flats  or  Sharps  called,  when  placed  at  the  beginning  of 
a  tune  or  strain  ? 

The  Signature. 

5.  What  are  Flats,  Sharps  or  Naturals  called,  when  placed  before  a 
single  note  ? 

Accidentals. 

6.  How  far  do  accidentals  extend  their  influence  ? 
Through  the  measure  in  which  they  occur. 

7.  What  is  the  use  of  a  Bar  ? 

A  Bar  is  used  to  divide  the  notes  into  equal  measures. 

8.  What  is  a  Measure  ? 

A  Measure  consists  of  all  the  notes  contained  between  two  bars. 

Example. 


INTRODUCTION  TO  THE  ART  OF  SINGING. 


9.  What  is  the  use  of  a  Double  Bar  ? 

It  shows  the  end  of  a  strain,  or  a  line  of  the  poetry. 

Example. 

Double  Bar.  Double  Bar. 


10.  What  is  the  use  of  a  Brace  ? 

It  shows  how  many  parts  are  to  be  performed  together. 
Example. 


1 1.  What  is  the  use  of  a  Tie  or  Slur  2 

It  shows  that  the  notes  over  or  under  which  it  is  drawn  are  all 
be  sung  to  one  syllable. 

Example. 


Tie  or  Slur 

VI.  What  is  the  use  of  a  Repeat  ? 

It  shows  what  part  of  a  tune  is  to  be  sung  twice. 

Example. 


13.  What  is  the  use  of  Marks  of  Distinction,  or  Staccato  Marks  ? 
They  are  placed  over  or  under  such  notes  as  are  to  be  performed 
in  a  very  short,  distinct  manner. 


14.  What  is  meant  by  singing  Staccato? 

Singing  in  a  short,  pointed,  and  articulate  manner. 

15.  What  is  meant  by  singing  Legato  ? 

Singing  in  a  smooth,  close,  and  gliding  manner. 

16.  What  is  the  use  of  a  Pause  ? 

It  shows  that  a  note  may  be  centinued  beyond  its  usual  length. 

Example. 


17.  What  is  the  use  of  a  Direct  ? 

It  is  employed  at  the  end  of  a  staff,  to  show  the  place  of  the  first 
note  upon  the  following  staff. 

Example. 


18.  What  is  a  Shake  or  Trill  ? 

It  consists  of  a  quick  alternate  reiteration  of  the  note  above,  with 
that  over  which  the  character  is  placed,  and  usually  ends  with  a  turn 
from  the  note  below. 


INTRODUCTION  TO  THE  ART  OF  SINGING. 


ilililiil|ll|pliliil 


Note.    The  Shake  is  an  ornament,  both  brilliant  and  elegant;  but  it  should 
have  no  place  in  Psalmody,  or  common  Church  Music. 

1!).  What  is  an  Appogiature  ? 

A  small  note  which  takes  its  time  from  the  note  which  immedi- 
ately succeeds  it.    It  always  occurs  on  an  accented  part  of  a  measure. 
Example. 


Performed.  or,  or, 


20.  What  is  an  After  Note  ? 

A  small  note  which  takes  its  time  from  the  note  which  immedi- 
ately precedes  it.    It  always  occurs  on  an  unaccented  part  of  a  measure. 
Example. 

Written. 
Performed. 

8iHgH|pi! 

Note.  Appogiatures  and  After  Notes  are  not  reckoned  in  making  up  the  time 
•of  a  measure  ;  but  are  deducted  from  the  time  of  the  Notes  on  which  they  de- 
pend. This,  for  the  most  part,  is  done  in  proportion  to  their  own  nominal  value, 
with  the  exception  that  the  Appogiature  receives  double  its  nominal  value  when 
it  precedes  a  pointed  note.  As  the  insertion  of  these  Notes  is  a  matter  of  taste, 
and  as  the  best  composers  use  them  in  various  ways,  no  rule  that  is  of  infallible 


oided. 

21.  What  are  Syncopated  Notes  ? 

Those  which  commence  on  an  una 
an  accented  part  of  a  measure. 

Example. 


nted  and  are  continued  on 


LESSON  V.(«.) 

OF  SOLMIZATION. 

What  is  Solmization  ? 

It  is  the  application  of  certain  syllables  to  musical  sounds. 


INTRODUCTION  TO  THE  ART  OF  SINGING. 


2.  Of  what  use  is  Solmization  ? 

It  enables  the  young  performer  to  utter  a  sound  with  fulness  and 
freedom,  and  assists  him  to  secure  a  correct  intonation. 

It  promotes  a  feeling  or  consciousness  of  the  precise  relation  of  the  sounds  in 
the  octave  to  each  other,  and  especially  to  the  Tonic,  or  Key  Note.  By  as- 
sociating the  several  syllables  with  their  corresponding  sounds,  this  relation 
becomes  familiar,  ;tnd  we  acquire  the  habit  of  expressing  any  note  with  ease  and 
certainty. 

How  many  syllables  are  used  in  Solmization? 
Seven  ;  there  being  one  for  each  sound. 

4.  What  are  they  ? 

Do,  Re,  Mi,  Fa,  Sol,  La,  Si. 

Prooounced.  » 

Doe,  Rae,  Mee,  Fa,*  Sole,  La,*  See. 

5.  Which  of  these  syllables  governs  the  others,  and  fixes  their  places 
upon  the  Staff?  Si. 

6.  By  what  is  the  place  of  the  syllable  Si  known  ? 
By  the  Signature. 

7.  What  is  the  Signature  ? 

The  Flats  or  Sharps  placed  at  the  beginning  of  a  tune  or  strain. 

8.  What  is  the  signature  said  to  be,  when  there  are  neither  flats  or 
sharps  at  the  beginning  of  a  tune  or  strain? 

Natura^  # 

9.  If  the  signature  be  natural,  on  what  letter  is  the  syllable  Si  ? 
On  B. 

10.  If  the  signature  be  one  flat,  (Bb)  on  what  letter  is  the  syllable 
Si  ?  On  E. 

11.  If  the  signature  be  two  flats,  (B  and  Eb)  on  what  letter  is  the 
syllable  Si? 

On  A. 

12.  If  the  signature  be  three  flats,  (B,  E  and  Ab)  on  what  letter  is 
the  syllable  Si  ? 

On  D. 

*  The  a  in  these  syllables  may  be  sounded  as  in  Far,  or  as  in  Fall— at  the  dis- 
cretion of  the  Teacher. 


13.  If  the  signature  be  four  flats,  (B,  E,  A  and  Db)  on  what  letter  is 

the  syllable  Si  ? 
OnG. 

14.  If  the  signature  be  one  sharp,  (F#)  on  what  letter  is  the  syllable 

Si? 

On  F*. 

15.  If  the  signature  be  two  sharps,  (F  and  C#)  on  what  letter  is  the 
syllable  Si  ? 

On  C#. 

16.  If  the  signature  be  three  sharps,  (F,  C  and  G#)  on  what  letter  is 

the  syllable  Si  ? 
On  G#. 

17.  If  the  signature  be  four  sharps,  (F,  C,  G  and  D#)  on  what  letter 
is  the  syllable  Si  ? 

On  D#. 

18.  Having  ascertained  the  place  of  the  syllable  Si  by  the  signature, 
by  what  rule  are  the  places  of  the  other  syllables  known  ? 

They  follow  upon  each  degree  of  the  Staff,  in  regular  order. 

19.  What  is  the  order  of  the  syllables  ascending  from  Si? 
Do,  Re,  Mi,  Fa,  Sol,  La. 

20.  What  is  the  order  of  the  syllables  descending  from  Si  ? 
La,  Sol,  Fa,  Mi,  Re,  Do. 

21.  What  effect  have  accidentals  on  solmization  ? 

When  accidentals  are  used,  it  often  becomes  necessary  to  change 
the  syllables,  in  order  to  sing  in  exact  tune. 

22.  How  are  such  changes  to  be  made  ? 

Sometimes  by  a  different  termination  of  the  syllables,  Ft  for  Fa, 
Se  for  Sol,  &.c. ;  and  sometimes  by  considering  the  accidentals  as  occa- 
sional changes  of  the  signature. 

Note.  The  use  of  accidentals  is  so  various,  that  it  is  impossible  to  give  any 
rule  which  shall  be  applicable  to  all  cases.  A  judicious  teacher  will  be  able  to- 
direct  such  changes  as  the  nature  of  the  different  passages  may  require,  and  to 
assign  the  reasons  for  them. 


/  INTRODUCTION 
/  LESSON  V.(6.) 

'  OF  SOLMIZATION   BY  FOUR  SYLLABLES. 

1.  What  is  solmization  ? 
It  is  the  application  of  certain  syllables  to  musical  sounds. 

2.  How  many  syllables  are  used  in  Solmization  ? 
Four. 

3.  What  are  they  ? 
Fa,  Sol,  La,  Mi. 

4.  Which  of  these  syllables  governs  the  others,  and  fixes  their  places 
upon  the  Staff  ? 

Mi. 

5.  By  what  is  the  place  of  the  syllable  Mi  known  ? 
By  the  Signature. 

6.  What  is  the  Signature  ? 
The  Flats  or  Sharps  placed  at  the  beginning  of  a  tune  or  strain. 

7.  What  is  the  Signature  said  to  be  when  there  are  neither  flats  or 
sharps  at  the  beginning  of  a  tune  or  strain? 

Natural. 

8.  If  the  Signature  be  natural,  on  what  letter  is  the  syllable  Mi  ? 
On  B. 

9.  If  the  Signature  be  one  flat,  (Bb)  on  what  letter  is  the  syllable  Mi 1 
On  E. 

10.  If  the  Signature  be  two  flats,  (B  and  Eb)  on  what  letter  is  the 
syllable  Mi  ? 

On  A. 

11.  If  the  Signature  be  three  flats,  (B,  E  and  Ab)  on  what  letter  is 
the  syllable  Mi  1 

On  D. 

12.  If  the  Signature  be  four  flats,  (B,  E,  A  and  Db)  on  what  letter  is 
the  syllable  Mi  ? 

On  G. 

^13.  If  the  Signature  be  one  sharp,  (F#)  on  what  letter  is  the  syllable 
1   On  F#. 


THE  ART  OF  SINGING.  xiii 

14.  If  the  Signature  be  two  sharps,  (F  and  C#)  on  what  letter  is  the 
syllable  Mi  ? 

On  C#. 

15.  If  the  Signature  be  three  sharps,  (F,  C  and  G+)  on  what  letter 
is  the  syllable  Mi  ? 

On  G#. 

10.  If  the  Signature  be  four  sharps,  (F,  C,  G,  and  D#)  on  what  let- 
ter is  the  syllable  Mi  ? 
On  D#. 

17.  Having  ascertained  the  place  of  the  syllable  Mi  by  the  Signature, 
by  what  rule  are  the  places  of  the  other  syllables  known  ? 

They  follow  upon  each  degree  of  the  staff  in  regular  order. 

18.  What  is  the  order  of  the  syllables  ascending  from  Mi  ? 
Fa,  Sol,  La,  Fa,  Sol,  La. 

19.  What  is  the  order  of  the  syllables  descending  from  Mi  ? 
La,  Sol,  Fa,  La,  Sol,  Fa. 

20.  What  effect  have  accidentals  upon  solmization  ? 
When  accidentals  are  used  it  often  becomes  necessary  to  change 

the  syllables,  in  order  to  sing  in  exact  tune. 

21.  How  are  such  changes  to  be  made  ? 
Sometimes  by  a  different  termination  of  the  syllables,  as  Fe  for 

Fa,  Se  for  Sol,  &c.  and  sometimes  by  considering  the  accidentals  as  oc- 
casional changes  of  the  Signature. 

Note.    See  note  at  the  end  of  Lesson  V.(a.)  page  xii. 


LESSON  VI. 

OF  TIME. 

1.  What  is  meant  by  Time,  in  Music? 

The  duration,  or  the  measure  and  movement  of  sounds. 

2.  How  many  kinds  of  time  are  there  ? 
Three. 


INTRODUCTION  TO  THE  ART  OF  SINGING. 


3.  What  are  they  called  ? 
Common,  Triple  and  Compound. 

Note.  There  are,  strictly  speaking,  but  two  kinds  of  time  ;  Common  or  equal, 
and  Triple  or  unequal  ;  but  by  a  union  of  two  or  more  measures  of  either  of  these 
u  third  kind  may  he  formed,  which  it  may  be  convenient  to  designate  by  another 
name.    Compound  time,  however,  may  always  be  reduced  to  Common  or  Triple. 

4.  What  is  the  difference  between  Common,  Triple,  and  Compound 
Time  ? 

Common  time  contains  two  equal  notes  in  each  measure — Triple 
time  contains  three  equal  notes  in  each  measure — Compound  time  is 
formed  by  the  union  of  two  or  more  measures  of  Common  or  Triple 
time. 

OF  COMMON  TIME. 

5.  How  many  signs  has  Common  time  ? 
Three. 

G.  What  is  the  first  sign  of  Common  time  ? 
The  letter  g  . 

7.  What  note  or  notes  fill  a  measure  ? 

"A  Semibreve  or  its  equal  in  other  notes  or  rests. 

8.  How  many  motions  or  countings  are  employed  in  describing  or 
measuring  it? 

Four. 

9.  On  what  part  of  the  measure  does  the  accent  fall  ? 
On  the  first  and  third. 

10.  What  is  the  second  sign  of  Common  time  ? 

The  letter  ^  with  a  bar  drawn  across  it. 

11.  What  note  or  notes  fill  a  measure  ? 

A  Semibreve  or  its  equal  in  other  notes  or  rests. 


12.  How  many  motions  or  countings  are  employed  in  de.\ribing  or 

measuring  it.  ? 

Two  or  four. 

13.  On  what  part  of  the  measure  does  the  accent  fall  ? 
Usually  on  the  first,  but  sometimes  on  the  first  and  third. 

14.  What  is  the  third  sign  of  Common  time  ? 

The  figures^  . 

15.  What  note  or  notes  fill  a  measure  ? 

A  Minim  or  its  equal  in  other  notes  or  rests. 
10.  How  is  it  described  or  measured  and  accented  ? 

In  the  same  manner  as  the  second  sign  of  Common  time. 

OF  TRIFLE  TIME, 

17.  How  many  signs  has  Triple  time  ? 
Three. 

18.  What  is  the  first  sign  of  Triple  time  ? 


The  figures 


19.  What  note  or  notes  fill  a  measure? 

A  dotted  Semibreve,  or  its  equal  in  other  notes  or  rests. 

20.  How  many  motions  or  countings  are  employed  in  describing  or 
measuring  it  ? 

Three. 

21.  On  what  part  of  the  measure  does  the  accent  fall  ? 
Principally  on  the  first,  and  slightly  on  the  third. 

22.  What  is  the  second  sign  of  Triple  time  ? 

The  figures  S  . 

23.  What  note  or  notes  fill  a  measure  ? 

A  dotted  Minim,  or  its  equal  in  other  notes  or  rests. 


INTRODUCTION  TO  THE  ART  OF  SINGING. 


24.  How  is  it  described  or  measured  and  accented  1 

In  the  same  manner  as  the  first  sign  of  Triple  time. 
2.5.  What  is  the  third  sign  of  Triple  time  ? 


,  What  note  or  notes  fill  a  measure  ? 

A  dotted  Crotchet,  or  its  equal  in  other  notes  or  rests. 
.  How. is  it  described  or  measured  and  accented  ? 

In  the  same  manner  as  the  first  sign  of  Triple  time. 

OF  COMPOUND  TIME. 

.  How  many  signs  has  Compound  time  ? 
Two. 

.  What  is  the  first  sign  of  Compound  time  ? 


The  fij 
30. 


What  notes  fill  a  measure  ? 

Two  dotted  Minims,  or  their  equal  in  other  notes  or  rests. 

31.  How  many  motions  or  countings  are  employed  in  describing 
measuring  it  ? 

Two,  or  Six. 

32.  On  what  part  of  the  n 
On  the  first  and  fourth- 

33.  What  is  the  second  sign  of  Compound  time  ? 


does  the  accent  fall  ? 


The  figures 

34.  What  notes  fill  a  measure  ? 

Two  dotted  Crotchets,  or  their  equal  in  other  notes  or  rests. 

35.  How  is  it  described  or  measured  and  accented  ? 

In  the  same  manner  as  the  first  sign  of  Compound  time. 
Note.    Other  signs  of  Compound  time,  as  f,  f,       &c.  may  be 
sometimes  found  ;  but  they  seldom  occur  in  modern  music. 


36.  What  note  is  made  the  general  standard  of  reckoning  time  ? 
The  Semibreve. 

37.  Why  are  figures  employed  as  signs  of  time  ? 

To  express  the  fractional  parts  of  a  Semibrevve  contained  in  a 
measure:  as  f,  three  crotchets,  or  three  fourths  of  a  Semibreve;  3  • 
three  quavers,  or  three  eighths  of  a  Semibreve,  &c. 

38.  What  rest  is  used  to  fill  a  measure  in  all  kinds  of  time? 
A  Semibreve  rest. 

39.  How  may  the  habit  of  keeping  time  with  accuracy  be  acquired  ? 
By  the  frequent  and  persevering  practice  of  counting  or  beatino- 

while  singing. 

Note.    On  the  subject  of  beating  time,  Dr.  Arnold  makes  the  following  re- 


n  advocate  for  the  smallest  t 


r  gesliculal 


:ither  with  the  hand,  foot  or  head,  when  a  performer  once  beeins  to  perform  with 
iny  degree  of  exactness;  but  at  the  commencement,  it  is  absolutely  nece^ary 
hat  the  right  hand  should  be  taught  to  make  the  beats  in  every  measure,  till  it 
jecomes  to  the  pupil  what  the  pendulum  is  to  the  clod,  which  is  to  keen  it  re<*u- 


•  MINOR  MODES. 


LESSON  VII. 

OF  THE   DIATONIC  SCALE  AND  THE   MAJOR  i 

J.  What  is  the  Diatonic  Scale  ? 

A  gradual  succession  of  eight*  fixed  sounds;  proceeding  by  une- 
qual degrees,  or  intervals,  called  Tones  and  Semitones. 

2.  How  many  Tones  are  there  in  the  Diatonic  Scale  ?  Five. 

3.  How  many  Semitones  ?  Two. 

4.  What  is  meant  by  mode? 

The  order  or  arrangement  of  Tones  and  Semitones  in  the  Diatonic 
Scale. 

5.  How  many  modes  are  there  ?  Two. 

6.  What  are  they  called  ? 
Major  and  Minor. 


xvi 


INTRODUCTION  TO  THE  ART  OF  SINGING. 


7.  What  is  the  peculiar  effect  of  each  mode? 

The  Major  Mode  is  bold  and  cheerful:  the  Minor  Mode  is  pa- 
thetic and  mournful.  _  .  " 

8.  What  is  the  order  of  intervals  in  the  Diatonic  Scale,  Major  Mode  ! 
.  From  the  Third  to  the  Fourth  sounds,  [Mi  to  Fa]— and  from  the 

seventh  to  the  eighth  sounds  [Si  to  Do]  are  semitones  ;  the  rest  are 
whole  tones.  ,  . 

9.  What  is  the  order  of  Intervals  in  the  Diatonic  Scale  Minor  Mode, 

From  the  second  to  the  Third  sounds  [Si  to  Do]— and  from  the 
Seventh  to  the  Eighth  sounds  [Sol  to  La]  arc  semitones,  the  rest  are 

"'lO.  What  is  the  order  of  Intervals  in  the  Diatonic  Scale,  Minor  Mode, 
rJescen  ^  Yikh  to  the  Sixth  sounds  [Mi  to  Fa]  and  from  the  Second 

to  the  third  Sounds  [Si  to  Do]  are  Semitones,  the  rest  are  whole  tones. 


11.  What  is  the  difference  between  the  Ascending  and  Descending 
scale,  Minor  Mode  ? 

In  the  Ascending  scale,  the  upper  Semitone  occurs  between  the 
seventh  and  eighth  sounds  ;  but  in  the  Descending  scale  it  occurs  be- 
tween the  fifth  and  sixth  sounds. 

12.  What  characters  are  used  to  denote  this  change  in  the  Minor 
Mode  ? 

Sharps  or  Naturals  are  used*  as  accidentals  in  ascending ;  and 
Naturals  or  Flats  are  used  as  accidentals  in  descending. 

13.  When  are  the  Major  and  Minor  Mode  said  to  be  relative  ? 
When  the  Signature  is  the  same — or,  when  they  agree  in  Signa- 
ture. 

14.  What  is  the  relative  Minor  to  any  Major  Key  ? 
Its  sixth  above  or  its  third  below. 

15.  What  is  the  relative  Major  to  any  Minor  Key  ? 
Its  third  above  or  its  sixth  below. 

16.  What  interval  is  that  which  determines  the  Mode  to  be  either 
Major  or  Minor. 

The  third. 

17.  What  is  the  difference  between  the  third  in  the  Major  mode,  and 
the  third  in  the  Minor  mode  ? 

The  Major  third  is  one  Semitone  greater. 
IS.  To  what  is  the  peculiar  effect  of  each  mode  to  be  chiefly  attri- 
buted ? 

To  the  third. 

19.  What  is  meant  by  the  Key  note  ? 

The  note  with  which  the  scale  begins  and  ends. 

20.  What  syllable  is  applied  to  the  Key  note  in  the  Major  mode? 
Do.  [Fa.] 

21.  What  syllable  is  applied  to  the  Key  note  in  the  Minor  mode? 


*  On  the  Sixth  and  Seventh  Degrees  of  the  Scale. 


INTRODUCTION  TO  THE  ART  OF  SINGING.  xvii 

22.  When  is  the  Diatonic  scale  said  to  be  in  its  natural  position  ?  I  letter  than  C  in  the  Major  mode  ;  or  on  any  other  letter  than  A  in  the 
When  it  is  formed  without  the  aid  of  flats  or  sharps — or  when  the  sig-  Minor  mode. 

nature  is  natural.  26.  In  the  transposition  of  the  scale  how  is  the  relative  situation  of 

23.  On  what  letter  does  the  Natural  Diatonic  scale  commence — Ma- 1  the  semitones  preserved  ? 

jor  mode  ?  By  the  use  of  Flats  or  Sharps. 

On  C.  27.  Into  how  many  keys  may  the  scale  be  transposed  ? 

24  On  what  letter  does  the  Natural  Diatonic  scale  commence — Minor  j  Twelve — each  of  which  may  be  in  the  Major  or  Minor  mode, 

mode  ?  j  28.  But  if  there  are  but  seven  primary  sounds  in  music,  how  can 

On  A.  these  twelve  keys  be  obtained  ? 

25.  What  is  meant  by  the  transposition  of  the  scale?  By  an  artificial  division  of  the  Diatonic  scale  into  Semitones. 
The  scale  is  said  to  be  transposed  when  it  commences  on  any  other! 

EXAMPLE  OF  THE  SCALE  LV  ALL  THE  KEYS,  MAJOR  AND  MINOR  MODE. 

Key  of  C,  Major  Mode.  Key  of  A,  Minor  Mode. 


iz:z-zz:=::„ 

Key  of  A,  Major  Mode 


•e-0- 


Key  of  F#,  Minor  Mode. 


INTRODUCTION  TO  THE  ART  OF  SINGING. 

Key  of  E,  Major  Mode.  Key  of  C*,  Minor  ModcA 


=:-z:s:i2;*§r:c-"Q:-9©: 


Key  of  B,  Major  ModcA 
,_«..G-3ZZ-ZZZZ<* 


Key  of  G#,  Minor  ModeA 

:=::--§:M.ig;.gz:g^g-;§---: 


Key  ofF#,  Major  ModeA 


Key  of  D#,  Minor  Mode.i 


=---:]3 — :_r — :  z:  :#©.±q_:§z:§:^d:3qz:-=:zz:=z:===:33 
z§ZD:dz-z:eZ:az:©z:?:zz:zz::zz:z:zzz:zzz±z:Qz:az:oZ-:JJ 


zfzszz 


7^2/  o/'/ib,  JfiW  Mode.i 


ZIqZZBZ 


1 


t±b-=-: 
s^zzznz: 


..@_.q.:«zih._q..©_ 


ifey  o/F,  Mnor  Morfe. 

zS§:zz!z:!z-;ziE§lz 


113 


t:iv;. 


JSTey  0/  C,  Mnor  Mode. 

zeezn: 


Tfcy  o/JSb,  Major  ifofle. 

7%  o/7Jb,  ilfo/or  iWbf/e.  '  7vcy  of  G,  Minor  Mode. 


m 


ZqZIDZ 


e- 

==q 


ii 
I 


A'e)/  0/  77,  Minor  Mode. 


t  These  Keys  are  but  seldom  used. 


INTRODUCTION  TO  THE  ART  OF  SINGING. 


lesson  vni. 

Of  the  peculiar  qualities  and  relation  of  the  several  notes  which  compose 
the  Diatonic  scale,  or,  of  the  technical  app<  Hations  applied  to  the  seve- 
ral notes  of  the  scale,  dc  script  ice.  of  their  peculiar  character  and  rela- 
tive situation. 

1.  What  is  the  first  note  of  the  Scale,  or  the  Key  note  called  ? 
The  Tonic.    [Do  in  the  Major  and  La  in  the  Minor  mode.] 

2.  What  is  its  peculiar  character  ? 

It  determines  the  pitch  of  the  scale.  It  is  the  basis  or  foundation 
upon  which  all  the  other  notes  rest,  and  from  which  they  are  reckoned. 

3.  What  is  the  second  note  of  the  scale  called  ? 

The  Supertonic.    [Re  in  the  Major  and  Si  in  the  Minor  mode.] 

4.  Why  is  it  so  called  ? 

Because  of  its  situation  ;  being  the  next  above  the  Tonic. 

What  is  the  third  note  of  the  scale  called  ? 

The  Mediant.    [Mi  in  the  Major  and  Do  in  the  Minor  mode.] 

6.  Why  is  it  so  called  ? 

Because  it  is  midway  between  the  Tonic  and  Dominant. 

7.  What  is  peculiar  to  the  Mediant  ? 

It  forms  in  connexion  with  the  Tonic  the  most  important  chord  in 
harmony  ;  and  determines  the  nature  of  the  mode. 

8.  What  is  the  fourth  note  in  the  scale  called  ? 

The  Subdominant.  [Fa  in  the  Major  and  Re  in  the  Minor  mode.] 

9.  Why  is  it  so  called  ? 

Because  it  sustains  the  same  relation  to  the  Octave,  which  the 
Dominant  sustains  to  the  Tonic :  being  a  fifth  below  the  Octave,  as  the 
Dominant  is  a  fifth  above  the  Tonic. 

10.  What  is  the  fifth  note  of  the  scale  called  ? 

The  Dominant.    [Sol  in  the  Major  and  Mi  in  the  Minor  mode.] 

11.  Why  is  it  so  called? 

Because  of  its  importance  in  the  scale,  its  constant  occurrence, 
and  its  immediate  connexion  with  the  Tonic. 


12.  What  is  the  sixth  note  of  the  scale  called? 

The  Submediant.    [La  in  the  Major  and  Fa  in  the  Minor  mode.] 

13.  Why  is  it  so  called? 

Because  it  is  midway  between  the  Subdominant  and  the  Octave  ; 
or  because  it  sustains  the  same  relation  to  the  Octave  which  the  Medi- 
ant sustains  to  the  Tonic. 

14.  What  is  the  seventh  note  of  the  scale  called  ? 

The  subtonic,  or  leading  note.  [Si  in  the  Major  and  Sol  in  the 
Minor  mode.] 

15.  Why  is  it  so  called  ? 

Because  it  is  only  a  Semitone  below  the  Octave,  and  upon  hear- 
ing it  the  ear  naturally  anticipates  the  Octave. 

16.  What  is  the  eighth  note  of  the  scale  called  ? 

When  considered  in  relation  to  the  first  it  is  called  the  Octave. 

17.  What  is  the  difference  between  the  Tonic  and  the  Occave  ? 

The  difference  consists  only  in  the  pitch  ;  the  Octave  is  essential- 
ly the  same,  being  but  a  repetition  of  the  Tonic,  eigiit  notes  higher. 

18.  How  may  the  Tonic  or  Key  Note  be  known  ? 

If  the  Signature  be  natural,  C  is  the  Tonic  in  the  Major,  and  A 
in  the  Minor  mode.  If  the  Signature  be  formed  by  Sharps,  the  Tonic 
in  the  Major  mode  is  always  the  first  degree  above  the  last  Sharp  of  the 
Signature,  and  the  Tonic  in  the  Minor  mode  is  always  the  first  degree 
beloiv  the  last  sharp  of  the  Signature.  If  the  Signature  be  formed  by 
Flats,  the  Tonic  in  the  Major  mode  is  always  the  third  degree  below  the 
last  flat  of  the  signature,  and  the  Tonic  in  the  Minor  mode  is  always  the 
second  degree  above  the  last  flat  of  the  signature. 

The  last  note  in  the  Base  is  usually  the  Tonic,  though  not  necessarily 

so. 

19.  How  may  the  Minor  Tonic  be  known  from  its  relative  Major  ? 
By  the  leading  note,  which  in  the  Minor  mode  is  always  formed 

by  an  accidental. 


INTRODUCTION  TO  THE  ART  OF  SINGING. 


LESSO.X  IX. 

OF  INTERVALS  AND  THEIR  INVERSION. 

1.  What  is  meant  by  an  Interval? 

The  distance  from  one  sound  to  another. 

2.  What  is  the  smallest  practicable  interval  ? 
A  Semitone. 

3.  How  many  intervals  are  found  in  the  Diatonic  Scale  ? 
Fourteen. 

4.  What  are  they  called  ? 

Unison. 
Minor  Second. 
Major  Second. 
Minor  Third. 
Major  Third. 
Perfect  Fourth. 
Sharp  Fourth. 
Flat  fifth. 
Perfect  fifth. 
Minor  Sixth. 
Major  Sixth. 
Minor  Seventh. 
Major  Seventh. 
Octave. 


Unison.  This  cannot  pre 
Interval,  although  in  com  posit 
and  treated  as  such ;  as  C,  C. 

Minor  Second;  as  from  E  to  F,  consisting  of)  p.  ZEI 
one  semitone.  J 


be  called  an  \  rn~ 
is  considered  j  Ex.  S£f= 


Major  Second  ;  as  from  C  to  D,  consisting  of  | 


Minor  Third;  (called  also  the  flat  third  or  ) 
lesser  third;)  as  from  E  to  G,  consisting  of  one  > 
tone  and  one  semitone.  ) 

Major  Third  ;  (called  also  sharp  third  or  \ 
greater  third ;)  as  from  C  to  E,  consisting  of  two  > 
tones.  j 

Perfect  Fourth  ;  as  from  D  to  G,  consisting  ) 
of  two  tones  and  one  semitone.  \ 


Sharp  Fourth  ;  (called  also  Tritonus ;)  as  ) 
from  F  to  B,  consisting  of  three  tones.  ) 

Flat  Fifth  ;  (called  also  imperfect  or  false  \ 
fifth  ;)  as  from  B  to  F,  consisting  of  two  tones  > 
and  two  semitones.  j 

Perfect  Fifth  ;  as  from  C  to  G,  consisting  ) 
of  three  tones  and  one  semitone.  ) 


:qq~J  Minor  Sixth  ;  as  from  E  to  C,  consisting  of  \ 
 -■  three  tones  and  two  semitones.  j 

_~Z_J  Major  Sixth  ;  as  from  C  to  A,  consisting  of  ) 
  four  tones  and  one  semitone.  ) 


INTRODUCTION  TO  THE  ART  OF  SINGING. 


xxi 


Ex.  ^IQZZZZ^J 

I 


.be=2t 


Minor  Seventh  ;  (called  also  flat  seventh ;)  as  \ 
from  D  to  C,  consisting  of  four  tones  and  two  > 
semitones.  j 

Major  Seventh  ;  (called  also  sharp  seventh  ;)  \ 
as  from  C  to  B,  consisting  of  five  tones  and  one  > 
semitone.  J 

Octave  ;  as  from  C  to  C,  consisting  of  five  ) 
tones  and  two  semitones.  ] 


5.  What  is  meant  by  the  Inversion  of  Intervals  ? 

When  the  lowest  note  of  an  Interval  is  placed  an  Octave  higher,  or 
when  the  highest  note  of  an  Interval  is  placed  an  Octave  lower,  such 
change  is  called  Inversion. 

Example. 


Ex. 


Ill 


-j  becomes  a  Seventh, 


becomes  a  Sixth, 


becomes  a  Fifth, 


becomes  a  Fourth, 


|i_© — W 
§=§==4 


becomes  a  Third, 


— ©-j  becomes  a  Second. 


6.  Which  of  the  Diatonic  intervals  are  called  Consonant  ? 
The  Octave,  Fifth,  Perfect  Fourth,  Thirds  and  Sixths. 

7.  Which  of  the  Diatonic  intervals  are  called  Dissonant  1 
The  Seconds,  Sevenths,  and  Sharp  Fourth. 

LESSON  X. 

OP  THE   CHROMATIC  SCALE,  &C 

1.  What  is  the  Chromatic  Scale  1 

A  scale  proceeding  by  Semitones  only. 

2.  How  is  the  Chromatic  Scale  formed  1 

By  a  Division  of  the  Diatonic  Scale  into  semitones ;  ascending  by 
Sharps,  and  descending  by  Flats. 

3.  What  syllable  is  used  in  singing  this  scale  ? 
Ah. 

Example. 

Chromatic  Scale  ascending-  by  Sharps. 
1_      2_      *       4,       5       6       7       8  910111213 


Chromatic  Scale  descending  b\j  Flats. 
2       3      4       5       6       7       8  910111213 


m 


■  x  i  i 


INTRODUCTION  TO  THE  ART  OF  SINGING. 


I.  How  many  distinct  sounds  are  there  in  the  Chromatic  Scale? 
Twelve. 

5.  How  may  the  Diatonic  Scale  be  formed  upon  each  of  these  as  a 
Tonic  or  Key  Note  ? 

By  the  use  of  Sharps  or  Flats.  [See  Lesson  vii.  Ques.  23,  and  Ex. 
page  xvii.J 

OF  CHROMATIC  INTERVALS. 

6.  What  are  Chromatic  intervals  ? 

Such  Intervals  as  are  derived  from  the  Chromatic  Scale. 

7.  What  are  they  ? 

Extreme  Sharp,  or  Superfluous,  Unison  ;  as  from  )  v  jrR  

ctoc#.  i^!=e*?eI 

Extreme  Sharp,  or  Superfluous,  Second  ;  as  from  )  v  r£  

C  to  D#.  f  —z°z~zi 

Extreme  Flat,  or  Diminished,  Third  ;  as  from  )  „  ^—nrr-0—\ 

D* t0  F-  i     —  ~~zi 

Extreme  Flat,  or  Diminished,  Fourth  ;  as  from  )  T.,  3|-t;--d-4 
D*toG.  I  ~~~zi 

Extreme  Sharp,  or  Superfluous,  Fifth ;  as  from  )  ^  ?R  

ctoc*.  )  z~EEEE5l 

^  bo 

Extreme  Flat,  or  Diminished,  Sixth ;  as  from  )  „  rfc— »x  "I 

D#toBb.  J  Ex,^E~ EEEi 


Extreme  Sharp,  or  Superfluous,  Sixth ;  as  from  ) 
Bb  to  G*.  j 




Extreme  Flat,  or  Diminished,  Seventh  :  as  from  >  ^    tJI'jj.p;  1 

D*toc.  I  Ex,=??EEEEi 

 -e-_ 

Extreme  Flat,  or  Diminished,  Octave  ;  as  from  )  ^   1 

C#  to  C.  J        — — ~~  i 

Note.  The  Scale  is  also  subdivided  into  smaller  intervals  called 
Dieses,  or  Quarter  Tones,  as  from  C#-  to  Db  ;  or  from  G-#-  to  Ab,  &c. 
and  thus  divided,  it  is  called  the  Enharmonic  Scale.  These  distinc- 
tions, however,  although  theoretically  important,  are  of  little  practical 
utility  ;  since  upon  keyed  instruments,  as  the  Organ,  or  Piano  Forte, 
the  extreme  sharp  second,  is  the  sume  as  the  Minor  Third  ;  the  extreme 
flat  third  is  the  same  as  the  Major  Second,  &c.  and  the  same  key  is  used 
for  C#.  and  Db — G#-  and  Ab,  &c. 

It  is  believed  that,  with  the  assistance  of  a  judicious  instructer,  the 
foregoing  principles  will  be  sufficient  for  all  the  purposes  of  vocal  per- 
formance. To  such  as  wish  to  become  acquainted  with  the  Theory  of 
Music,  Callcott's  Musical  Grammar,  Kollman's  Essay  on  Musical  Har- 
mony, and  Burrow's  Thorough  Base  Primer,  are  recommended  as  the 
best  works  which  have  been  published  in  this  country. 


EXPLANATION  OF  MUSICAL,  TERMS. 


A,  signifies  in,  for,  at,  with,  &c. 

Adagio  {or  Ado.)  signifies  the  slowest  time. 

Ad  libitum,  at  pleasure. 

Affcttuoso,  in  a  style  of  execution  adapted  to  express 
affection,  tenderness,  supplication  and  deep  emotion. 

Allegro,  a  brisk  and  sprightly  movement. 

Allegretto,  less  quick  than  Allegro. 

Alto,  Counter,  or  high  Tenor. 

Amoroso,  in  a  soft  and  delicate  style. 

Andante,  with  distinctness.  As  a  mark  of  time,  it 
implies  a  medium  between  the  Adagio  and  Allegro 
movements. 

Andanlino,  quicker  than  Andante. 

Anthem,  a.  musical  composition  set  to  sacred  prose. 

A  tempo,  in  time. 

Assai,  generally  used  with  some  other  word  to  de- 
note an  increase  or  diminution  of  the  time  of  the 
movement ;  as  Adagio  Assai,  more  slow  ;  Allegro 
Assai,  more  quick. 

Base,  the  lowest  part  in  harmony. 

Bis,  this  term  d(  notes  a  repetition  of  a  passage  in 

Brillianle,  signifies  that  the  movement  is  to  be  per- 
formed in  a  gay,  showy  and  sparkling  style. 
Cantabile,  elegant,  graceful,  melodious. 
Canto,  song;  or,  in  choral  compositions,  the  leading 

Canto  flrmo,  plain  song. 

Chorus,  a  composition  or  passage  designed  for  a  full 
choir. 

Chromatic,  a  term  given  to  accidental  semitones. 
Con,  with. 

Com  furia,  with  boldness. 

Crescendo,  Cres.  or  — — .  with  an  increasing  sound. 
Conspirito,  with  spirit. 

Da  Capo,  or  D.  C,  close  with  the  first  strain. 
Del  segno,  from  the  sign. 

Diminuendo,  Dim.  or  '  ~~   .  with  a  decreasing  sound. 
Dirges  piece  composed  for  funeral  occasions. 
Divoto,  in  a  solemn  and  devout  manner. 
Duetto,  or  Duet,  minic  consisting  cf  two  parts, 
Dolce,  sweetness,  softness,  gentleness,  &c. 
E,  and. 


Expression,  that  quality  of  composition,  from  which 
we  receive  a  kind  of  sentimental  appeal  to  our 
feelings. 

Expressivo,  with  expression. 

Forte,  strong  and  full. 

Fortissimo,  very  loud. 

Fugue,  or  Fuge,  a  piece  in  which  one  or  more  of  the 
parts  lead,  and  the  rest  follow  in  different  intervals 
of  time,  and  in  the  same  or  similar  melody. 

Forzando,  [or/s.]  the  notes  over  which  it  is  placed 
are  to  be  boldly  struck  with  strong  emphasis. 

Giusto,  in  an  equal,  steady,  and  just  time. 

Grave,  Gravemente,  deep  emotion. 

Grazioso,  graceful ;  a  smooth  and  gentle  style  of  exe- 
cution approaching  to  piano. 

Harmon)!,  an  agreeable  combination  of  musical  sounds, 
or  different  melodies,  performed  at  the  same  time. 

Interlude,  an  instrumental  passage  introduced  be- 
tween two  vocal  passages. 

Interval,  the  distance  between  any  two  sounds. 

Largo,  somewhat  quicker  than  Grave. 

Larghetto,  not  so  slow  as  Largo. 

Legato,  signifies  that  the  notes  of  the  passage  are  to 
be  performed  in  a  close,  smooth  and  gliding  manner. 
Lento,  LenlemenU,  slow. 
Ma,  not. 

Ma  non  troppo,  not  too  much,  not  in  excess. 
Melody,  an  aereeable  succession  of  sounds. 
Men,  less. 

Mezza  voce,  with  a  medium  fullness  of  tone. 
Mtzza,  half,  middle,  mean. 
Modcralo,  between  Andante  and  Allegro. 
Motto,  much. 

Non,  not.  Non  troppo  presto,  not  too  quick. 

Oratorio,  a  species  of  Musical  Drama,  consisting  of 

airs,  recitatives,  duets,  trios,  choruses,  kc. 
Overture,  in  dramatic  music  is  an  instrumental  straiD, 

which  serves  as  an  introduction. 
Orchestra,  the  place  or  band  of  musical  performances. 
Pastorale,  a  composition  generally  written  in  measure 

of  6-4  or  6-0,  the  style  of  which  is  soothing,  tender 

and  delicate. 


.  Piano,  or  Pia,  soft. 
;  Pianissimo,  Pianiss,  or  PP,  very  soft. 
Poco,  little,  somewhat. 
Pomposo,  grand,  dignified. 
Presto,  quick. 
Pn  slissnno,  very  quick. 

Quartetlo,  a  composition  consisting  of  parts,  each  of 

which  occasionally  takes  the  leading  melody. 
Quintelto,  music  composed  in  five  parts,  each  of  which 

occasionally  takes  the  leading  melody. 
Recitative,  a  sort  of  style  resembling  speaking. 
Ilijijimino,  full. 

Sempre,  throughout ;  as  sempre  piano,  soft  throughout'. 
Soprano,  the  Treble  or  higher  voice  part. 
!  Sosfenuto,  sustaining  the  sounds  to  the  utmost  of  their 

nominal  length. 
Staccato,  the  opposite  to  Legato  ;  requiring  a  short, 

articulate,  and  distinct  style  of  performance. 
Senza,  without;  Senza  Organo,  without  the  Organ, 
j  Siciliuno,  a  composition  written  in  measure  of  6-4,  or 
6-8,  to  be  performed  in  a  slow  and  graceful  manner. 
Soave,  agreeable,  pleasing. 
Spirituoso,  with  spirit. 

Solo,  a  composition  designed  for  a  single  voice  or  in- 
strument, Vocal  solos,  duets,  &c.  in  modern  mu- 
sic, are  usually  accompanied  with  instruments. 
Subito,  quick. 

Symphony,  a  passage  to  be  executed  by  instruments, 

while  the  vocal  performers  are  silent. 
Tacit,  be  silent. 
Tarda,  slowly. 
Tempo,  time. 

Tasto  Solo,  denotes  that  the  movement  should  be 
performed  with  no  other  chords  than  unisons  and 

octaves. 

Trio,  a  composition  for  three  voices. 
Tutli,  all,  all  together. 
Veloce,  quick. 
Vigoroso,  with  energy. 
Verse,  one  voice  to  a  part, 
f  n  arc,  in  a  brisk  and  lively  manner. 
Volti,  turn  over. 


LESSONS  FOR  THE  EXERCISE  OF  THE  VOICE.* 

Beat  or  Count  4  in  a  measure. 

Ascending  Scale— Major  Mode— Descending  Scale— Minor  Mode.  Ascending  Scale— Minor  Mode— Descending  Scale— Minor  Mode. 

No.  1.    Beat  or  Count  2  or  4  in  a  measure. 

EXERCISES  FOR  BEATING  TIME. 

liilliiiififllllliif  liipif  lips 
iiiiiiiiiiilpipig  :i|gi|piiii§fi> 


fe  These  and  similar  lessons,  varied  at  the  discretion  of  the  teaclier,  should  form  a  pat 


COLLECTION  OF  CHURCH  MUSIC. 


OLD  HUM)  11  ED. 


L.  M. 


Martin  Luther. 


if**: 


SHE 


*  2d  Treble.  ^  ^  ^ 

Be  thon,  0  God,  ex  -  att  -  cd  high,  And  as  thy      glory    fills  the  sky,  So    let  kt  be  on  earth  dlsplay'd,  Till  thou  art  here  as  there  obev'd. 


H.  &  H. 


26 


WILTSHIRE.       Ii.  M. 


[Minor  Mode.] 

e— ad  lib. 

_,.  , 


1    O  (ioJ  of  grace  and  righteousness,  Hear  thou  my  voice,  when  I  complain  ;  'i'liou  hast  enlarg'd  me    in       dis  -  tress,  Bow  down  thy  uracious  ear  again. 


.  What  though  tho  thuM' 


my  say,  "  Who  will  bestow 


m 

iiiliiigiit 

lii 

6    *       6       6  8  7            *      #6  6*6 

6  * 

WILTSHIRE. 


L.  M.        [Major  Mode.] 

r  Second  Treble— ad  lib. 


i.  Then  shall  our  cheerful  hearts  rejoice,  At  grace  divine  and  love  so  great ;  Nor  will  we  change  our  happy  lot,  For  all  their  wealth  and  robes  of  state. 


6«  7 

The  third  line  in  the  above  tune,  u 


g  either  in  Choru 


LEY  I)  EN. 


illlllllliillllili 


4, 

from   on       high,     Fresh  hopes   of        glo    -    ry      shall     -    ford—    Fresh  hopes        of  glo    -    ry     shall    af     -  ford 

i      Tasto-  _       _  _ 


Costellow. 


=^|E|ip^lE|iyEg|i§Epi|.^ 


PORTUGAL. 


29 


Oil!  could  I  soar  to  worlds  above,  The  blest  abode     of  peace  and  love;  How  gladly  would  I  mount  and    fly,     On  angels'  wings  to    worlds  on  high. 

^  <j  v-^  7  6*«  6  6  7-  6    6     6  3      4  6  5  6  w  7 

.   ■  ;-  jI,  6      -  *  ,•■.;.■„   4  4  4#  3  ,         4  3  6 

as.  RALSToft.       L.  M.  [Chant.] 

2d  Treble. 


Hi 


30  120.  St.  PETER's.       L.  M.  Harwood. 


?!  Salvation    i>  for  -  cv  -  er  ni^b,  The  souls  that  f<-ar  i.n.l  trust  the  Lord  ;  Ami  -.ace,  descending  from  on  hic,h,  Fresh  hopes  of  Clory      shall  afford. 

6  667  56671  7  6  li     *3       *     6  6  6  «  7 

4  4  *  5  5  4  ,-•    '•     "s  ' 


£so.  BOWEX.       L.  M,  Haydn.  31 


32       %  104.  ISLINGTON.  L.  V,. 

This       life's    a  dream,    an         cmp   -   ty  show,  But  the       bright     world  to        which        I  go, 

7   1.       o  i  6    4  5  V  6  6  7 

Hath    joys    *nb  -  §tan  -  ti.il       and       sia    -    cere,  Whan       shali    I  wake,  When     shall       I  wake,    and  find     me      there  ' 

7  4    6  *  6    4  6    6  3   6  6    6  7 


STERLING.       L.  31. 


[Chant] 


O  come,  loud  anthems  let    us  sing,  Loud  thanks  to  our  Al  -  migh-ty  King  !  For  we  our  voices  high  should  raise,  When  our  salvation's  Rock  we  praise. 


6    6    6  8 

APPLETQN*  °  I,  M. 


[Chant.] 


Dr.  Bo 


r.   2d  Treble. 

O  come,  loud  anthems  let  us  sing,  Loud  thanks  to  our  Al-migh  -  ty  King  !  For  we  our  voices  high  should  raise,  When  our  salvation's  Rock  we  praise. 


H.  &  II. 


CUMBERLAND.       L.  M. 


Carey. 


2d  Treble. 

?iiiiiipiiiPliigp:yilsilSiipip 

My  soul,  inspir'd  with      sacred  love,  God's  holy  name  for  -  ev  -  er  bless;   Of  all  his  favours    mindful  prove,  And  still  thy    grateful  hand  confess. 


4  3        6  5-6 


6    6  6  8  7  Ta> 

UPTON.       L.  M. 


6    7        8  7        6  < 


ig^illliiiiftiliisii 


Bless,  0  my  soul,  the  living  God,  Call  home 


nights  that  rove  abroad  ;  Let  all  the  pow'rs  within  me  join,  In  work  and  worship  so  divine. 


6    5    6'     6  8  7 


6    6     6    5  6 


36       £84.                         SHOEL.       L.  M.  Altered  from  Shoel. 

^      2d  Treble.  m   ■■  .  m 

Now  shall  the  trembling  mourner  come,  And  bind  his  sheaves,  and  bear  them  home  ;  The  voice,  long  broke  with  sighs,  shall  sing,  Till  heav'n  with  hallelujahs  ring. 

6       7     8  7                                               6    ^  6  0      6  7 

*  96                         DAN  VERS.      L.  M.  L.  Mason': 

Awake,  my  tongue,  thy  tribute  bring,  To  Hiin,  who  gave  thee  pow'r  to  sing;  Praise  Him,  who  is  all  praise  above,  The  source  of  wisdom  and  of  love. 

S765              6        #-  6        8  7    fi  5     6  6-43  6  6667 

*  J                                       6  4>   4>  >  *  4> 


»  100.  BRliWKR.        L.  SI.  37 


God  of  the  seas,  thine  awful  voice,  Bids  all  the  rolling  waves  rejoice  ;  And  one  soft  word  of   thy    command,  Can  sink  them  silent     on    the  sand. 

"6b*  6        6    6  6  £  6466667 


42       »  120  LUTON.        L.  M-  Murder. 

jj  Now  to  the  Lord  *  noblC  Btfng,  Awake,  my  soul,  awake,  n,y  tongue  !  Hosanna  to  th'Eternal  Name,  And  all  his  boundless  love  proclaim. 
^  U-ir-l  1  I      g        7*»-  6  6.6  4j    4.  6    fa         698  65  T  6  666687 


£  92.  MORNING  HYMN.       L.  M.  Costellow.  43 


41       fss.  WAKEFIELD.       L.  M. 


fso.  DUKE  STREET.       L.  M.  J.  Hatton. 

Lord,  when  thou  didst  ascend  on  high,  Ten  thousand  angels  fill'd  the  sky  ;  Those  heav'nly  guards  around  thee  wait,  Like  chariots  that  attend  thy  state. 

t  6 1     63        6    6  t         i     6  3  6  s     6  4  m 6  % 87 


*  ios.  CASTLE  STREET.  I,.  M.  45 

I  2d  Treble. 

I  Lord,  in      thy    great,  thy  glorious  name,  I  place  my      hop?,  my         on    -    ly      tru*t  ;    Save      me    from  sorrow, 

74.6    65  6  6667  Tasto.  6 

guilt,      and     shame,    Thou        ev    -    er         gra  -  cious       ev    ■    er  just—      Thou       ev-er       gracious,         ev    -    er  just. 


48 

tf3 


l.  m. 


I.  Smith. 


Jehovah  reigns,  hi: 


ind  majusty  :  His  glories  shir 


NINETY-SEVENTH  PSALM  TONE. 


Tuckey. 


€7"     2d  Trehle. 

Darkness  and  clouds  of  awful     sherte,      His  dazzling  glorystiroud  in  state,     Justice  and  truth  hi<  "uards  are  made,  And  fix'd  by  his  pavilion  wait. 

6  5         6  6     G  5  6657         6  5  6  «    5  7         66       67  6  +6667 


£92.  SURREY.       Lr.  m.  Costellow.  49 

l^^iili^iiiilil^liiiii^^l 
j^iiii^|g|p^§ilPiliiPiii^iiiiii 

*^  No      more    fa  -  tigue,  no     more    dis    -    tress,  Nor         sin,     nor     death,    shall    reach  the      place  ;       No    groans  shall  mingle 

6         6  87  |6f£  7  66 


,•■60.  WARD.       L.  M.  55 


Largo  Sostenuto. 


PUTNAM.       L.  M. 


57 


TheiwilTl  bless,  my  God^and  King,  Nor  cease  tby  wond'rous  acts  to  sing  ;  From  earliejt  inorn  to   latest    eve,  Thy  praises  on  my  toncuTshall  live 


66     766  667 


|-3-      tj  4   t  0    -4.  5  -4. 

GERMANY.       L.  M, 


9  &         6  6  7'' 

Beethoven. 


sSiiiiSiiilpii^gSi^SSii 


4.  6  6  6  7 
H.   &,  H. 


5    6    -     76  6 


CLINTON. 


L.  M. 


:euding  from  on  high,  Fresh  hopes  of  glory  shall  afford. 


iiSliiiliiiililliiii|Siilli»illii 

5S765  5  8  7    8        6        6    6  b  4.  6       F  i      15  ™  6     76    5—   66      b    8  7 

36  5  4.  *  6  4.^2  8  7      bo  4    5  +3  3      5  4, 


NAZARETH. 


L.  M. 


Webbe. 


On  thy    Almighty  Fathers  breast ;  The  bounties  of  hie  grace  adore,     And  count  his  v.'ood1fo'U9  mercies  o'e 


bu      5  iuu.  WARNER.      L.  M. 

6       5  667  4.6+  65  6  5$   6    4.  3       5fh'7      -S         6  fi  5  S  7       bf  7 

4.       a             4  3      3          6-         4-3            3  3  5    9  8       34u5     —5        4  4  3  4 

£122.  SPRINGFIELD.      L.  M. 

■  The  saffron  tints  of   mom  appear,    And  glow  across  the  blushing  east ;  The  brilliant  orb  of  day  is    near,     To       dis  -  si-pale  the  ling'ring  mist. 

665          65  &  6    6    6      6    7                          4.      7   —  *  3         6  5~       56764.  6667 

6-4,3  ^          5     4  tj                        2  4-        4.3       35   54    2  4 


UXB  RIDGE. 


L.  M. 


l  Mm 


i  as 

— 


At  anchor  laid,  remote  iiom  home,  Toilinj,  I  crv— swett  Spirit,    come;    Celestial  breeze,  no  longer    stav,  But  swell  my  sails,  and  speed  mv  way. 


*WELLS. 


L-  M. 


Holtlrad. 


Life    is    the    time  to  serve  the  Lord,  The  time  t'ensure  the  great  reward  ;  And  while  the  lamp  holds  out  to  burn,  The  vilest  sinner  may  return. 

6     5^6  7  .7  67  6  *  7  6        -S6   .  67 

*  The  air  of  this  tune  is  found  in  the  old  Choral  Cooks  as  far  back  as  the  time  of  Luther ;  it  was  originally  written  in  notes  of  equal  length. 


WAR R  IN GTON.      L.  M. 


Come  hither,  all    ye    weary  souls,  Ye  heavy  laden 


:on.c- ;  I'll  -ive  you  rest  from  all  your  toils,  Am 


6      5  6     8  7 


6  I 

MARIETTA-      *L.  M. 


Happy  the  church  thou  sacred  place,  The  seat  of  thy  Creator's  grace  ;  Thine    ho  - 


abode,    Thou  earthly  pala< 


4.     6     6     6  6         5  6     »5   «6  «     ?  6  4>        &  6  5     4  3 

3  43-  4    #•  34.765 


*LYNN.      L.  M. 


L.  Ma,( 


NATICK.       L.  M. 


Dr.  Callcott. 


Thee    will  I  thank,  and  day  bv  day,  Tothee^Tn'  tune  the    joyful  lay  ;  From  mora  to     erff  the  song  extend,    To-  thee  my  father,  theemy  friend. 

66fi«7  5467  6       6     5  5  -8—  64-64  65  6  6687 

5*3  .}  2     4#  4    *  8923  4 

.3  4.  ^Jf,    .  | 

*  When  this  tuae  is  used  for  words  of  a  le?s  solemn  character,  the  Key  of  D  will  be  found  best  for  if. 


112. 


ANTIGUA.      L.  M. 

I 


6i 


'he  King  of  saints,  how  fair  Ins  lace,  Adorn'd  with  maj  -  es  -  ty  and  grace  !    He  comes  with  blessings  from  above,    And  wins  the    Jiations  to  his  love. 


l.  HAGUE.       L.  M.       [German  Tune.] 

Through  ev'ry  age,  e  -  ternal  God,  Thou  art  our  rest,  our  safe  abode  ;  High  was  thy  throne  ere  heaven  was  made,  Or  earth  thy  humble  footstool  laid. 


6  6  *  6         8  7 


8  7         65    *  3- 

'§9 


66       %  120.                                    EFFINGHAM.  L.  M. 

At  anchor     laid,  remote  from  home,  Toiling  I  cry,  sweet  spirit  come,  Celestial  breeze,  no     longer    stay,   But  swell  my  sails,  and  speed  my  way. 

5  —  365            6           65            6          6         ~  6  7  6  6  7 

3  2         4  3           5           4  3                      5             4  4 

P 104.                                P1LESGROVE.  L.  M. 

Awake,  my  soul,  to  hymns  of  praise  ;  To  God  the  song    of        triumph  raise ;  Adorn'd  with    majesty    divine,  "What  pomp,  what  elory,  Lord,  are  thine. 

87        66    6   57                     4?      87    5*6  6  6    B    7  6                 4    6    4  565     6    6  87 


,•■  96  WATERS       L.  M.  67 

Ye       nations         round       the    earth       rejoice,  Before       the       Lord    your      sov'  -  reisn    King;       Serve     him     with  cheerful 

6  69867  6  *  6    6    6  65     4.*  65 

43  8765  4,3 

01  MM*  ijflTn"  -  ■  M  iTEfi^jUPI  p  l'  Lai 

heart     and       voice ;    With    all  your     tonsues  his  glo  -  ry  sins —       With      all      your         tongues      his  glory  sing. 


68  £112. 


DUNSTAN.      L.  M. 


Dr.  Madan. 


Awake,  niy  soul,  to  hymus  of  praise,  To  God  the  song  of  triumph 


Adorn'd  with  majesty       divine,    What  pomp,  what  glory,  Lord,  are  thine  ! 


6  56  6*6 
;  100. 


6    4        65  7  6 

3       435*  < 

FRAM1NGHAM.      L.  M. 


Come  hither,  all  j    '  ' 


3=3 

Ye    heavy  laden 


ers,  come;  Til  give  you  rest  from  all  your  toils,    And  raise  you  to  my  heav'nly  home. 


r  92.  HAMBURG.       L.  M.  [Gregorian  Chant.]  69 

gf  i  r  nr  uuiJm^&^mJnzv  i  r  r  irf  ri  ^ 


O  praise    the  Lord  viith  joyful   noise  ;  Let  ev'ry  land  his  name  adore  ;   Let  earth,  with  one  u  -  nit  -  ed  voice,  Resound  his  praise  from  shore  to  shore. 


i  3—    4    76    3  443 

TALUS'  EVENING  HYMN.      L  M. 


Tallis. 


iifipiii^iPipiiiiiiiKipypip 

Glory  to  thee,  my  God,  this  night,  For  all  the  bles  sings  of  the  light ;  Keep    me,  O  keep  me,  King  of  kings,    Beneath  thine  own    almighty  wings. 


6        6    6  6       6  8  7 


6    6    6        6  87 


SHEFFIELD.       L.  M. 


K.  Taylo: 


Awake    my     glory      harp  and  lute,    No       longer       let     your  strings  be  mute,      And         I,       my             tuneful  part    to  take, 

Unison.                           +8  7                6  5#6  6*4      6*6  6  8  7                                                 8   6  4         6  5 

b                                  4*24.  4  #—  33     3  3  43 

3                     3  S       d  d" 


Will    with  the 


•arly  dawn  a.vake— 


Will  with    the        early       dawn   awake.  Will  with  the  early  daw 


ENFIELD.       L.  M. 


From  vocal   air  and    concave  skies,    Let  wafted  hal  -  le  -  lujah's  sound  ;  And  let  the  sacred    triumphs  rise,    Till  vaulted  heav'n  the  notes  rebound. 


^  6  4       6        4  6  *  6  6  6    (6    5  65—646  6*64667 

2  3  4  4*  43-3  424 

*  loo.  St.  GEORGE'S.       L.  M.  R.  Harrison. 

liipipiipiiliplppiplippip 

Retire,  O  sleep,  from  ev'ry  eye  !    The    rising    morning   re  -  appears ;    The  sun  ascends  the  dappled  sky,     And  drinks  creation's     dewy  tears. 
6  6  4.      6*6  65    6*  6  6        6   S  7  654  4    6  6  4      6  5     --6  64  6687 


72       T 104-  TRENTON.      L.  M.  Wm.  Shield. 

PiiiipiiaiiiiiiliipPiiiiiiiippps 

For  thee,  O  God,  our  constant  praise  In    Zion  waits,  thy  chosen  seat ;  Our  promis'd  altars  we  will  raise,  And  there  our  zealous  vows  complete. 

VMtlllr  l\l  XtW  \trk  JIJIiluiJLrWflif  ftfttlm 

Unison.  7  6       7  4  4  4.  7666687 

4*3  3  3  *  4 

£ 144.  LOWELL.       L.  M. 

Behold  the  Rose  of  Sharon  here,  The  lily  which  the  vallies  bear  ;   Behold  the  tree  of  life,  that    gives      Refreshing  fruits    and  healing  leaves. 

4.6667  6  6  65  464.4.6         65        64.    6  6  67  7 

24  233432  45 


7  1      1*96.  ARNHEIM.*       L.  M,  S.  Holyoke. 

All  ye  bright  armies  of  the  skies,  Go  worship  where  the  Saviour  lies  ;  Angels  and  kings  before  him  bow,  Those  godson  high  and  gods  below. 

664  6*  687  #    4    6  5  7 

3  3  4  #-  2 

The-  alteration  which  has  been  made  in  the  last  line  of  this  tune  will  make  it  much  more  useful  for  the  common  purposes  of  public  worship. 

f  96.  SEMLEY.       L.  M.  F.  Barthelemon. 


iiiiliiiiiilf 

m 

mm 

mwmwm 

Great  God,  to     thee  my  ev'ning    song  Wit 

ii 

h  humble 

ii 

gratitude 

iSIliiiilll 

raise  ;     0    let  thy  mercy  tune  my  tongue,  And  fil 

iipip 

my  heart  with  lively  praise. 

iliiii 

St.  ALB  AN 's.       L.  M.  Vincent  Novella 


n         Salvation  is     for    -    ever  nigh  Tlie  souls  that  fear  and  trust  the  Lord  ;  And  gi  ace  descending  from  on  high,  Fresh  hopes  of  glory  shall  afford. 


+  5  ■#• 

fss.  SLADE.       L.  M. 


#4    6     #6  6    ?  8  7  6     6     $7  #  6  8  7       6     6  7 


iSllil 

Sweet  is  the  work,  rny  God,  my  King,  To  praise  thy  name,  give  thanks,  and  sing;  To  show  thy  love  by  morning  light,  And  talk  of  all  thy  truth  at  ni^ht. 

87fi56  7  6       67  6     54     8  76    5+76    6  5  66+3  fi  7 

3543  _  4-   *  876654    /65443  5-  4 


MONTGOMERY.       L.  M. 


^mimmmmmmmmmmmmMmm 

Sing  to  the  Lord  with  joyful  voice  ;  Let  ev'ry  land  his  name  adore;    Let  earth,  with  one  united  voice,    Resound  his  praise  from  shore  to  shore. 


8  7   #fi  6       6  5 

CULWOHTfi. 


L.  M. 


6    5       3  4. 


£  Adagi0  Sos,ei 


a        now  pie 


-ly  fair,  O  Lord  of  hosts,  thy  dwellings  are ;  W  ith  warm  desire  my  spirit  faints,  To  meet  th'  a 


4.  3     6-9  8 


6  — -        6     5   8  7 


6  5  4298     6  87 


78 


WOOUSTOWN.       L.  M. 


Benjamin  Holt. 

mimmmmmmmwmmmmmm&mmm 


Ye  nations      of  the  earth  rejoice,  Before  the  Lord  your  sov'reign  King;  Serve  him  with  cheerful  heart  and  voice,  With  all  your  tongues  his  glory  sing. 


6      6    7  8  7  6      7  6  5  6  *6  6        ?  -      6         6     *  3        6  5  6 

MAlDEN*       L.  M.  [Chant] 


Through  ev'ry  age,    eternal      God,  Thou  art  o 


ir  safe  abode  ;  High  was  thy  throne, ere  hea 


made.  Or  earth  thy  humble  footstool  laid. 


*  This  Chant  may  commence  with  the  strain  in  the  Minor  Mode,  and  end  with  that  in  the  Major,  if  preferred. 


mi, 


►88.  DRESDEN'.       L.  M.  [Major  Mode.]  79 

Soli,  or  Tutti — ad  lib.  D  c. 

Preserve  me,  Lord,  in  time   of  need,   For  succour  to  thy  throne  I  flee.     But  have  no    merit    there  to  plead,    My  goodness  cannot  reach  to  thee. 

mimmmmmmMmmmBMmwMmmmm 


n 


6     %  7 

DRESDEN.       L.  M. 


[Minor  Mode.] 

Soli,  or  Tutti— ad  lib. 


My  goodness  cannot  r 


6  5  #- 
8  7  5  7 
Repeat,  eithe 


i  the  Minor  or  Major  Mod* — ad  lib. 


ARMLEY.      L.  M. 


Now    let    our  mournful  songs     record,        The     dying     sorrows       of  our  Lord  ;  When  he  complain'd  in  tpars  and  blood,  As  one   forsaken      of  his  God. 


4-*  4  6  7 

DENTON.       L.  M. 


6  5  5  7  #6 

[Gregorian  Chant.] 


4*6      6  6- 


I«l§ii 

ill! 

iil 

1111111 

mm 

4,  b  7 
2d  ending. 


O  Thou,  that  hear'st  when  sinners  cry,  Tho'  all  my  crimes  before  thee  lie,  Behold  them  not  with  angry  look,         But  blot  their  mein'ry  from  thy  book. 


•#—6        8  7 


MONSON. 


■r-i-fr-p-l-p- 


-G-jO  Q  ® 


£±PzP- 


,  shake   off  tliy    fiiars,   And  gird  the  gospel 

ffb  -Qi_d         d_  ^P 


d-d-  ri.     »  f> 


m 


d—  d — d-  h  -©- 


H=3 


6     6  7 
4  if 

the      heav'nly    gate;      There  pea 


2.    Hell   and  thy 


lil'd  thei 


1 


-p-d-  -d-d-  -d-  c'  -d-. 


(•  9G. 


6        G   6  5 

Join   in   my  glorious 


©   H  -d— d-S— p-*!^ 


6  87 

See  Edyfield,  page  215. 


•  .90. 

^      First  Treble.  1 

1 

O 

-A- 
_  i_ 

AUTUMN.*   ,  L.  M. 

Dr.  Boyce. 

83 
l? 

r~ 

Second  Treble. 

cSingtutlia     Lord  with  j.nfu 

©iv>:  P  •.  5  o  P_  : 

P 

-Q; 

Le 
j 

-  , 

-o-4-  -d-d-  -d. 

1® 
Let  ca 
-©'-  - 

d-d       i j^d 
a  S   g      -p  p- 

^l"  - 

ce,  fteso 
"d;  -©^ 

44 

Dd  his 

H 

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■d-  c- 

• — p — a 

-rd- 

^t>Y  i-fin — S—F-e- 

Buse.                    6  6 

®80. 

.  n     First  Treble.  - 

^fcszq  xq:  I  ll 

1— 1 

Linco 

6 

 1  ii 

\.MAH 

I 

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- 

6 

1  M: 

P 

linor  Mo 

6 

Je.] 

i 

6 
6 

4 

0 

1 

4 

6  87 

-— ff--" 

1.  My  soul  lies 

bumbled 

C 

«§- 

st 

e 

And 

r* 

dreadfu 

-o-d 

1  sentence 

-  -^-d-d 

-  -9; 

Look  down,  ( 

"  1 

Lord,  wit 

-#d- 

="-©': 

0  o 

1  pitying 

#s--d- 

o'd 

^  D 

o^nd 

si 

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I 

©  96 

_  ..First  Treble. 

.H7 

G4 
5ff 

RA 

MAH. 

L 

6    6  5 

M.  4  * 

7 

[Major  Mode 

7 

1 

5  6 

# 

-e-B- 

# 

J  o~o  [ 

4   G  * 

vs? .  r~p  a>  gt 

# 

I 

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it 

"T't'Lu'wi'm  I  t 

11  th«  n 

orld 

hy 

f 

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•■88.  DUNBAIiTON.       L,  M.  C.  Zeuner.  89 


Through  ev'ry  age,      eternal       God,   Thou  art  our  rest,  our  safe  abode;  High  was  thy  throne,  ere  heav'n  was  made,  Or  earth  thy  humble  footStool  laid. 


4,  6 


«     5  6  5  8 

f  66.  WINDHAM.       L.  M.  Read. 

Broad     is  the  road  that  leads  to  death,  And  thousands  walk  together  there  ;  But    wisdom  shows  a    narrow  path,  With  here  and  there  a  traveller 


Sliiiil 

Hi 

il 

Illflii 

iii 

II.   &  H. 


LONDON. 


C.  M. 


Dr.  Croft. 


Second  Ending. 


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Plac'd  on  the  verge  of  youth,  my  mind  Life's  op'ning 


•veys  ;  O'er  all  its  ills  of  v 


s  kind,  With  awful       fear  I  gaze. 


•-  ioo. 


CHRISTMAS.       C.  M. 


6     5  6     6  7 


Handel. 


Awake  my  soul,  stretch  ev'ry  r 


u!  A  heav'nly  race  demands  thy  zeal,  And  a 


il  crown.    And  an  immortal  ( 


3  3     6        7    7    f]2  3 


92       |»  100.  LIVERPOOL.       C.  M.  Dr.  Wainwright. 

When  I  with  pleasing  wonder  stand,  And     all    ray  frame    survey,  Lord,    'tis  thy  work,    I     own      thy  hand,  That  form'd  my   humble  clay. 

6        566687  65-6      6687  6      *■  3  6       64  8232876  5        4.64.  6687 

4  4^-  5    4  ■&—  98  3  6787654.3       2        3  4. 

T  loo.  HAVANN'A.       C.  M.  Dr.  Harrington. 

mmmwmmmmwmmmmmmmwmm 

How  vain  are    all  things  here  below  ?  How  false,  and    yet  how  fair  !  Each  pleasure  has  its      poison       too,  And      ev'  -  ry      sweet    a  snare. 

4  6-7  6  6"         656796         5667  87    6-  46    6     ^6  6       64  667 

3  4         4.1        4    -  4,3-  4-245  3  4 


£00.                                 BRATTLE  STREET.  C.  M.  Pleyel.  93 

While  thee  I     seek,  protecting  Pow'r,     Be    my  vain  wishes  still'd ;  And  may  this  con-se  -  crat-ed  hour,  With     hetter  hopes  be     fill'd  ! 

7                            6                          6  5  7   6  56       P  87 

4  3  5  4 

Thy  love  the  pow'r  of  thought  bestow'd,  To  thee  my  thoughts  would   soar  ;  Thy    mercy    o'er  my    life  has  flow'd  That    mer    -    cy     I  adore. 

5  4  $6          7            *              ?  5  *  66             6          6  5  9           9  6        7   6  5  6       6  8  7 

3  2    ^  3  2^543  5  4 


91         f  104. 


BLANDFORD. 


C.  M. 


T.  Jackson. 


Awake,  my  soul,  arise,  my  tongue  !  Prepare     a  tuneful  voice,  In    God  the  life  of  all  my  joys,    Aloud  will     I  rejoice. 


3^-4        6  6 


6    5  6     6  7 


KENDALL.       C.  M. 


6    6     6    5  7 

Clark. 


Tempests     arise,  when  God  ap  -  points,    And    mighty      oceans      roar;  He  bids  the  winds  and  waves  be    still,  And  straight  the  storm  is  o'er. 

5-6  5  6  67  6  6657  66687 

3-4  3  4,5  *  #-  4 


ioo.  OAKLAND.       C.  M.  95 

Lord,  in  the     morning    thou  shalt    hear,   My      voice       ascending      high;    To  thee  will     I     direct    my  pray'r,  To  thee  lift  up  mine  '  eye. 


3G4.  6  6  6  8  7 
^2        5      4  e- 


6  64.  64.  65657 


PRINCETON.      C.  M. 


igiil 

ii 

Ie^eSe 

lISi 

1 

WESTFORD. 


C.  M. 


Come  let  us  join  our  cheerful  songs,  With  angels  round  the  throne,  Ten  thousand,  thousand  are  their  tongues,  But  all  their  joys  are  one,  But  all  their  joys  are  one. 
6  5        6  6  5  6      7-^6        7  6     6j|  Voice  or  organ.  6_*  6    £  £  f  6  7 

»  160  3  ~      COVINGTON.       C.  M. 

How  sweet  and  awful    is  the  place,  With  Christ  with  -  in         the    doors  ;  While  everlasting  love  displays,  The     choic  -  est       of       her  stores. 


too? 


6     5  6  6    8  7 


SWAN  WICK.       C.  M. 


Soon  shall  the  glorious  morning  dawn,  When  all  thy  saints  shall  rise  ;  And  cloth'd  in  their  immortal  bloom,  Attend  thee  to  the  skies.    Attend  thee  to  the  skies. 


6     6  6  7 


5         "4  tr 

ioo.  NOTTINGHAM.       C.  M. 


it 

iilii 

7 

8                  U  sE  8 

87       6  6  7 

liliiillilii^ 


I.  Smith. 

lii 


Second  ending. 


Some  seraph  lend  your  heav'nly  tongue,  Or  harp  of  golien  string,  That  I  may  r 


5-       6   98     6  7 


BRIDGEPORT. 


C.  M. 


L.  Mason. 


Great  is  the  Lord;  his  works  of  might       Demand    our    noblest    songs:  Let     his    as  -  sem  -  bled  saints  unite     Their      harmony       of  tongues. 


65      ^6       6     #6  6   6  7 


5  6  7     3      7  6  -&6 


f  100. 


65  "  4  3*5 

BRGOMSGROVE.       C.  M. 


O  render  thanks  and  bless  the  Lord  ;  Invoke  his  holy  name,  Acquaint  the  n 


vith  his  deeds,  His  matchless  deeds  proclai 


ST   FHKNH.  CM. 


Jones. 


Great  God,  how  infinite  art  thou  !  What  worthless  worms  are  we  !  Let  all  the  race  of  creatures  how,  And  pay  their  praise  to  thee. 


0656687  6f         6665         -3-66366  687 

DUX  CHURCH.       C.  M. 


Long  as  I  live  I'll  bless  thy  name,  My  King,  my  God  of  love  ;  My  work  and  joy  shall  be  the  same,  In  the  bright  world  above. 


6      6    6    5  6 


100 


NEWTON.      C.  M. 


T.  Jackson. 


Come,  happy    souls,  approach  your  God,  With  new  melodious  songs!  Come,  render 


Al  -  migh  -  ty    grace,  The  tribute       of  your  tongues. 


6687       3       6  667 


HAVEN.       C.  M. 


S3 


Thee  I'll  extol,  my  God  and  King ;  Thy  endless  praise  proclaim ;  This     tribute    will   I       daily     bring,    And       ever       bless  thy  name. 


6    5  6       6  8  7 


*  92.  CAMBRIDGE.       C.  M.       [Major  Mode.]  Dr.  Randall.  101 


What  shall  I  reader  to  my  God,  For  all  his  kindness  shown  ?  My  feet  shall  visit  thine  abode, 


75  6687  75  333333  56687 

» 80.  CAMBRIDGE.       C.  M.       [Minor  Mode.] 


My  songs,  &c. — My  songs,  &c. 


What  shall  I  render  to  ray  God,  For  all  his  kindness  shown  ?  My  feet  shall  visit  thine  abode,  My  songs  address  thy  thro 


My  songs  address  thy  throne. 


3      3333      3*  56687 


102       p  100.  MANSFIELD.       C.  M. 

O  Thou,  to  whom  all    creatures     bow     Within  this    earthly  frame,  Thro'  all  the  world  how  great  art  thou,  How    glorious       is       thy  name  ? 

^  6  65656  6  67  67  39876  5      65  6  5667 

4  43  v  4.  54328743  .  * 

p  loo.  St.  JAMES's.       C.  M. 


i  m  u 

ttrti 

1  1  1  u 

II  1  u 
Mill 

1  1  1  U 

CLLLL 

m 

How  shall  I  praise  th'  eternal      God,  That        in  -  fi  -  nite    unknown  ?  Who  can    ascend   his  high    abode,     Or    come      be  -  fore  his  throne 

"  6  6       77  7  87  6456tl  (5    |         6     7  7 

fa  fa—  3  3 


*  104. 


TOLLAND.       C.  M. 


Reginald  Spofforth.  103 

I    sing  the    mighty    pow'r    of    God,         That  made  the  mountains  rise,    That  spread  the  flowing  seas  abroad,  And  built  the      lofty  skies. 


3      3  3     3  3  3 


I    sing  the    wisdom    that  ordain'd        The   sun  to    rule  the  day,         The  moon  shines  full  at  his  command,         And     all    the   stars  obey. 


104      f  104. 


CLIFFORD.       C.  M. 


eyes,  From  thence 


all        my       aid ;      From    Zion's       hill      and  Zi 


6     6      7  6  m     i%  6 


mm 


wmwmmmmmmmimmwwM 


God — From  Zi  -  on's  hill  and 

::fcz*zz=iz=:. 


in's    God,     Who  heav'n  and  earth  hath  made — Who    heav'n       and      earth   hath  made. 


^  «        5  6         6  7 


St.  DAVID's.       C.  M. 


Ravenscroft. 


To     cerebrate    thy  praise,  O  Lord,     I      will    my    heart  prepare ;  To        all    the       list'ning  world,  will    I,     Thy  wond'rous  works  declare. 


LITCHFIELD.       C.  M. 


L.  Maso 


Ye  hearts  with  youthful  vigour  warm,  In  smiling  crowds  draw  uear  ;  And       turn  from        ev'ry        mortal  charm,        A     Saviour's  voice  to  hear. 


6    6#fc  56 


H.   &,  H 


14 


f  96,  GREENFIELD.       C    M.  Michael  Haydn*  107 

Begin,    my  soul,  flic    lofty      strain,    In       solemn      accent    sing      A         sacred  hymn  of     grateful  praise,   To  heav'n's  Almighty  King. 


fro ' 

TTD  ' 
MM 

1  cu_ 

m 

6 

6              687                64.66                                   6*6  6( 
4.                               2  5 

4>        6              6  7 
2  4 

WINTER.       (3.  M. 


Read. 


Oh!  that  the  Lord  would  guide  my  ways,  To  keep  his     statutes  still;  Oh!  that    my    God  would  giant  me  grace.     To  know  and     do   hi3  will. 


6  4. 

Brother  of  the 


5  7  6  4. 


108 


ARCHDALE.       C.  M. 


When  God  reveal'd  his     gracious  name,  And  chang'd  my  mournful      state,     My     rapture  seem'd  a  pleasing  dream,  The    grace      appear'd      so  great 


The  world  beheld  the  gloiious  change,  And   did     thy  hand  confess  ;  My  tongue  broke  out  in  unknown  strains,  And  sung  surprising  grace. 


St.  JOHN'S.       C.  M. 


Now  to  the  Lamb  that  once  w 


Ee       endless  honours  paid  ;  Sal  - 


■  tion,    glo  -  ry,  joy 


65       5b6       66  7 

FARNS  WORTH. 


4.    6        6  6  7 


C.  M. 


On  Thee,  each  morning,    O    my  God,     My  waking  thoughts  attend  ;   In     Thee  ; 


my    hopes,    In  The 


BEDFORD. 


C.  M.       [No.  1.] 


Wheall. 


Lord,  thou  wilt  hear  me  iThen  I    pray,       I       ^aTrf'   for  -        -  er  thine  ;    I      fear  before  thee    alt'  the  day,    Nor    will    I     dare    to  sin. 


6  5tj6 

BEDFORD. 


C.  M.       [No.  2.] 


Let  all  the  lands,  with  shouts  of  joy,      To       God  the 


ie,  And  spread  his  g'o 


5  6  fi    -3-  - 


6       6    8  7 


EUST1S.       C.  M. 


Mornington. 


hart  for    cooling  si 


When  heated    in  the  chas 


my  soul,  O    God,   for    thee,       And  thy     refreshing  grace. 


6     43  8  7      4  3         6  4. 

9  »  2  o  *  o 

BOLTON.       C.  M. 


6     4  3  9  8      6  5 


Ye  humble  souls,  approach  your  God  With  songs  of  sacred  praise;  For  he  is  good,  supremely  good,  And  kind  are  all  his  ways — And  kind  are  all  his  ways. 


6587  65  6-7  6  4 
43    65  4  3  4 


HI       *  96.  DEEKFIELD.       C.  M. 

Salvation,       0  the       joyful      sound  !'Tis    pleasure    to    our     ears;     A     sov'reign  balm  for  ev'ry    wound,    A      cordial        for   our  fears. 

piiilgiiiiiiisioiiiiiiiiiisiiiii^ 

6  6  6    6    65  6    56     67  66       6*6  #  65      6  7 

,*84.  *     LANESJ30KO*.       C.  M.  $ 

Early,  my  God,  without  delay,  I  haste  to  seek  thy  face  ;  My  thirsty  spirit  faints  away —  My     thirsty       spirit  faints      away,  Without  thy  cheering  grace. 
6-467436  67  6  £5  6346667 


♦120.  CHANNING.  CM.        [Two  Stanzas.]  115 

Come,  sound    aloud  Jehovah's       name,    And      in    his  strength  lejoice  ;  When  his  sal  -  va  -  tion    is     our  theme,    Ex  -  alt  -  ed     be   our  voice. 

>                            4.6  6      7       *  3       6      6  5      6      7  6  6       *•  6            6—  #        —        6      6      6  7 

2  4.9844.3             4-  *            65  *  # 

3—  3 

With  thanks  approach  his  awful      sight,    And    psalms   of  honour     sing;  The  Lord's    a     God  of    boundless  might,  The   whole  ere  -  a  -  tion's  King. 

Tasto-  56     l  l  ill        6  %%  |-r»  56  53 


116       j»96.  St.  MATTHEW'S.       CM.       [Two  Stanzas.]  Dr.  Croft. 


"Let  heav'n  a  -  rise,  let  earth  appear!"  Thus  said  th'  Almighty     Lord;  The  heav'ns  arose,      the  earth    appear'd,      At       his       ere  -  a  -  tiDg  word. 


Thick  darkness  brooded    o'er        the  deep  :  God  said,  "  Let  there  be  light  !"  The  light  shone  round  with  smiling  ray,    And      scatter'd        ancient  night. 


,*80.  PETERBOROUGH.      CM.  117 


■Vizi  z~i: 

p-i:rs-ii-i-ei-;:rp-:if;i":i|: 

Once  more,  my  soul,  the  rising  day,    Salutes  my    waking    eyes :  Once  more,  my  voice,  thy  tribute  pay,       To         him     who   rules    the  skies. 

67  "  68757 

,*so.  ARLINGTON.       C.  M.  Dr.  Arne. 


18       f  88.                                 FERRY.       C.  M.  [Major  Mode.]  Webbe. 

In       all  my     vast  concerns  with  thee,       In    vain  my  soul  would  try,    To    shun  thy  presence,  Lord,  or    flee    The       notice       of  thine  eye. 

6                                 6      6          3  2     57  66           64  8  7 

6                                    5-  536  65 

♦  80.                                   FERRY.       C.  M.  [Minor  Mode.] 

In       all  my    vast  concerns  with  thee,    In      vain  my  soul  would    try,     To     shun  thy  presence,  Lord,  or  flee     The       notice       of  thine  eye. 

*~          #6           W*          6#-          65      #  #  -            6   #fi  ^     -#  *  6  5*- 

6                          57  746  57 


MEDFIELD.       G.  M. 


Wm.  Mather. 


vithout   delay,       0  Lord,      I    seek  thy  face  ;  My       thirsty       spirit  fail 


thy    cheering  grn 


3  *    5  3      6  6 

5  *DUNDEE. 


C.  M. 


Second  Ending. 


Let  not  despair  nor  fell    revenge,    Be  to  my  bosom  known,  O  give  me  tears  for  others'  woes,  And  patience  for  my  own. 


6  6fa7  jj    5  7  6  8757  f  5  7 

*  In  the  old  European  books  of  psalmody,  this  admirable  tune  is  called  French;  the  sharp  in  the  first  line  of  the  melody  is  omitted,  and  the  last  line  is  like  that  which 
is  here  printed  at  the  end  of  the  staff.    The  key  of  F  [in  which  the  tune  is  generally  written]  is,  perhaps,  the  best  for  most  choirs.       t  Sharp  or  natural. 


120  p 


*LUTZEN.       C.  M. 


Martin  Luther. 


y*  Ji,i  .hj  ji  J  JUi.iiffsqiJi.li  j  j  mmimmamSj 

Sing  to  the  Lord,  ye  distant  lands,  Ye  tribes  of  ev'ry  tongue  ;  His  new  discover'd  grace  demands,  A  new  and  nobler  song. 


6  5  7        6  8  7"  3*4. 6       6  %T_ 

*  The  melody  of  this  tune  (with  the  exception  of  the  third  line)  has  here  been  restored  to 
without  doubt  composed  by  Luther. 

88.  SPENCER.       C.  M. 

rt'-fltfa:— 


643  6  6  6  56687 

iginal  form.    It  is  found  among  the  old  German  Chorals,  and  wu 


rVith  rev'rence  let  the  saints  appear,  And  bow  before  the  Lord  ;  His  high  commands  with  rev'rence  hear,  And  tremble    at  his  word. 


34     6  4> 


34.  6        6  7 


6  346       6  7 


*ELY.       C.  M. 


o  walk  ;  Nor  stands 


profanely  talk. 


6  •#■      .  66  64  6  6  37 

*  From  "The  whole  Book  of  Psalms,"  published  by  Thomas  Ravenscroft,  London,  1633. 

f  so.  ROCHESTER.       C.  M. 


^^jJJ-J  1 J  J  ]TTlJJ.JLjJ.l^JlL!Jj:i  J'J' J  P:ilJ3iiiil 


God,  my  sup  -  por  - 


and  my  hope,  My  help  for  - 


■cy     held  me  up,    When  sinking 


mimMiM  ir  r  r  t  i  'mmu  r  n»  i J  i  ij^tra 


6  6 
H.    &,  H. 


122      f  100.  ^  MEAR.      C.  M.  ^ 

O  'twas     a     joyful        sound,  to  hear,  Our  tribes    de  -  vout  -  ly    say,  "Up,  Is  -  r'el,'        to     the  temple  haste,  And     keep  the      festal  day." 

^                              87               4.           4.                 66*6               5  7              6               6  ?          ii    6    7  6  875  67 

3          3                               4                                              4.            4>        4—  4 

*  92.                                         CHELTENHAM.       C.  M.  Ravenscroft. 

, — ^  — s                         ^— — N  Second  ending. 

My  God,  my  everlasting  hope,  I  lire  upon  thy  truth  ;  Thy  hands  have  held  my  childhood  up,  Thou  hast  preserv'd  my  youth. 

6     6          6                       6    ~ 5      £  £1                         654         87            *b5    87  5   57  87  6  #- 

3 


124       fioi.  ASHLEY.       C.  M.  Dr.  Madan. 

Salvation,    0  the    joyful    sound,    Tis    pleasure        to      our    ears  ;      A     sov'reign  balm  for       ev'ry  wound,  A  cordial        for  our  fears. 

^  6  6  8765  5%— 4— 3      8  2-3  8    765    43     28       6         65  6  S 

65     4#  7      -6   -5     3  4.5  3    2  87    65     4  3  47 

Glory,  honour,  praise,  and  power, be  unto  the  Lamb  forever,  Jesus  Christ  is  our  Redeemer  !  Hallelujah!        Hallelujah!        Hallelujah!      Praise  the  Lord  ! 

t  6      t  6      I      6  l  t  6  i  ?         ?  6i66|7 


,•■  96.  YORK.       C.  M.        [No.  1.]  John  Milton,  father  of  the  Poet.  125 

Thee  we    adore,     E  -  ternal  Name,  And    humbly  own     to      thee,    How    feeble       is  our    mortal    frame,  What    dying    worms  are        we ! 


66657  6  6  6       #6  83 


2d  Treble. 


5     *    #—  6  4  * 

Tenor.  *YORK.  C.    M.  [No.  2.] 


■  ~  ble. 

Thee  we    adore,  E  -  ternal    Name,  And  humbly  own  to       thee,  How   feeble     is    our     mortal    frame,  What     dying    worms  are      we ! 

Treble.  s  ^—^ 

6  5  6  w  6         6    hT_  6    5  6  -^y  6  6     #6  8B7 


icipal  melody  is  -Wen  to  the  Teoor 


4  4 


126 
ft* 


GREAT  MILTON.       CM.  [Two  Stanzas] 


Thou  art  my  porti 


O      my  God,  Soon 


I  know  thy  way,    My       heart  makes  ha 


t'obey    thy  word,  And  suffers 


6  5  6       6  6666 


I    choose    the  path 

of     heav'niy  truth,  An 

ii 

)  -  ry 

I 

ig 

iiiiipii 

e  :  Not  all  the  riches    of    the  earth 

Si 

^ — '  s — * 

,   Could  make 

me      so  rejoice. 

^  65     n  65      %l    87  6  5  8  7  6  5  I         I     J  ^l^tU     I  »? 


♦loo.  MELODY.       CM.  Loach.  127 

Come,  let  us  join    our    cheerful  songs,  With  angels  round  the  throne  ;  Ten  thousand,       thousand  are  their  tongues,  But  all  their  joys    are  one. 

>  6     5  4.  3   2  1    6  6  5  4  3  6    3*4   6     6  6  #—         5      -    7  8  7  6  5    8^-7  8  7    6  5  3-4  3  2  8     6  5  65  6    6  7 

436543       8765  2  457         3      3   *-5  4#  3543  53657       43  43  54 

*  96.  BETHLEHEM.       C.  M.  Dr.  Madan. 


128       •  96.  St.  MARTIN'S.       C.  M.  Tansur. 

fTiftf  1 11T1  i i  n ii  r Ti77i 1 1 1 ■  i -c> 'i'l'i %b* 

0       thou,  to    whom    all      creatures  bow,    Within     this   earthly  frame,  Thro'  all  the  world  how     great  art  thou,  How  glorious      is  thy  name  ! 

8—  6664.  33333  65         66657         34.      56      54333656  6  64.  6657 

333-3  8-6-  4.  8  2      3*3235-  3  4. 

,♦88.  FRANKLIN.       C,  M.  L.  Mason. 

Hope  looks  beyond  the  bounds  of  time,  When,  what  we  now  deplore,  Shall  rise  in  full  im  -  mor  -  tal  prime,     And    bloom    to      fade    no  more. 

ficc^  fi     -a.  e.  a.    e.    ^    ^   ^    ^   a.  "X         e,  ^         ^-    F.  ^7 


100.  MARLOW.       C.  M.  [Chant— Major  Mode.]  129 

1.  Let  all  the  lands,  with  shouts  of  joy,     To      God  their  voices    raise;    Sing  psalms  in  honour     of  his    name,    And    spread  his     glorious  praise. 

6       3  66  5  66  6*  4  3     6  5       f    8  ? 

MARLOW.       C.  M.        [Chant— Minor  Mode.] 


f^mmmimmmmmmmmmmswmmi 
^mmmmm]mmmmmmmmmm 

2.  And  let  them  say  "  how  dreadful,  Lord,   In       all  thy  works  art  thou  ;  Beneath  thy  pow'r,  thy  stubborn  foes     Shall      all     be      forc'd    to  bow." 


130        f  69. 


St.  ANN's.       C.  M. 


Dr.  Croft. 


My  God,    my    portion,    and  my    love,  My 


-  last-ing    all !    I've  none  but  thee  in  heav'n  a  -  bove,    Or      on    this    earthly  ball. 


i 

i  Mill 
1     (D II  II 

II  101  1 

1  M  M  1 

iii 

iiilii 

FTP! 
n  i  i 

100. 

iffeSEiilEi 


COLCHESTER.       C.  M. 


^^^ppifpSlSiffifliliilliigp^ 

0  'twas     a        joyful    sound    to  hear    Our  tribes  devoutly    say,  "  Up     Is  -  r'el,    to  the     temple    haste,  And    keep    the   fes    -    tal  day." 


634.6  7  5        4.  ^     4    6  6 

3        9  8  2 


6    4  6    6  5  7 


For  -  ever      blessed     be  the  Lord,    My     Saviour    and  my  shield;         He  sends  his       spirit      with  his  word,     To    arm  me     for  the  field. 


BOWDOIN.       C.  M. 


How  vain  are  all  things  here  below  !       How  false,  and      yet      how    fair !  Each    pleasure  hath    its      poison    too,     And      ev'ry  sweet  a  snare 


mmtsmmmmMmmmmmmmim 


132 


TALUS'  (JHANT.       C.  M. 


Tallis. 


O       all  ye  nations, 


2  tha  Lord,  Each  with  a  diff'n 


In      ev'ry  language  learn  1 


ord,    And  let  his 


BR  AIN  TREE.       C.  M. 


H3J 


In  God's  own  house  pronounce  his  praise,  His  grace    he  there    reveals  ;      To   heav'n  your  joy  and     wonder    raise,  For  there  his      glory  dwells. 


438~4.3  6  3 
9  o  b 5    9  8 


4       6  6  S  7 


34      £  loo. 
ft 


CONWAY.       C.  M. 


Come  let  us  lift  our    joyfnl  eyes  Up  to  the  courts  above,  And    smile    to    see  our  Father  there — And  smile  to  see,  &c.  Upon  a  throne  of  love. 

+  6      ^  66  43               656678  4.^6  6.657 

2  87654  3—  4 

*  100.  WESTMORELAND.       C.  M.  [Two  Stanzas— Moravian  Tune.] 

I'm    not  asham'd    to   own  my  Lord,    Or      to     defend     his  cause,  D.  C. 

Maintain  the  honour      of    his  word,   The    glo  -  ry   of     his  cross.        Jesus,  my  God !    I    know  his  name,    His  name  is     all    my  trust; 

Nor  will  he  put    my  soul    to  shame,  Nor    let    my  hope    be  lost.  ^-^  D.  C. 


6         6      8  7 


glOO.  HOWARD'S.       CM.    _  [Major  Mode]  Mrs.  Cuthbeit  135 

Lord,    hear  the    voice     of    my       complaint,    Accept  my  secret  pray'r,  To  thee  alone,  my  King,  my  God,  Will         I        for    help  repair. 

^  64.         6343874.  3  6665  663288765       6  46  6667 

3  5-     65      98  4  •#•  4    54   3     65   434  3  4 

£ 88.  HOWARD'S.       C.  M.       [Minor  Mode.] 

Lord,  hear  the  voice  of  my    complaint,      Ac    -    cept    my  secret  pray'r ;  To   thee  alone,  my  King,  my  God,    Will       I  for      help  repair. 

6  6  6t  #     *  6  6  #ii  6     #      #-    6    *  3  2   8      6587*       *       6*66  666 

4  4#  44.  5*3      6-  4  87 


136  * 

✓it** 


CANTERBURY.      C.  M. 


Ravenscroft. 


III 

ip 

II 

1 

i 

i 

il 

piiii 

IPii 

Now  let   Je  -  h 


ador'd,     On  wh 


•  hopes  depend ;  For 


except    the    mighty    Lord,    His  people 


4.      6  6  6  8  7 

ALBO ROUGH.       C.  M.  5 


V.  Novello 


O  praise  the  Lord  with  one  consent,  And  magnify  his  name  ;  Let  all  the  servants  of  the  Lord,  His  worthy  praise  proclaim. 


i^iiiiiiiiiiii 


JORDAN.       C.  M.  Harwood.  137 


Shepherds  rejoice,  lift    up   your  eyes,  And  send  your  fea 


ray  ;      News  from  the  r 


of     the    skies  !  The  Sa\ 


born     to  -  da> 


6    6^  57 

STAMFORD.       C.  M. 


7    6  56765,. 
5    4.  4  65 

W.  Tansur. 


6  5  6    6      5  7 


M.S.  ,  _ 


u.  ine 


of    the    sky,    To    thee,  Almighty    King,  Mar 


And    Hal  -  le  -  lu-jahs 


5*6 
H.   &  H. 


18 


SALEM.       C.  M.  or  U's&S's 


C.  M.  Thi 


months  thy  goodness 


beauteous  are        thy        ways  !  The 


That         float  in      the  brea 


Glad       tidings  the 


(2.)    Glad  tidings,  glad  tidings  resound  from 


claiming  the 


for    -    giv'n  ;        Glail       tidings,  let 


ie       downs,       And  shepherds       shout — And        shepherds       shout —         And  shepherds       shout      thy  praise, 

m    -    nounee,      Re    -    viving       the         spirit — Re    -    viving    the       spirit —       Re     -     viving     the      spirit      for    -  lorn. 

mmmiimmmmmmiwmmmmmMimm 

number'd  re    -    spond,         Glad       tidings,    glad  tidings — Glad     tidings,    glad    tidings —      Glad         tidings,    glad     tidings  from  heav'n. 


110 


DEVIZES.       C.  M. 


Tucker. 


BARBY.       C  M. 


Hope  looks  beyond  the  bounds  of  time,  When  what  we    now     deplore,    Shall  rise  in  full      immortal    prime,  And    bloom  to     fade     no  more. 


» ioo.  CHESTERFIELD.       C.  M.  141 


Lord,  when  niy  raptur'd  thought  surveys     Creation's        beauties    o'er,     All      nature  joins  to  teach  thy  praise,  And    bid    my      soul  adore. 

6  7             8  7                       6       %           $.L  6  *           6  4   5  7 

f  ioo.  TWEED.  *  C.  M. 

How  sweet    the    mem'ry      of     thy  grace,  My  God,    my  heav'nly  King :  Let  age  to  aee  thy  righteousness    In  sounds  of       glo  -  ry  sing  ! 

(5  7           6*541                     fi7          668:               5  67  4     6  3  6    *     4-3           6~4~    6      6    6  7 

*  3          5  4/   6  5                    4*             4  *—             345  3  598                3  4 


GAINSBOROUGH.       C.  M. 


Handel. 


As  pants  the    hart  for  cooling  streams,  When  heated  in  the  chase,    So      longs  my  soul,     6     God,    for  thee,    And    thy     refreshing  grace. 


2  *  2   fa5  a  7  * 

JUDEA.       C.  M.  [Chant] 


O  praise  the  Lord  with  one  consent,  And  mag  -  nT-  fy  his  name,  Let  all  the  servants  of  the  Lord,  His    worthy  praise  proclaim. 

TT_:   C     f.     A      A.  A  A.  IT-:   A  A    1       l\  S  6       4365       6    5  7 


BILLINGS'S  JORDAN.       C.  M.        [Two  Stanzas.]  Billings.  143 

There    is    a   land    of       pure     delight,  Where  saints  immortal  reign ;    E  -  ternal    day      excludes         the    night,  And  pleasures  banish  pain. 


5  6      7        6  5 


4      34       64,  5 


Sweet  fields,   beyond     the      swelling  flood,  Stand  dress'd  in  living  green  ,  So  to  the  Jews  fair  Canaan  stood.    While    Jordan       toll'd  between. 


•  Thjs  pMiaje  m»y  t*  suilg  »1 


WAR  EH  AM.       C.  M.  or  ll's  &8V*  iir.  Arnold. 


M.       How  large    the    promise,      how     divine,         To       Abr'ham  and       his      seed!    "Ill       be        a      God      to     thee      and  thine, 

l's  &  S's.    Be  joyful,  ye  servants  and  children  of    God,     And    sing  of  his      mercy      and    might;    With  grateful  de  -  votion — at  -  tend  in  his  courts, 

7  5    7         6                                  ^      5        1  0  9  8       7                  -J-  -3-3-3- 
u  Chorus.  ^  s        ^  s 

Sup  -  ply  -  ing       all  their  need."  "  111         be  a      God    to        thee       and  thine,  Sup   -   ply   -   ing         all    their  need." 

While  duty  and    pleasure       in  -  vite — With    grateful       de-vo-tion — at  -  tend     in    his    courts,  While  duty     and        pleasure  in    -  vite. 

^iiiip^iiiiiliiiilii^igi^^i^! 

-o-    -5-      lw-  --+-  6*667 


19  *  By  omittiDg  the  Tie«,  to  as  t»  make  three  syllab 


1  16 


BRADFORD.       C.  M. 


Handel. 


liiiiiiii 

'*1r  ir/iij^i^rJrrirtcrirt^Hf  t'ssj^MsASBSSsat 

^  65  6       7       7  6      7#6     6  6   4-5  *—  6  5  6    4  6  5  6     6  —  7  7 


I    know  that  my    Re  -  dec 


prays  forme;   Sal  -  v 


his  saints  he  gives,  And  life  and  lib  ■ 


6-7  5  7 

WARSAW.  *     C.  M. 


IS 

ill 

A  nev 

v  and  nobler  song — 

is 

m 

pis 

iil 

iiiiii: 

m 

ing  to  the  Lord,  ye  disi 


ids,  Ye  tribes  of  ev'ry  tongue  ;  His  new  discover'd  grace  demands,  A  new  and  nobler  song — A  nev 


4  6    4    4  3 


A  new  aiul  nobler  song. 


6     34.66  657 


PLYMPTON.       C.  M. 


Dr.  Arnold. 


Now  let  our    drooping  heai 

hjfasr-rai-r-.T  


And  ev'  -  ry    tear    be     dry  ;  Why  should  these  eyes  be  drown'd  in  grief,      Which  view  a  Saviour  nigh  ! 


"  3  33       #     3    3    #   8  7-67  6  7-65  6-    *     2*53     5675—333  65  6         6        6  657 


3    3  *  J5  5  

CORNISH.       C.  M. 


82  38     34576  5- 

R.  SpofTorth 


SiiiiiiJpiiiiiiiiiiiii 

Now  let  our  drooping  hearts  revive,    And  ev'ry  tear     be  dry  ;  Why  should  these  eyes  be  drown'd  in  grief,  Which  view  a  Saviour  nigh  ? 
65  6    6     7  7656  66  6  6  6    *.  7 


fso  MILLER.       CM.       [Minor  Mode.  J  Dr.  Miller. 

(1  )  My  soul  lies"  cleaving  to  tl^  du^,  Lord,  give  me  life  divine;  From  vain  desires  and  ev'  -  ry  lust",  Turn  off  these  eyes  of _  mine. 
(2.)    Are  not    thy  mercies  sov'reign    still  ?   And  thou     a    faithful     God  ?  Wilt  thou   not  grant  me    warmer    zeal,     To   run    the    heav'nly     road  ? 


6  #<? 

MILLER. 


C.  M. 


6      56     6  87 

Second  ending. 


[Major  Mode.] 


(3.)  Then  shall  I  love  thy  gospe 


:e,  And  ne'er  forget  thy  word  ;  When  I  have  felt  its  quick'ning  pow'r  To  draw  me  to  the  Lord 


4    6    5  6  6 


St.  AUSTIN'S.       C.  M. 


Wm.  Horsley.  149 

Second  ending. 


Behold  thy  waiting  servant,  Lord,     Devoted      to  thy  fear  ;    Remember  and  confirm  thy  word,  For  all  my  hopes  arc  there. 


6         6  43 


*  100. 


6     6    5  * 

SA(50.       C.  M. 


*  6      6  87 


E    -    ter-nal  pow'r,  al  -  mighty  God,  Who  can  approach  thy  throne  ;    Accessless    light   is    thine  a  -  bode,    To      angel      eyes  unknown. 


6—6  687 


ELGIN.       (3.  M 


That     »wful      day  will    surely     come,  Th'  appointed  hour  makes  haste,  When    I  must  stand  before  my    Judge,  And    pass  the     solemn  test. 


*6  6  * 


5  5  5  5*- 

r  96.  BERWICK.        C.  M.  Second  ending. 

SSli^liilfiiplipiiSiiiMiSp 

To    celebrate  thy  praise,  O  Lord,     I        will  my  heart  prepare  ;    To  all  the  list'ning  world,  thy  works,  Thy  wond'rous  works  declare. 

6  7  5*6      6        *         *  o  6     7  67 


WORKSOP.       C.  M. 


151 


Teach  me  the  measure    of  my    days,    Thou  maker       of      my    frame;    I    would  survey  life's  narrow    space,    And    learn  how  frail      1  am. 


WALSALL.7 


C.  M. 


Purcell. 


piiiii|p^i^iiiiisi|iiii;ippp 

Rebuke  me    not,     O  Lord,  for  -  give ;    In     mercv     O     reprove ;    And  in  thy    raer  -  cy     grant     re   -   lief,    Nor  cast   me  from  thy  love. 


5 -    6  6  8  7 


345  6    #      35-65      8  7      *6  6#6 


6*66*    6  87 


WINDSOR.       C.  M. 


G.  Kirby. 


My    God,  how  many 


my  fears  !  How  fast  my 


;  Their   number     how     it      mul  -  tiplies,     How      fatal       to    my    peace ! 


S3 

H-3 


6    *  #-      6  5  6  * 


6       6     8  7 

BURFORD.       C.  M. 


8  7  8  7 


►-6  6*- 


Purcell. 


Dark  was  the  night,  and  cold  the  ground,   On  which  the  Lord  was  laid  ;    His  sweat,  like  drops  of  blood  ran  down,      In      ag  -  o  -  ny      he  pray'd. 


w  i,i  rwf\>t\    |,,  ,.|tf|  >\  riq^fe^ifd^iif  i'  riff 


;2 


6    #  6  * 


156    r 84- 


WACI1USETT.       C.  M. 


L.  Mm 


un  :  lor  a  closer  walk  with  God,  A  calm  and  heav'nly  frame  ;  A    light   to    shine    upon    the    road,    That  leads  me  to  the  Lamb  ! 


mm 

-  596  '6  #6 

CHESTER.       C.  M. 


L.  Ma? 


That   awful    day  will     surely    come,  Th'  appointed  hour  makes  haste,  When  I    must  stand    before  my  Judge,    And    pass  the    solemn  test. 


8  7  87  65  # 


tf 


BLACKBURN*       C.  M. 


Behold  thy  w  uting  servant,  Lord,    Devo  -  ted    to  thy  fear ;    Remember  and  confirm  thy  word,  For  all    uTy' hopes  are  there. 


mm 


HAARLEM. 


r  ii  indebted  lo  Mr.  GeorSe  Pollock. 

C.  M.  [German  Tunc] 


Strait  is    the  way,  the  door   is  strait,   That  leads   to  joys    on    hi^h ;  'Tis  but 


istake  and  die. 


6     *  7  w      #      *  876*6*6  §  %? 


BETH  Ell.       C.  M. 


Dr.  Howard. 


Second  ending. 


Return,  0  God  of  love,  return,  Earth  b 


mmwMimmwmim 


shall  we,  thy  children,  mourn  Our  absence  from  thy  face  ? 


|»92 


Ifiifll 


Ifliillplilliilli 
liilliiiBiiaB 


[  VRTLAM).       C.  M. 


Behold  thy  waiting  servant,  Lord,    De  -  vot-ed     to  thy  fear ;  Re-raem-ber      and    con    -    firm     thy    word,    For         all      my  hopes  arc  there. 


160       |*96.  PATMOS.       C.  M.        [Gregorian  ('hant.] 

Sing  to  the  Lor.l,  y.      distant    lands,  Sing  loud  with    solemn    voice  ;    Let  ev'ry  tongue    exalt     his  praise,  And  ev'ry    heart  rejoice. 

^      _  _6-    .          6    ^                       6  6 

p  96.  MILETUS^    C.  M.        [Chant.]                           L.  Mason. 

Is  this  the  kind    re   -   turn,    Are  these  the  thanks  we     owe ;    Thus  to  a  -  buse      e  -  ter  -  nal    love,  Whence  all  our     blessings    flow  ? 


WATCHMAN.       S.  M. 


Leach. 


161 


My  soul  with  patience  waits,  For  thee,  the    living    God;  My   hopes  are  on  thy  promise  built,  Thy       never       failing  word. 


h  100. 


6     4    6tl*  |—         0       6     6  i 

MOUNT  EPHRAIM.       s!  M.  or  8's  &  11.*  Milgrove. 


C.  M.    Your  harps,  ye    trembling  saints,  Down  from  the    wil  -  lows  take;  Loud  to    the    praise    of     love  divin 


-    ry       string   awake ! 


8's  &  11.  The  name  of  our  God  we  adore  ;  Our  s; 


eign  :  To  him  be  ascriptions  of  glory  and  povv'r — For  - 


ill 

m 

162 


BARNWELL. 


S.  M. 


My  soul,    repeat    his  praise,  Whose  mercies    are    so  great ;  Whose  anger      is       so    slow  to    rise,      So       rea    -    dy      to  abate. 

Pi&  f  I-  [iff  JMr  I'Hfrii  ■  1 1'  in  r  in;  n  TT^r^^rm 


FAIRFIELD. 


$4,  6^6 

2 

a  m. 


5  6  7     5      6"6      5  7 


R.  Ha 


Si^^ix^SyilililliirllPliiiiiPS 


s  join,    To    cele  -  brate  thy  fame  ;  And  all  the  world,  0  Lord,  combine,  To  praise  thy  glo 


'  c  a  a  a  T  Si      K     O  *  c     7  K  7  F.  H        »  7 


DOVER.       S.  M. 


|*s ,  1 1  j  j  n  1 "  i  r  i  r  r  r  t  i |J  1 1'  i  ttS^ESnLB^^TrW9 


^SSiilililliiiigiSiii 

Great  is  the  Lord  our  God,  And    let  his  praise  be  great ;  He  makes  the  church  his  blest  abode,  His  most  delightful  s 


^^SS^gillililiiiiMiiiiii^a 


In  -  finite  God,  to  thee  Hoi 


e  be  giv'n  ;    Nations  and  kingdoms  shall  adore    The      majesty        of  heav'n. 


SUTTON. 


6  4 

3 

S.  M. 


Behold    the    morning  sun     Begins    his       glorious       way ;    His  beams  through  all  the  nations       run,      And      life    and    light  convey. 


r  100.  INVOCATION.     .  S.  M.  Lockhart.  165 

pii^iip|giif|Iiipipipilili|iiiS 

Come,    Holy       Spirit,    come,  Let    thy  bright  beams  arise  ;  Dispel    the  darkness  from  our  minds,     And       open       all    our  eyes. 

6  6    43  64.6t--  5665  3—   66  3-66  3—66      3  4.       6         66      87  P 

65  6       6^5  4  3  8  7    3  -  8  7   3  -8  7   ji  -  2  * 

r  96.  BLADENBURG.       S.  M.       [German  Tune.  second  ending.* 

ts  .SL_€J.-€U 
Exalt  the  Lord  our  God,  And    worship    at  his  feet ;    His     nature     is   all      ho  -  liness,    And      mercy      is  his  seat. 


f  100.  SILVER  8TKEET.  S.    M.  I.  Smith.  Second  beginning.  167 

Come  sound  his  praise  abroad,  And  hymns  of    glory      sing;    Jehovah     is  the     sov'reign  God,       The    u    -    ni-ver-sal  King. 

Taoto  6  8  6    4.#  656  634.66687 

'  6  8    6  o  254. 

*CH0RUS.  Solo.  Tutti.  Slow. 

V  Halle    -    lujah— Praise  ye  the  Lord,    Halle    -  lujah— 

p^iiipiipii^iigiiiiiipiiiiipiiigii 

Solo  Tutti  Hil  -  le  -  lu  -  jah— Hal  -  le  -  lu  -  jah— Hal  -  le  -  lu  -  jah— Praise  ye  the  Lord. 

Praise  ye  the  Lord,  Hal  -  le  -  lujah —  Halle   -   lujah — 

6  6  #  46667 


168       *  ios.  BEVERIDGE.       S.  M.  A.  Williams. 

Welcome,  sweet  day    of    rest,  That     saw    the    Lord      arise ;      Welcome   to    this   re  -  viving    breast,  And      these       re    -  joic  -  ing  eyes. 

piip^^iii^lilL^iiiilili|sfeS 

il         87        Hi   6  6  It?       6     *     6  5  6  !   U    I  6 1    t  6  l  1 8'" 

104.  UT1CA.       S.  M.  L.  Mason. 

Behold,     the       lofty       sky      Declares     its      Maker     God ;  And     all     the      starry    works   on  high,    Proclaim      his  pow'r  abroad. 

^  6665  6       6       #  6  4.64  6  6  § 

4       3  5  2  3  4  3 


Stanley.  169 

Second  ending. 


*96.  SHIRLAND.       S.  M.       [Major  Mode.] 

Behold  the  morning  sun  Begins  his     gloriouT'way  ;    His  beams  through  all  the  nations  run,       And  life  and  light  convey? 


6    5  6    6  5^ 

SHIRLAND.       S.  M. 


6  6        6  3  7 


[Minor  Mode. J 


s  God,  how  plain    Are     thy  dir 


find    the    path  to  he. 


H.   &  H. 


.1  3    3  3  6 
8  4  87 


170       g  102.  PEL  HAM.       8.  M.  Giardini 

piitiipiiipiippyiiiiiiiiiisiippip 

My    soul,     re  -  peat  his  praise,  W  hose    mercies    are     so  great;  Whose    anger        is      so    slow     to    rise,     So       ready       to  abate. 

6      6    6     7  464.  6  7  *    6  4.  664.  65 

*  2  3  4.  3  .3.  :  />  .  •  .  3  43 

High  as  the  heav'ns  are  rais'd  Above  the  ground  we  tread,     So  far  the    riches  of  his  grace  Our  highest  thoughts  exceed — Our  highest  thoughts  exceed. 

7-656-   —76      5  5667  6667 

4.     3     4-   4.      3  4  #  4. 


f  100. 


EASTBURN.       S.  M. 


Hanvood. 


To  God,    in  whom  I  trust,    I    lift  ray  heart  and  voice  ;    O       let    me    not  be  put  to   shame,  Nor  let  my  foes  rejoice. 

8  2  '  t     5      4.  3  4.6  76    4.*  65  4.6-  65        4.666687  487 

3  '  8  2     3      a  bo  3  432  4> 

fioo.  CLAPTON.        S.  M.        [Chant]         Jones.  Second  ending. 

1.  Thy  name.  Almighty  Lord,  Shall  sound  through  distant  lands:  Great  is  thy  grace  and  sure  thy  word  ;  Thy  truth  forever  stands. 

2.  Far  be  thine  honor  spread,  And  long  thy  praise  endure;  Till  morning  light  and  evening  shade  Shall  be  exchanged  no  more. 


6        4.     6      6  5 


6      5  6     6    5  7 


172  •lis. 


PECKHAM.       S.  M. 


Isaac.  Smith. 


iliiliiPiliPlpipHisiiiifpiipi 


How  pleas'd  was      I       to  hear  The  fric 


"  Now  to    her  courts  let 


And    keep    the    solemn  day." 


6  #6  4| 

CALMAR.       8.  M. 


6  5  6 


[Gregorian  Chant.] 


My  gracious  God,  how  plain  Are  thy     directions  giv'n  ;    O  may   I    never  read  in  vain,    But  find  the  path  to  heav'n. 


■  100. 


Ht.  THOMAS.       S.  M. 


A.  Williams. 


u     Hi-h  as  the  heav'nsjre  rais'd  Above  the  ground  we  tread,  So  far  the  riches  of      thy  grace,  Our  highest  thoughts  exceed.  -3- 


+  5     6    5  4-5    4.  3 

OLMUTZ.       S.  ft 


6  6         6  5#6  6  6  6 

[(xregorian  Chant  ] 


Your  harps,  yr  trembling  saints,  Down  from  the  willow9  take  ,  Loud  to  the  praise  of  love  divine,  Bid  ev'ry  string  awake. 


THACHER.       S.  M. 


Handel. 


175 


To    God     in    whom    I    trust,     I      lift    my  heart  and  voice;  O 


be  put   to    shame,  Nor 


iigliiiliiiiillililiSii 


8  7  6  4 


66  567  *    6        766     4-  6 

HAVERHILL.       S.  M. 


llillPplliii 
liliilliillii 


4  3 

Third  line  varied. 


How  gentle  God's  commands  !  How  kind  his  precepts  are  !  Come  cast  your  fears  upon  the  Lord,  And  trust  his  constant  care. 

j-«9  J  


176 


PENTONVILLE. 


S.  M. 


Linley. 


To  bless  thy  chosen  race,      In    mercy,  Lord,  incline  ;  And  cause  the  brightness  of  thy  face  On  all  thy  saints  to  shine. 

6  8  7 
4 

Mornington. 


.••  96. 


6     6    6    8  7  4646 

MORNINGTON.       S.  M. 


My  gracious  God,  how  plain  Are  thy  directions  giv'n  !    O  may  I    never    read  in  vain,  But    find  the  path  to  heav'n. 

P^iigii^S^ipSiaiiiiPiisI 


WESTMINSTER.       C.  M.  [Chant] 

r::::i{:::::c:::]:^]:dz::i:- 


Dr.  Boyce.  177 

Second  ending. 


Great  is  the  Lord  our  God,  And  let  his  praise  be  great;  He  makes  the  church  his  blest  abode,  His  most  delightful  seat 


6  j5_7 

PADD1NGTON. 


C.  M. 

E:dz:zi] 


titA 


Come,  Holy  Spirit,  come  ;  Let  thy  bright  beams  a 


s  from  our  minds,  The  darkness  from 


. *  7 

&  H. 


6    5  6      6     8  7 


178         101.  SOUTHFIELD.       S.  M. 


r  92.  DARTMOUTH.       S.  M.  L.  Mason. 


LITTLE  MARLBOROUGH.       S.  M. 


US* 

ESEfcgE 

}5EE: 

raid: 

m 

To 

3od,  in    whom  I 

rust,  I 

fiEl 

lift  my 

& 

leart  and 

voice;    0         let  me 

not  be 

put       to    shame,  Nor 

let    my    foes     re  - 

m 

joice. 

m 
m 

 |  : 

-O  -  , -  ©  - 1 

iHigi 

m 

6            6  6  *— 
4  5  7 

*  * 

S.  M 

6 

X  —  r  5  6         *                  6              6  •>  *- 

*                                                           *    5  7 

Dr.  Howard. 

§1^ 

m 

-p-|- 

=Mmmm 

Mmmm 

And  must  this  body  die  ?   This     mortal  frame  de    -    cay  ?  And    must  these      active       limbs    of       mine,      Lie  mould'ring  hi    the  clav  ? 


8  7      5        8  7 


180 


AYLESBURY.       S.  M. 


Dr.  Green. 


DUNBAR. 


S.  M.* 


Second  ending. 


5C¥ 


lelm'd  with  grief,  My 


nd  far  from    all    relief,       To  heav'n  I    lift  my  i 


i  adopting;  it.  In  its  pre; 


TIT  ESS  ALT  A.       S.  M. 


Benjamin  Holt. 


181 


See    what  a       liv~^  in^  stone,  The    builders      did      refuse?     Yet     God  hath    built  his  church  thereon,    In       spite     of     en  -  vioue  Jews. 


6     6     6  »'-   8  7 


'  6      «  4-  C 

z     .  5  T 

BOXFORD.       C.  M. 


6         6  6 


Is    this  the  kind  return,      And  theselhe  thanks  we  owe  ;  Thus  to  abuse     eternal      love,  Whence  all  our  blessings  flow 

tmmmmwmimmmmmmmmmmmm 
gill  mmmm^mm^mmms^m 


YARMOUTH. 


l)r  Wainwright. 


For  my  desponding 


■  flict  -  ed    mind  ? 


t  5     4  3 

CEDRON.       S.  M. 


Have    mercy,  Lord,  on    me,    As      thou  wert  ever     kind;    Let  me  oppress'd  with  loads  of  guilt,  Thy  wonted     mercy  find. 


LISBON.       S.  M. 


■  -M 


Second  ending.t 


ving  breast,  And     these  rejoicing  eyes. 


4     6    4.  6  

NORWALK.       S.  M. 


Mather. 


Where  shall  the  man  be    found    That    fears  t'offend    his    God;    That  loves  the    gospel's         joyful    sound,    And       trembles    at     his  rod! 


65  65 

oalkd  Lisbon,  b7  Rt*i. 


•  80. 

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it,  M. 

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find, 

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2      3  4  ^     ^2  4H       ^2  6-  4  ^- 


-4~| 

L--H— 

ma 

— H 

i  r 

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uppliant'a  cry 

m   thy   lofty  t 

y 

Th 

r  throne 

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M 

D.  . 

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=*alfel 

n  i 

6          6  6 

1 

• 

BRIGHTON.      L.  M.      6  lines. 


°-  s  * 

— i 

Call  me 

«„,  f,„m 

-|cH- 

flesh  and 

sense  Thy 

word,  O 

Lord,  can 

thenc 

r 

would      0  -  - 

hey  the 

tea 
liap 

r 

3=m 

3  4        5  567  334  65 

2        3  34      5  2 


87       6    5  43 


And 

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joys      re  - 

sign—  I 

^# 

would     0  - 

bey  tiie 

voice   di  - 

all  in 

joys     re  - 

sign. 

3*4        6      8         6  87 


56      8  7      6  5  3 


56        6  65 


188  |i  96.  ZION.       L.  M.       6  lines.  Pleyel. 


pU— *- 

•I' 

1    1  s 

—  • 

«>  i 

How 

sweet  thj 

dwelling 

s,  Lord,  how 

— Jt- 

fair, 

Y  «!  - 

What 

=F=f 

bliss,  in 

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V'ith  a 

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'I 

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V 

Mr 

6  87 

4  * 

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6 
5 

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ib       to  tl 

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urn  to 

tread  thy  c 

^= 

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.  1 . 

hee,  My 

God, 

the 

V 

iving 

5 — itt 

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God  to 

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1  — r- 

1  . 

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1=4- 

k 

6 

2 

6 

I 

6 

5  56 

6  57 

g  112. 


EATOX.      L.  M.      6  lines. 


Wyvill.  189 


6-56      9      7  65 


46   6    6  87 


190  •  96.  BELVILLE.      L.  M.      6  lines. 


-ft*  *-l — 1 

L  1_  | 

faithless      be  To 

Lord,    could    I  thine 

«...  «l 

influence  shual 

yg^TT  g  r  

gy#f-f- 

-f==nr==^= 

1        1  P 

"*"«  •"*'•*  '  *_ 

 O  

=1 

BROOKLYN.      L.  P.  M. 


[German  Time.] 


1  1 

-ef-«f 

I 

i  i 

P1° 

tzfer 


lof  -  -  ty      psalm    of      praise,         And      bless    the  great  Je  -  -  ho  -  -  vah's  name; 


Let     all    the  earth  tliei 


SEE 


11== 


3= 


pi 
1= 


His    glo  -  -  ry     let     the        heathen  know,      His     wonders      to     the        na  -  lions      show,      And      all      his  works   of    grace         pro  -  -  -  claim. 

I     .  bg~~ 


I 


ii 


5  I 


192  p  96. 


MARTIN's  lane.     l.  p.  m. 


Dr.  Ame. 


W        in      deatb,     Pniise    dial]    em  -  -  ploy       my        no  -  bier  pow'rs. 


I'll  praise  my       Maker       with     my     breath,     And     when  my 


6  5665  6        65     6  4S  3- 


9  8  8-    6-         6  5 


^4       6  6  57 


My     days      of  prai 


le'er      be      past,     While     life,      and     thought,  and      be  -  -  ing      last,       Or       im  -  mor  -  -  -  tal  -  -  -  i  -  -  ty  endi 


4  6  6    6    6  37 


®  100.  jVEVV  COURT.      L.  P.  M.  H.Bond.  193 


^                       ^  1  !    L  1  -I          1  I       1  -1  1 

^H^^7^d:i:dH-Hi-N-d-d  |_l 

•    p    (»'[•   ■      1     1    •  ■ 

1         III          !    1       *       *  I 

Great  God,    Uie   heav'ns  well   order'd    frame  Deck 
)f'U  /-»      1     '  P        P            lTI"«    "®      ©•!  & 

res       the  glory 

of      thy    name;  There    thy         rich          works  of 

_   

ii  ..1  1 1 

rP    i    e  — 

1         9  ' 

6  5       43  4       8   6  6 

C-      98  3       3   3   8      5  4 


•7  ^ 

f  p — 

p  i  p 

 hl-^ 

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i  r~ 

A 

fa 

ti.ou.sand  starry 

beauties         there,  A 

marks 

appear, 

Of 

boundless  pow'r 

^* 

skill  dirine. 

1  "r 

r?-£  T^- 

t  1 — r*i 

-'r  *    ^  }  J 

±^ 

%      Voice  or  Organ.  6       7  6  56        6  87 


H.  &  H.  25 


94 

» 

112. 

St.  HELL] 

L.  P. 

M. 

Jennings. 

j 

o — o- 

_i — — |_j — 

 — 

— — f- 

v>fw 

 1 — o- 

O 

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•I 

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 ■■ 

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c— : 

<h>l 

I,et 

o 

nil  tlie 

earth  their 

voices 

raise,  T 

sing  a 

lof  - 

y 

"P  C 

liy.nn 

J  o 

of 

o 

And 

l.less  the 

great  Je 

-    -    ho  -  vah' 

5^  1" 

-o — 0-4--H— 

<> 

j°-  O 

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6 

6  5 
4  8 

6 

7(5 
4— 

3- 

6 

6 
4 

6  7 
4 

6  7 

4 

o  o 

t±H  -: 

— fJ~ 

r    1  1 

Hia 

let  the 

heathen 

know,  His 

wonders 

to  the 

show, 

Ami 

all        his  w 

orka  of 

grace  procl 

Q  ©— - 

©- 

O 

^= 

o  o 

* 

6  67 
4  4%: 

6 

3 

7  6 
4 

P7 
35 

6  .; 
4 

6 

fi  7 
4 

•  96.  RAPTURE.      C.  P.  M.  Harwood.  195 


:o.:_or  JriT;' 
i  •  V  I  :  r  H- 

1  1 

Be  -  gin,    my      soul,  tl.'ex 

 n  r  i   n>    \  i 

2L~R-H»'  *              1     J  J  — i 

-alt     -  ed 

1 

lay, 

Let 

r  1    J  o 

thought  o 

And 

Ll> — qU 

praise  lb' 

M>>»eJ>ty'a 

M 

to    T  '1 

— -d--*^— - 

...  • 

□  rT,r- 

-o'  h 

=eFE=| 
-  J  -  J 

^4 

-oU_J 

6      54  66  57  6     ^4  56687  46  567 

82  n3  4«i-  2 


1       I  I 

Lo! 

earth,  and 

1    U  1  1 

seas  and 

skies, 

In 

o  o 

To 

im 

swell  th'in 

tlieme. 

o  o1 

O 

— ©~ 

o 

Q 

4 

Voice  or  Organ.  6  ^4  ^7         g  6  87 


196  •  112.  KEW.       C.  P.  M.  Dr.  Randall. 


1      1  . 1 

!  H   i  i 

— e- 

-  1— Hz: 

 «••>  — 

*  ®  ®  h  °  1 

1.  Tlie 

joyful 

come,  Tha 

-1  1— !- 

1  1- 

<^  -9- 

calls  me 

to  thy 

-•-J — -m 

dome,  Thy 

sis 

2.  Una 

joy,  whil 

... 

view  the 

1  • 

day,  That 

-U—  ©-1- 

soul  away 

Wha 

fill     my  breast! 

rhHH 

k 

g 

4 
3 

6 

6 

6    3  6 

6    6  7 

4 

6 

i  n  .r 
■  — 1  9 

•  ft  ~ 

i 

u 

3 

6    6  ^ 

4  5 

7 

!  IB"' 



—1— t 

-  n  ,  , 

My 

shall 

-i — i 

— 1- 

With 

willing 

steps  thy 

^  ■ 

FP 

flfior. 

For 

lo!  my 

great  Re 

Un 
9 

lasting 

f  f — 

6  3 

62 

6 
5 

6  4  6 
53 

#6 

6  87 

a* 

1.  0 

hou,  that 

faith,  Wilt 

-H — 1- 

m  the 

H  -+ 

-© — «: 

stead,  His 
'"         1  '& 

©      f1"  -*  J""  -fl — 311 

L  -Q  

■if  0 

3.  Then 

-!  ©- 

f — i 

J  e 

-*  r  "i — 

-  >-r- 

HI 

6  87  34  656         6  r> 


y  

 O- 

-*  r— 

refuge        of  my 

:rr=EqB-iEj: 

ftp* 

_®  @L 

Sr»-tP-!»"»- 

be,         Thy            merit        shall          a  - 

-«  © — 

^  -4- 

*         «            •      0            0   1 

0" 

[  1 

ri«*  • 

L_  ©  

TTr  F=?*=ajff 

Unclog'd         by     earth      or        earthly        things       I'd       mount,    I'd     fly         with  eagur  winga        To        gr  -  -  or  -  Im    -    ting  day. 


108  •  100. 


COLUMBIA.      C.  P.  M. 


1 


  <>  1  o  -,4  «  o    (,lo  «_»    •  s 


rz^d 
-  «i  iigi, 


-F=f 


Immense    -    ly        good      and  gre 


l_0  S^LJ_^3_0_I  

o 

ESi  g — i  

-  i — N 
::0— a: 

#7 
3 — — n~ 


6        6         6  7 


SSI 


it  Thy 


si 


i 


8  #- 


5  fr" 


HOBART.      C.  P.  M. 


3.      Let      man,      by  no   -   bier      passions  sway'd      The      feel   -   ing      heart,    the      judging      head,  In         heav'nljf         praise  em) 


^-tjr  +T- 


6  5  6  6 


#  1—1 — 1  J-J- 

' — -  ®  /» 

as 


Who  tipp'd   your  glitt'r! 


And      tun'd  your 


f'j 


its 


f-Q— »+-d  ^ 


-  ©—  c 


43        65      65  43 


ill 


200         ©  96.  WORSHIP.*     S.  P.  M. 


i 

=1 

How 

pleasant    'tis  to 

see 

Kin  - 

■ 

®     ®  o •  o 

lred       and       friends  a 

n — ~h — i — n 

1 

in  hia 

' — •  O 

proper 

1  1 

■ 

—  


^3f^ 

-+-d-  i  1- 

 ^ 

 J- 

..!» 

And    each       fulfil  bis 

part,  With 

sympathizing 

all  the 

cares  of 

life  and 

lore. 

-* 

up  1 

o 

> 

^    My  h 

6      6  6 

6 

Lr  tftaratiaa  k«g  be* 

6 

■  auli  ia  the  fin*  pert  of  Ifal* 

uae,  to  K  to  produ 

7  87 
«e  aaifarnuty  af  rbyliui 

5  4S 

UuooghouL 

6   6     6  7 

P  96.  HAWLEY.      S.  P.  M.  Radigpr  201 


"0  Hp  ©•« 

n  i 

— ]  P- 

i 

:h    i  ~i  1 

:  e  •  g,! 

— e£  ' — 

— "W 

How  pleas'd  and  blest  was 

#^ 

I,  To 

hear        the  people 

-rn    i—i    -  ! 

cry,        [o/mf.]  * 

'  Come,    let  us 

_Z] — e  «L 

seek  our 

God               to  -  d 

tyt" 

i 

 Ll  1  

FT— 

--• '« 

i  i 

» i  F- 

-#■ 

-4-Hs — H 

4.PJ  .+ 

1 

6 

f$  c    H  •  © 

Tasto. 

1      p  1 

CLLJL_ 

3 

6 
4 

ft 

O 

— *- 

ti         6  6 

— «  

65  « 
87  f 

u  

1 — j — | — 

Fp  f-F^- 

1     hi-    1  F- 

,  .MrH- 

-f— p- 

-[  F- 

J;  «  - 

-'-It-1 

-«- 

with     a  cheerful 
1        '     •  If 

zeal,  We'll 

haste  to 

Zion's  hill, 
©     ft  — 1 

1-'* 

And 

there  our 

FF  P= 

r®""©~®        '  *© 

honours 

pay. 

- 

-f  -  f 

1  j® 

->~r  * 

1  ! 

i       1  P 
1 

1  -  ' 

— rr 

i 

Ml' 

6  #6  6      5         4  3  4        6  76         6  7 

6     -  2  ..4 

H.  &,  H.  26 


202         •  96.  BETHEL.      S.  P.  M. 


^Hl    1  ..  F-d- 

1    •  . 

1  d  * 

i 

^        1    9— •— 

How  pleas'd  and 

"t^n — 1 — 1  

y — ©J 

West  was 

Ft  * 

I,       To    hear  the 

0  gel 

4- 

"  Come  let      us  . 

seek  our 

God  to 

day!" 

Yes,  with  a 

r  P   *  - 

*• 

— — ®- 

leerful 

d 

eal, 

J^-S-r-P— ^  r 

1 

i  c  * 

9  Q— 

--e 

• 

of  r 

1  O 

I 

I--P— 

i*>      1  i  

A 

N 

6 

if-^^-n — i — rr~ 
ir~»     i — i — r  -f 

4 

6 

e  o 

!  i 

-+- 

Tasto. 

7 

t* 

r  F  r  - 

i** — 1 — d~ 

,  H 

'    1  I 

if)  -  '~o--  6>  -  »  - 

We'll  haste  to 

1  1 
L-O-  o- 

Zi    -  od's 

hill, 

H 

a 

And 

°  1 

there  our 

and 

hon    -    -  ors 

pay— 

And  t 

ft 
J* 

r 

 ©- 

1   1 

j,i  ..  >  L_r~ 

*  h 

=4 

^      H   ~3  r 
'  P~rd^ — 

i 

•  96. 

rf-^'fen  

-9  ©  ®  <g — 

DALSTON 

S.  P.  M. 

A. 
©  © 

Williams.  203 

I.I  i 

r 

P     9     i  »' 

r     1  i 

i      i  i 

1 

l      i      l  1 

i°  CJ  M 

The 

Lord      Je    -   lio  -  yah 

O 

h 

d 

And 

items,  His 

J*  "     «  -  •  9 

head    with  awful 

r©  ©  

j        1        ©  © 

glo  -  -  ry  crown'* 
1          1     1  I 

v  v  ^  ~ 

O 

•     •     v  @ 

i      i      i  i 

p  p 

-®  ©  •  £  

i     r   J  I 

-• — 3 — * — 

'  •        ©        1®  * 

°  Ik 

'd         in      robes  of 

light,           Be  - 

— |  1  ©  ©— 

«        ®        1  1 
jilt       with  sov'reign 

might,  And 

J— ^ 
rays      of       n.aj  -  es  - 

-    ty          a  - 



Mb 

• 

 p-J— P— 

•  © 

•  • 

6  6  7  ^6 


NEWBURY.      H.  M. 


M.  Haydn. 


O 

happy           SOllU  who 

pray,  Wher 

a — «  oi 

God       appoints  to 

 1 

~± 

O 

^    |  | 

=^-=£=#^ 

3  e  

happy           men,  who 
1         ®         ©  ® 

pay  Their 

P4-  : 

&    r    r  it 

y     ^  ^ 

F-P-  »-  * 

-»         •         i  P~ 

K"  if 

h 

=* 

~\  1  P—  r— 

^_    ^  «  ■  »■  ■  ®  "T 

i       i       i  i 
*     *     &  * 

R 

4  3 

~    *  — 1 

6 

6      6  * 

*j  *  ji      r__ :  r~    •  & 


W —     9>  i?  W 


Eg 


.s . 


there!        They       praise  thee 


And  liap    -    py       they,    Who  love       the       way       To  Zi 


m 


m 
m 


ACTON.      H.  M. 


m 


HI 


3 


To  God     the  mighty  Lord,      Your        joy     -     ful       thanks       re    -    peat;  To       him       due    praise      af   -    ford,  As 


6  S  §7 


-ft-  ^=»n 

-P 

i  i 

'V' 


m 


6    5       6  87 


206  %  126.  TRIUMPH.       H.  M.  Lockhart. 


— h 

J 

O      (S    O  © 

r  'r~  .  1    1  • 

a  >  L  ®  ^ 

+-'  tf-h- h- 

— ^=f=- 

pi 

1  j 

e!  the 

i     r  i 

t"  oJr  *_l        ©_Li_© — j 

King!  Yom-    Ciud     and       King  a 

ti 

-4  P= 

i — r- 

E33 

5 

ci~    ©jzri-  J" 

j  1  H-4-4- 

o  "t-j:*:  &  » 

*  a! — 

0. 

i±E 

1  1 

> 

more!          Lift    up  you 

voice!       Re  - 

joice!        a  - 

say,  re 

-  joice! 

Tasto. 

i       ii  a 

-•- 

II  1 

St.  PHILIP's.      II.  M. 


Levesque.  207 


.  .0  o.  o: -q  -p- 


-&    <>    •<>'--<->  ' 

To        God,      the       migb  -  -  (y  Lord,      Your         joy  -  -  ful  thank* 


O   -  -£>-<  > 


I 


— iQ- 


As  good      as      he  is      great,      F5r     God     does    prove  Our 


fnend,    His     boundlesi        love         BhaU  h* 


B5 


6       6       6  7 


6      Q       &  7 


WATERTOWX.      H.  M. 


±==1= 


3^ 


=3= 


Lord     of      ihe  worlds 


of       Illy        love,       Thine     earth  -  ly 
—  O  ,  


S3 


[<;J  ~  g 


leiii  -  |>l(ia         arc ;  To 


•-f'-f't-L  MF  -f'l  ;'• 


6    7  3234 


(•112.  31URRAY.       H.  M.  L.Mason.  209 


Welcome,  de 

-  light  -  -  ful 
1 

Thou 

day  of 
 1   I 

1     i     ,  ' 

rest ;  I 

z  =F=gzz 

hail  thy 

i  u> 

d — r 

2. 

Now  may  the 

King       de  - 

-d- 

-  scend, 

And 

1  1 

fill  his 

grace;  Thy 

Lord,       ex  - 

m 

-o- 

m 

3 

De 

-  scend,  ce  

-  -  -  les    -  tial 

Dove, 

With 

all  thy 

i 

6 

6 
4 

I- 

7 

32  87 
87  65 

t 

3 

6 

6  7 
4 

tz  r  i 



train  of 

mor  -  tal 

i 

oys. 

$± 

n  Wh 

d    thcr  - 

,r 

"  Let 

feel  thj 

quick' -ning 

earn  to 

(now  and 

sa  -  -  cred 

bou 

Then  shall  my 

V      life         ob  - 

be  indu 

g'd  .  in 

11 4  6 

3    H.  &  H. 

%  i 

27 

6 

i 

6  s? 

HARWICH.      H.  M. 


cr 

-p|p- 

/TiVu.  1  O' 

f- 

r 

•  80. 


6  6    6  7 

4 

HARWELL'S.      H.  M. 


Rev.  Dr.  Darwell. 


©  © 

1  ! 

4f 

jlfSfc 

«r  o 

^-f~ 

-H44 
«"®^:®_ 

ail  the  gloriou 
-©l-gl— 1— j- 

£©  © 

s  morn:  liar 

©  ®g®  © 

!  how  the  angels 

sing,  "To  you  a  Savic 

*•  o  • 

y 

n£tt>ve,  , 

Lnd  ev'ry  tongue 
if 'Pf 

If  ^ 

V    1  o" 

« 

p-  ©  

-LfVf 

© 

 ©I©- 

-H-4 
© 

J  U* 

* 

—^6      3  6         4   6   6     6  57 


•  80.  PLAINFIELD.       II.  M.  •  120.  215 


gin  j?: 

-©- 

ive  immortal 

w 

™„,T 

)  God  the  Fall 

SB 

er's  love, 

'or  all  my  comf 

m 

sent  his 



own    E  - 

ter  -  nal  Son,  To  die  for 

-  u  * 

crimes  Tha 

vis* 

— 1_ 

#: 

__  _4±ft- 

r  © 

-P-©- 

-FFfFfrpFF-P1- 

«i  1  LFJ  f  ^ 

mi® 

-SJ-«--r!hr 

66  646  4  6      #6  6667  87  -5     465  64  573667 

2      3  ^4  4  #  65—23  3  4 

•  92.  EDYFIELD.  3    Sevens.       w  C.  L.  Latrobe. 


-p-f-p- 

ff" 

RTi  ^  J  ri 

Lord,  su 

.0           1  V 

Le- 
go! 

Gladly 

leaving 

all  belo 

L—qJ  a. 

w;  Only 

-c 

be, 

And  we 

1  folltfw 

P  o 

-p-p- 

"Q  ©5 

-P- 

6  4      6    4  6  3  7        6   6-  6  5  fe6  4      6   6      6  87 

2  3  65  3  4 


HOTHAM.  Sevens 


Dr.  Madan. 


P88. 

-p. 

tUINCl 

r.  7's. 

— P 

1  , — 1 

217 
1 

1 

o-ly 

heav'n  -  -  ly 

grace, 

Corr 

o 

0^5  « 

<>  <; 

bum  -  -  ble 

Come,  in 

lays; 

O  I 

o  0 

O  1 

6 

1 

4 
2 

6 

6 

5 

4  6 
S 

6 

8 

6 

5 

87 

^  o 

While  the 

Saviour's 

o 

O 
When 

o  0 

spring— 

Wh 

hopes  and 

oom  -  forts 

spring. 

O  1° 

-l® — r 

o 

54 

sa 

6 

4H.& 

H. 

6 

5^6 

28 

i  * 

7 

218  P80. 


NORWICH.  Sevens. 


mm 


□ — I- — $ — t  


np--g 


~§ie 


flood,  Always 


i 


5  s  # 


G      6  5 

4  3 

ALEXANDRIA. 


6  #666 


-p  s 

-P-P- 

r'T  i  i. 

Ho  -  ly      Father,    Cod        of       love,  Loo 


roll,        Let   them      fill  a 


■  i  H 

p  qp 

• — 7  9  i  i  11 

f 

p 

\  |~ 

-o— 

87 

6 

6  87 

6 

6  65 
0- 

1*31  6 

48 
93 

87 

65 

6  87 
5 

P  98. 


TURIX.  Sevens. 


  *  e 

-9 

^=1 

S><£- 


of      God,  thy 


Slill         supply  my      ev'  -  ry 


6    8  7    6  5 

4    6  5    4  3 


6      5        6        6  6  7 


With      thy      sap  my 


feed—         Tree       of      life,      thine  influc 


With      thy    sap  my      spir  -   it  feed. 


7      6      7        6  5 


ALCESTER.  Sevens. 


Now  the 

'ft  "r>         ■  n 

as 

gone,    Now  the 

(ghi  is 

i  i  i '     H2  r  n 

3# 

i 

PHr*  • 

©  o 

4  i 

,1 1 

56     56      6  6 
34  34 
3 

P  80. 


4«| 


ALSE1V.       7's,  or  8's  &  7's. 


6    43   65    65      7     5     6        6  87 
98    43  4 

F.  L.  Abel. 


f-f — Q- 


S3 


5:fzz 


S3 


65      7      65  6 


6#6        6      6  57 


g  100.  NAPLES.       Sevens.  Pleyel.  221 


J  A  # 

• 

s»  T 

J- 

4# 

Ruler,  L 

+-+- 
4  *  _ 

1          1  -4 

3 
41, 

Prort 

M  th, 

-I 

k 

J- 
I  i 

d 

all;         Hear,  0 

v.«  -© 

4-4  H 

on  i 

■  1 

<- 

■ 

-0 — a 

—J  4-- 

f- 

44 

K — ^-d — 1 

6 

6  7 
£112. 

•  ®  . 

6  1 
PII 

^  s  bt 

6 

TON 

-•— ? 

6 

.  4  g 

>7 

4#6 
2^5 

is. 

.  r  b  • 

6    6  57 
*    4  #- 

d  If 

6 
5 

6 

w 

6 

eldc 

_L 

6  57 

4 

n. 

— nd 

 1   1 

-|— G-#0- 

-h — T-n- 

.1 

Praise  to 

God,  ir 

-o 

pr.u 

--J  r  |C  a 
=  -  1-  • 

Source 
--P-* 

or  ev'ry 

— 1  1 — 
-4 — 

joy, 

• 

employ. 

u 

J- 

-• 

-H — { 

P  1 

■  h~r 

8    3  6 

6   6  7 

6  6 

*1 

6  1 

6787  65  4g 

6 

3  4  26    66  7 
56   *5  4 

SABBATH.      7's.  6  lines. 


^3 


o  35-  0  ^5 

Safely       throii^i  an    -  otli   -  er  wc^k;  God 


blessing  seek, 


ETC 


§1  W 


6  # 


Waiting       in  his       courts     to    -    day;       Day       of        all  the    week     the  best,       Emblem  of 


m 


SEE 


 #6  Sfi7 

4  3       4  3 


GRANBY.  Sevens. 


irtliy   side,  Let  thy 


#$2 


0  0 

-P-P- 

rp— p- 

1  ! 

6  5  8  7  4? 
8  6    6  5  4  3         5)  8 

RUTLAND.  Sevens. 


#6   6         6  5 


6   66     6  87 
4 

Winter. 


Weary     souls,   that  wander 


unds  of 


33= 


i   r  r~  r  i 


PS* 


Die       pur -pie    flood,  Rise 


56    6  6 


524        •  100.  BATH  ABBEY.      7's,  or  8's  &  7's.  MUgrove. 


■n  

u  aJ  

High    in     yim  -  der  realms  of  light,  fr 

ar      ahove  these 

L«  1 

-  ite  -  -  kr  bright, 

Heav'n's 

un  -  fad  -  ing 

i  ■ 

,      *      I      1      1  ' 

3  4^ 

■  r  «  m      em  l  cl  r  r  zi  r  r   i    ri  m  i  r  r- 

43      6745  6  7    4      8      6      6       65  6#4      6      7      4  3        8765    4#4  6  6     6     8  7 

4     5    9  9  9      8  43  4^2  98        65    87   6*2  4  - 


4=4^ 

# 

Built  of    pure  at 

A      massy     gold.  Strong  and     du     ra  -  - 

«.#.*  a  *  «r  J 

-  ble       are  they; 

Deck'd  with  gems  of 

told,         Subjected  to 

do    de  -  c 

ay. 

urns? 

ma 

.  i?  J.          1   =  ,  . 

1  54 

IP 

i  4  15  ?*  !i  s7  si    iiis  s  h  ?i       \n  6  7  h  H  if 


PLEYEL's  HYMN"  *  Sevens. 


Pfcyel 


Children    of    tl.e    heav'nly  King,    As  ye    journey     sweetly     sing ;  Sing  your  Saviour's    worthy  praise,    Glorious    in    his  works  and  ws 


LINCOLN. 


Sevens. 


Dr.  Boyce. 


P 


Morning  breaks  upon    the    tomb,      Jesus       dissipates    the  gloom  :  Day  of  triumph  through  the  skies— See,  the      glorious     Saviour  ri 

6*7  64.6  667  6  4.6  87 

5  .5  5  5     *  3  5 


225 

m 
m 

m 
m 

m 
m 


ii 


226       •■88.  BENSON.        Sevens.  L.  Mason. 

Lord,  we  come  ^"before  (hee  now,      At    thy    feet  we    humbly    bow  ;    O  do     not  our  suit    disdain,     Shall  we    seek  thee,  Lord,  in     vain  .' 

S                         464          ■•    6  7  4  3            #4       6     6        6     *  46      —  4  65         4     665  6    a  7 

3           3         5    3-  98               2                     47  2  3  43        2  5 

%  ioo.  ADUi.LUM.  Sevens. 

\  t^r  s  /         s  o  v  ;  s  y     ^  c*  *  o  • 

Children  of  the  heav'nly  King,  As  ye  journey  sweetly  sing  !  Sing  your  Saviour's  worthy  praise,  Glorious  in  his  works  and  ways— Glorious  in  his  works  and  ways. 

6     4^6=.  6  1        6  «  5  6:6  5*6  0  i.        b  >-  ■> 

5        4  3  3           4  3  4    5  4  3  3  4  S 


2  8<x 

_ii  IT  i\     a    a          1  1    1   n 

GREENVILLE.  S 

»S  * 

i  7's  or  8»s,  7 

Fine. 

1-1      IT  1 

's  &  4. 
— «r 

P""i   i  L«  i 

Rousse 

227 

D.C. 

INpF^  FK"Fi  1 

¥T-\  1 

D.  C. 

gently 

lead      us,   Thro' this      lowly      vale  of 

.  J-U J.  P  ®i®r« _^ _b:±2- 

-o- 

1 

And        O    Lord,  in 

mercy        give       us,   Thy  ri« 

:F:r-©:b®-®-A  L-<«- 

#4 

i  a  A_r 

fM 

all     our  1 

).  c! 

 9 

•  i  i " 

1  i  i 

II  1 
©  *- 

1  r~ri  1 

F^f 

1  L 

D.  C. 

c  ri — 

II' 

— -4H — 

67  6 
4 

^— 1  1 

r-^Jurzr 

8 

SICILL 

 '  •- 

1  6 

IN  HI 

6  7 

'MIV. 

d  U  F 

7's,  or  8'b 

&  7's 

6 

8 

8- 

3  6 

0  A  ©  ® 

6 

—  1 

'ith  thy 

q=^FffllF:F 

Let  us 

-R-fl- 

all  thy 

grace. 

-!Hr 

*2.  Thanks  we   give,  and 

-•— •- 

gospel' 

joyful    sound  ;  May  the 

ruit  of 

thy      sal  - 

:S|=Fj 

-»--,•-- 

'  J'  1 

-tf 

* 

3.  Jesus, 

thou  art 

•— -f  ^  |  »  ar 

bounded 

1—?- 

t ,  Visit 

5^=£ 

5= 

A  A_ 

i-  1 

vation,  Enter 

ev'ry 

trembling 

66      6  87 


•  96. 

GREECE.      8's  &  7's,  or 

7's  &  4 

III 

T 

229 
I 

-ft  r  

-JKv*    -i  1    n— fin 

:F-1 — h 

-  r 

hu  1 

1  I 

*?± 

1 

-1— h 

if  o 

Lord,  dis 

:-=r— F 
~©  o 

with  thy 
1  | 

o — v  

blessing, 

iFh*- 

Fill  our 

 + 

joy       and  peace; 

Let  us, 

each  thy 
°l        '    '  1 

love   pos  - 

°  C~ 

P  -  „-  ^  

o  <•> 

:~ri=d 

®  r 

°  o' 

~f  bter-sd 

~°l —  ri- 

k-  f  1 

^FFr^rH 

6 

7 

h==t 

6 

1 

<1  i  1 

6          8  7 

1 

Eo — 1   "I  » .III 

1  ! 

r  "i — r 

"  u> 

H — h 

-- !    -I  4- 

Triumph 

ecm    -  ing 

or  0 

Oh!       re  - 

fresh  us! 

o  o' 

Oh!  refre 

 ^ 

h  us! 

trav'ling 

i 

-*-=+ 

Qi  ei-i 

■  i  - 1  © 

i  i 

<>  #  

7  6 

6        8  7 
4  B- 

_o  V  ■  .■ 

6 

56  6 

6 

7 

0 

6  6 

6  87 

230         ©  8*. 


SMYRNA.      8's  &  7's,  or  &'s,  7's  &  4'». 


6  4 


5  s  | 


m 


6      6  6 


6  —76      87  ..43        6    -4  6      76  6    5  5fe6 

5  —  4  9  3  3  43 


5^6  6 


IS 


i  iii 

3* 

M— J- 

villi  thy    blessing:    Oh!    refresh       us       with  thy       grace— Oh!       re  -  fresh       us— Oh!    refresh    us—  Oh! 


3 


•80.  JERAULD.       8's  k  7's.  C.Zeiiner.  231 


=fc=fc 

-©--®- 

Wiien  tiie 

h— r 

tempest        fowertS,     O'er  a   bleak  and        cloudy       sky,  Nature's 

failing 

Si 

rM»- 

flowers,    Hang  (heir  drooping  heads  and 

m 

Si5 

4-6544      3  "        ^3     iij  3  43-^  4+T 

£  88.  s      —     T  AM  WORTH.       S's,  7's,  &  4.      6  LoefcharL 

•r  ?  — &  — —   ^  —  -p  ■  V— —  1  9— 


232 


WESTBOROUGH.      8's  &  7's,  or  8%  7's  &  4. 


Haydn. 


nzzzzjizzqzzzzjzE 
:1zzj:zzzizzz±!:; 


Mighty  "      God,     E   -  ter   -    Hal      Father,  Now 


m 


HHPS 


ZSZZZi 


9  r 

 u_ 


2e: 


6  6 


1 


:ir-q  zr? 

EjZZ-ZjZZj^ 

Z^Z 

~*    a         A  |  J     i  fcP  j_ 

Fa  H — ?=r 

■  jah !    Hal  -  le     -     Li    -    jali  ! 


)•    !—  |— . 

1   — T      rr-1  ® 

1  '    1      i      i        IS  ^ 

..  SI 

-•- 

— « — » — 

6  87 

5                 7       -     -              6  - 

7  67 
45 

34      56       6  7 
6-  4 

JIELMSLEY.      8's,  7's  &  4. 


m    m     m       mm/am     tm   mi  f-  ^  — ? 


-I  tt.®  -9-m  1  ©    © — O    8    ©  -©-©-©  - 1  ^' ft       *.©  ^_  '  ■•©  C  ©•©•'  oI-*  - 


3533        4  - 


SUFFOLK. 


mg,         Swell  the 


I  [■  tlT' 


=©^ 


^  of  i 


1 


n — TP 


!  °l  I  r\ 


H.  &  II 


4# 


23 1  p  33.  CALVARY.       8's  &  7's,  or  8's,  7's  &  4.  Stanley. 


~F3= 

Hark!  the 

•  *  *  i~ 

love  and 

-1  *  M 

o,1 
1  tt 

Cul  -  va   -    -    ry:       See,  it 

rends  the 
B  _     1  1 

© 

o  o 

-©  \- 

©  o 

0  « 

0,  1 

0 

r 

^=1 

6#6 


 1 

0   0  • 

O  ® 

r>  0 

0  •  © 

c:FR--i: 

-a=SL-Fn  H 

— H-H-x-H 

— 1 — F 
-4-+ 

33 

,:,  -o~.  *H 

Shake*  die 

earth  and 

O  O 
veils  the 

-'  F 

I    1  1 
0    -oL  ■  * 

sky;       "  It  is 

finish'd!" 

-P  0  © 

 •  U0  o  -   0  •  « 

0 

«<lt      is          finiMiM!"       Hear  the 

'lying 

-*>-  •  * 

Saviour 

w~p  T 

-O,  Op- 

-■°  Hrr 
zzzzzFzrzzq: 

1  1  "r— 
O  <> 

0  •» 
©"-» 

T"  r 

0' 

-  i.    "  *r 
0  0 

__J  1  

t    J_  1 

-  1  r 

i  1 
r  © — — 

-  r-er 

© 

1  1 

-a 

if-ft*-*-, 


WALPOLE.      8  s  &  7's. 


*.<•  <>"J"l:>"l':>.:.l„„l 


May  the      grace  of  Christ  our 


May  the    Father's     boundless  love,  With  the      Holy  Spiri 


*  «>  o ' ■  1  ° • '] ° ' !- j ° "  1  ■-■  o [ '■>" j r  ■ '  1  - 1 ' ■ 1  :" i " ' '  1° " I ■  -: <-■  1  <>' "  { "  • '  j  •  >  i 


6      6  6    5  6 


1 


Thus  may     we  abide 


53 


With  each  other         and  the     Lord,  And  pos: 


sweet   communion.     Joys  which  earth 

^f='ffiT^lrl:p- 


i 


WAJYWORTII.  Eights. 


Harwood. 


„'':t 


■  ■•  - 


mm 


n  0  ::9.. 


H 


SPRING. 


6    6  6  87 

4 

Thos.  Clark. 


^3 


Si 


as 


3.  Awake,  then,  my  harp  and  my  lute, 


3    4    5         =3  #  6#66     4    5  I 


My  graces  shall  bloom  m 


This  temple,  bia  Spiri 


65      64     6        6  6 


My  joy,  as  my  duty,  ti 


GOSHEN.  Eights. 


i 


to 


P-D-l 


-p^-PH 


8  6  4 
-  3 

p  108. 


6      4  6   -         6  1 

3  3 

DEVONSHIRE.      5  s  &  7  s. 


6         6        66  6 
4 

Prof.  Norton. 


His  kingdom  in  glori 


Tasto.                      65436  5      4     6-   4  6 

9  8    432  3 
Then  Let  us  adore,  And  give  him  his  right;   All  glory  and  pt-w'r, 

J'  }l 

Kni  wisdom  an 

might,  All 

5  5  6 

7  6  5 
d  bleating 

7678     4.^   4    666       6      <j  ?    8  7 

vVith'angels  above;  With  Uiunlu  never  ceasing,  And  mfi 

238  ft  92. 


SAVANNAH.  10's. 


Pleyel. 


P==-E 


EE 


m 


behold       a  branc 


Whose       sacred  flow'r  widi  fragrance    fills  the 


 *- 

©- 

—  O 

o  1- 

The      s!ck         and   weak,  the      healing      plant      shall  aid, 


er,    and    from  heat 


87 


•  92.  PORTUGUESE  HYMN.       ll's.  239 


-pf^ 

H — M* 

\-h- 

--4 

*  -© 

The  Lo 

J   u  oar  s 

& — o — 

.epherd,  our 

guardian  and 

"•  «» 

guide,  Wha 

— 1 — 1*- 

e       want,     he  will 

•«••• 

kindly  prov 

de; 

To 

of  bia 

(<J) — -4—* 

te= 

p»    gj     O  r- 

f-   f  ° 

:  P 

•  e 

^1 

-H- 

i 

6 

6 

— P  ■  B  

6  5  #6 

3 

E 

<  * 

r  1  v 

S#6     6  8 

S 

~e.  ©  - 

6  7- 
4   J±  - 

"Hi 

6 

a  3 

»— ©- 

1  Vv 

|       .           .  .   .  . 

-8*  » 

e  hia 
•  * 

Kxind, 

His    care    and  pr 

>tertion,  His 

rare  and 

prote< 
-©  - 

— ®-C«— 1  *; 

tion,      His     care  and 
Tutti.  , 

S  1  ® 

!»  1    «    •    *  1 

pro  -  tee  -  tion    his  i 

ick   will  tuiT 
fi — ©"  Q 

5  c- 

•  * 

1 

5  - 

6  6 

•  1 

4  6* 

3 

r     34    6  6 

4 

UO  f»  96. 


HAMILTON.  lO's&ll's. 


-.        -HI  ^1 

{_r  ^ 

Ma* 

r  1  J 

-F—  F 

-P — ! — !  ^_ 

1       I  i 

1    i  .  • 

Tlie 

LU —  1 

nigh,  When 

must  lay 

down  this 

bo  -  -  dy  and 

['  Nl 

die. 

r-ol  »  1 

"1        6  • 

sag 


°3«  ® 


II'. 


Great 

Gud,       vre     sur  - 

dust    to  thy 

care ;  But, 

oil  !         for  the 

.  ♦  .  . — 

spir  -  it  pre 

.S.i 

Hi1- 

P  72.  HllVTOJV.       Elevens.  241 


<1tfH — i 
* 

4^ 

+4 

R 

^3 

-    •   ©         1    ■  * 

-d(-H 

 L__| 

Tlie 

.      J  * 
-  ©„-a  ^  3 

guardian  an 

d  guide 

i. 

Wha 

p1     a  # 

want,      he  will 

©_5 — e—d—- 

kindly  pr 

ovidei 

^  r 

-- p — •  * 

fci  it 

76        5  6 
54        3  5 

J=l  1  



6 

C  5 
48 

ft 

6 

J.J  j^- 

1           1  1 

76       5  6 
54       3  5 

6      6  5 
4  3 

-J  V  J  J 

©  ■ — 

=1 

J_# — r 

To 

sheep       of  his 

 '  « 

i 

^  >i  A 

His 

 » 

d  #  # 

1  * 

Si 


S       ||       9  64      3  i     ~  l\    I  I 

H.  &  H,  SI 


24?  J  120 


BEUMOJVDSEY.      6's  &  4V 


Milgrove. 


-1— t-H-P 


I 


reply,   Praise  ye 


to      God  on   high,  Let 


adoro,      Who  all 


bore;       Ping  aloud, 


SB 


V                                              ^  ..  ... 

(follOtt.  6 

-  65 

6 

6 

-  -| 

6  i 
— • — 

7   6  5 
A       5   4  Xf 

6  - 

=* 

Lamb!— W 

Worthy  tlie 

Lamb! 

Sing 

evermore,             Worthy  tlie 

^# 

PA 

rj — ®-i  •- 

111  F~ 

— ® 

— © — •- 

#  6  # 


—  f»» 

*fctl 

•t«  1  ©  

 LI-_- 

Almighty 

-4 
4 

Help  us  to 

SS,  F.,„„ 

all  glorious, 

»|../ 

O'er  all 

aim 

•  3 

II  1ST 

ska 

[— f— r 

•  •  1 

®   ©  ® 

 4-  ©  < 

k  6 

j 

5  57 
►  88. 

6 

1    !  1 

4  6 
3  5 

All] 

3URN. 

5  6 
3  4 

8,  3,  &  6 

7   3    3  8 

5543 

5   6  7 
3    4  5 

-L-VJ-I 
3     2  8 

6 

6 
4 

>       6   6  7 
J  4 

favor 

This  day 

By  my 

God 

M 

^# 

love  me; 

Let  thy 

Be  my 

Till  thoi 

— 1 — r- 

=* 

"O" 

p»  • 

Tower- 

Safely 

_E  Q- 

— y_ 

While  I 

Me  with 

all  thy 

pow 

k  1  L 

"! 

4.  Ail  w 

bes.'er  is 

6 

d?»tb  I 

r  r  i  1  

6  5  n 

4        3  3 
slumber,        Let  m» 

6 

riM 

I 

W"*  the 

6  56 
wise—  Counted 

43  65 
to  their 

J  J 

bo. 

241  p  108.  MALTA.       6  s  &  10  s. 


1        1        |  i 

Ar-d    &  <j 

— P^— © — P — 1 — 

1 

&  3 — ^ 

No 

sound  V 

Vaa 

heard     the      world  a 

No 

hrw 

i 

lu-  I)  u 

H  9  3- 

o 

1 

©7 

"  i 

I  r 

-e- 

i 

 ^ 

=n 
i 

7  6  6     ^6  6667 

M  4  | 


r8  rn 

Q   ©  P 

But 

peaceful      was  the 

night,  In 

~     I       1       1  J- 
C-   'ft     •  o 

light 

0 

His 

reign  of 

rF — ~n — i 

began. 

— — © — 

7-6  5 

6-46 

6  6 

^?=^ 

6  - 

6  £ 

— o  FF 

7-65  e-^6  666-  6  o7 


r»  88.  WALWORTH.        lO's&ll's.  Dr.  Waimvright.  243 


•  • 

0 

nigh, 

1  bell  draw 

=1 

- 1 1  i  r 

4 

5        4  6 

6  6 

6 

-1 — 1 

6  #  6 

•  #1 

6  #6 

C 

!  1 

u 

-pdr 

To    hoar  his 

o 

Si 

-0- 

'Biin?  them,  ye 

i       1       1  1 

S= 

if  £6 

6  if6  6 

6#|  e 

6        8 " 
4  I- 

6  7 

6 

1  • «] 

a 

6  6 

J  57 

246  •  92. 


MONTAGUE.       10's,  or  10's  &  ll's. 


~o — o 

jnly      Just    nnJ  True,  Not 


i — — e- 

'r,  and  grace,  thy     truth    and  J. 


1 


-16  6  4 


si 


d  d 

ime.  Shine  thro'  the 

-0 — J- 

J-J-J-4 

heav'n  thy   West  a 

heathen  say,  "Whe 

God." 

regions       of  the 

lead.  The      trumpet  s 
CI. 

tumble.,  b.  a*  n 

1     ri°  &  "0' 

joices:         Lift    up  you 

heads,  ye  saints,  wit 

 ^5  « 

LqJ  

6      7  6      6  4 


6    6      4    6     6  6  37 


mi 


LYONS.  lOs&ll's. 


Haydn.  247 


Is 


Oh!  praise  ye  the  Lord,  prepare  a  new  song,  Am 


inthem  prolong,  \nJ  fhcw  forth  his  pra. 


r 


!•  108. 


6     6        6  7 


St.  MICHAEL'S.       10's  &  li  s. 


0     6       6  7 
4 

Handel. 


EPF 


!of: 


c  -  w<*  -  •  re  re; 


eyour  glad  voice,  His  pr 


ibly  to  sing,  In  their  grea 


all  men  rejoice,  And 


1&R 

isP- 

4^4 

"O  1 

-  i: 

3 

-o- 

1 

m 

w 

848 
If* 


AMSTERDAM.      7  s  &  6's. 


Dr.  Nares. 


'H' "  " 

££ 

3 

u.  c. 

mm 

—  r-^-f 

t^-H-pAh- — 1 — L- 

T-r-rJ  r-|J- 

rJ — ; J 

4 

D.  C. 

•  The  n,.t«  under 

®  90. 

#  


SS    6  6  4 

3       S~be  ! 


6  6     7  Fme. 

4 

THE  RISING  MORN,  THE  CLOSING  DAY."  [Vienna.] 


33 


n 


u.  The  rising  morn,  the  cluing  day,  Repe  it  thy  prtis?  with  grateful  voice;  In  both  their  turns  thy  p..w'r  display,  And 
'.ITl.   P^i — i — i-i  1— i  n  »— — ,  i-i  »-i  1  ■  1     i  r-i  1  i  r  i — i  »-»- 


is  thy  p.iw'r  display,       And,  laden    with  thy  gift 


JCZgZrt 


i 


— ^"-*4t~-FhF 


i  2 


#6 


i  *  6 


LORD,  WHEN  MY  THOUGHTS  DELIGHTED  ROVE."       [Owens.]        Mozart.  219 


•»  ^  ~   1  ! 


SEE 


(ft  3  ©  : 


A-        p-  7 


— tea  ■ 

— e — © 

=3  rn 

i  -i 

my   fears      and  doubt. 


part,   Lord,   so  my   thoughts   de   -  lighted 


6, 


6      6  7  3 

45  5 

3    H.  &  H.  32 


H 


*S  6 


«  5^6  6 


r5       4  3- 


'  LORD,  THOU  HAST  KNOWN  MY  INMOST  MIND."       [Salisbury.]  Haydn.  251 


W  » — & ® —  Q — &  d" 


Thou  .lost  my 


78       6       76  6 


7  6  #6         6  7 


-  pose :  Where  from  thy 


9 

I         fly,  - 


=8*= 


6       56       6  7 


"WITH  HOLY  FEAR  AND  HUMBLE  SONG."  [Waltham.] 


i 


IP 


mm 


PP 

ffS  6     ts  7 


•  84.    3  3      'SOFTLY  THE  SHADE  OF  EV'NING3 FALLS."  [South 


76  6  6=  43 
Street.]       5  Haydn. 


»  88.  "THERE  IS  A  STREAM  WHOSE  GENTLE  FLOW."       [Milton. j  Haydn.  255 


-  d  r~ 

E±g 

— i — I- 

^E 

-d-«L 

*  © 

-tut  #  Tl,ere 

' — 9 — «- 

 [  «U 

e  gentle 

E^=E^ 

I  - 
-©— — 

PP. 

city 

of  our 

1 
1 

Hit* 

-a-  • 

°  4 

e  gentle 

— — ,     I  --  — 

i    '  1    i  i 

=P  J  *  i 

t  JLi 

-  rr-rrE 

"pT~  P~ 

u 

"  C  .A 

hrt-i-r 

-S — e- 

 1»- 

ESLE3 

y  - 

76  - 
4-  _ 

9-  - 

~0  ®~ 

I 

-J  L 

-0~«- 

43             6  tee 

98  ^5 

EEi  d— lZEET=--Z 

U9S7  86 
EE~J  IE  n — a 

r  i — 

6  7 
4 

 LI 

bdEEsEEElEEil  a  £ 

red 

i  H- 

1                         1  '       1    1  1 

H     H — r    n  1  f  1  i 

^#  % — 

~~r 

ci  -  ty 

U  ^ 

of  our 

©   E  "  EE  i 
 1  & 

-L_o  -«J~  g 

.lEETEZ    i — j_L 
J  1  h-* — <s»  L 

SE-^ 

K  1 

4 
S 

3 

43         6       76  6 
4- 
8- 

6  5  4 
4  3  2 

6    £6      987    6          6  7 
M5      3   4 

if 

fm       ©88.  "GOD  OF  MY  LIFE."       [Music]  Dr.  Arne. 


4 

P  idjgijf  J. 

©  -  *® 

H 

\  1 

Rl  1  l|  !r-j>- 

-c-f-S— 

God 

1  •  ©IL^-oX^j  

IN 

-tFF3 

-  d-B  o  * 

p  I- © 
TT ' 

"  ^  o  ® 

©  ' 

H — 1» — G 

op'ning 

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238  "PEACE,  TROUBLED  SOUL  "  [Palestine.]  Mazzinghi. 


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AMDEN.] 


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'  WHILE  WITH  CEASELESS  COURSE  THE  SUN."  [Beiievehto.] 


I 


4  6      4      6  5 


5      3  7 


nal   state,   They  hav 


Bless   thy   word  to   young   and     old,  Fill 


I; 


I 


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m  "HOW  BEAUTEOUS  ARE  THEIR  FEET."  [Hvmn.] 


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6    4      6   —    33    3  6  6  46667 


The  first  two  lines  of  the  3d  and  4th  stanzas  should  he  sung  as  a  Duet  by  Treble  voices.  In  the  4th  stanza  omit  the  two  measures  between,  the  brackets,  [  *  ]  so  as  to  avoid  a  repetition  of  the  line  "Bat 
ied  without  the  siuht;"  and  let  tins  line  be  sunn  slow  and  soft. 


"FROM  GREENLAND'S  ICY  MOUNTAINS."       [Missionary  Hymn.]  L.Mason.  263 


strand;   Where    Afric's         sunny  fuan 


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"0  BE  JOYFUL  IN  GOD."       [Continued.]  268 


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'  BEFORE  JEHOVAH'S  AWFUL  THRONE.1'  [Denmark.] 


Dr.  MaJan. 


£3= 


±= 


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;  BEFORE  JEHOVAH'S  AWFUL  THRONE."  [Continued.] 


P 


!  120. 


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m 

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crowd   thy  gates  wi 

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"BEFORE  JEHOVAH'S  AWFUL  THRONE."  [Continued.] 


m 


987  9   8  76  876. 5  4  8 

432  4854  6    5  4  3  i>  8 


unding 

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'  BEFORE  JEHOVAH'S  AWFUL  THRONE." 


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r  fHs  f  i 

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niE  VOICE  OF  FREF 

,  GRACE."  [Sc 



)TtAND.] 

Dr.  Clar 

k. 

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'THE  VOICE  OF  FREE  GRACE.' 


[Continued.] 


9  t;^-fr^.vj  1  l  i_ —  '-ryj  r — — _ tg=^j 


271 

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«72         ft  104.  « FROM  ALL  THAT  DWELL  BELOW  THE  SKIES."       [Denbigh.]        Altered  from  Dr.  Marfan. 


from    all        thnt        i1\ti-41         be    -   -    low  the        skies,  I-;t   the         Ore   -   -   a   -   tor'i  praise         a   -   -   -   rtae ;  Lot   too  Re- 


I 


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'  FROM  ALL  THAT  DWELL  BELOW  THE  SKIES."  [Continued.] 


hS  ♦- 


■oid;        Thy        praise  shall 


SB 


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74  •  76.  "VITAL  SPARK  OF  HEAV'NLY  FLAME."       [Dying  Christian.]  Harwood. 

y  -      .  Adagio     .A  tret. 


/  _      ,  Adagio.  .MIet. 

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"  VITAL  SPARK  OF  IIEA  v  'NLY  FLAME."       [Continued.]  2*5 


I  

spirit, 

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3    1)5     -         43  -     6      -5  98     65  11  4      5  3  4  3 


276  "VITAL  SPARK  OF  HEAVNLY  FLAME."  [Continued.] 


P. 

F- 

5    1^4.       Alio.  Staccato.  F. 

fu 

=  4-1  ll  1  ^ 

i  -jig-*1  |»-p 

ifccS=S=i 

:  r 

13  i 

on  my 
P  • 

yes!  M) 

h#iT-« — « 

»  |  ^  •  "  O.gj  if — —  -•••^.« 

e  -  raph   -   ic         ring!             Lend,  lend 

j  r®-^p©  1  1  |V 

i — i   i—  °    c          e  n  ; 

our  wings!  1  i 

lount  I   fly,       O  gra 

ory?  O 

1  1 

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1  1 

n 

i   1 1 

^  p  ^      p  p~p 

6 

y  rv  - 

6 

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r  •  i     i  o 

5^635  87 
Jtr— 

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grave  where  is  thy  victory?    O  deatl 

it  *  T" 

MV 

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sting?   O  ( 

p 

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eath,  ic. 
r— f»-N-h 

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mount,    I     fly,  0 

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"VITAL  SPARK  OF  HEAV'NLY  FLAME."       [Continued.]  277 


1  !   «-W 

£  i    1    i  « 
^  i#*  v  *  *  * 

*   *   *   *   *  * 

i 

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*    *    *  * 

grave,  where  is  thy 

victory?       thy    victory?  O 

grave,     where  is  thy 

victory?      thy    victory?   O  i 

eath,  v 

J 

here  is  thy  sting,   O  deal 

l,   O   death,   where;  &c. 

II.' 

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Lend,  lend 

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ings :  I 

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mount,   I       fly,  o 

grave,  where    is  t 

©  •  «,...©  J  »  j  o  - 

hy    victory?    tliy     victory?  O 

death,  O 

whe 

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278  « WHEN  I  CAN  READ  MY  TITLE  CLEAR."  Thos.  Hastings. 


_    Andante  Mo.leriM. 

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4  ^5^6       43  5      98  44  2  51 


"  WHEN  I  CAN  READ  MY  TITLE  CLEAR."       [Continued.]  279 


^  for- 

-  — P  m        «  -K.     P  s 

P1H. 

l      T  i 

FF-P4-+- 

^              f  - 

J    «  - 

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wild 

fall; 

May 

I  but 

W- — - — 
ft— 

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'  ♦     ♦  --4  i»— j— | — 

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home-May 

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• 

heme—  My 

I  V-j- 

(iod,  R 

p— ». — p 

kM 

§  4  3  4       5  6 

o«  .56  .34 


« WHEN  I  CAN  READ  MY  TITLE  CLEAR."  [Continued.] 


Then  shall  I  balha       my  wen  -  -  17  bouI,  In 

"^3 


,=5 


i 


=3- 


6#6        8  4  6  65 


0 

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roJJ,  A  

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6  6        7«  48 


t  2 


AWAKE,  PUT  ON  THY  STRKNoi  i  ii.  ^thkm..  Abridged  from  W.  Jackson. 


fete? 


thy  strength,   O    Zi  • 


if"  "fjf^f  f* ,° 


put      on  thy  strength,   O  Zion, 


m,       O       Jerusalem,    Uie      hoiy  city, 


3= 


thy  strength, 


FzzErfB-fa 


holy      city,  Awak 


put      on  thy  strength,  O  ZT^. 


O      Jerusalem        O  Jerusa 


AWAKE,  PUT  ON  THY  STRENGTH.  Continued. 


on    thy  strength,  O 


283 


tli)  str.-nctli,  o  7.i.., 


tLajjJ-JiL  .  r 


IS 


Awake,  awake,  put 

Tutti.  For. 

si! 


9  (  ©  ^  ©  9  , 


Tutti.  For.  Q_ 


n  thy  strength,  thy  strength,  O  Zion,        put      on     thy       beautiful  gan 


'•SO' 


on  thy  strength,  thy  strength,  O  Zion, 


t!ly   beautiful  garments,"  IT  O,    O  Jer 


n  thy  strength,  thy  strength,  O  Zion, 


 ,  jj  ~  ST—  »-  * 


Solo.0Piarfr9 


Tutti.  For.  Q 


a  tby  strength,  tby  strength,  O  Zion,        put      on    thy       beautiful  garnets. 


3>,      O         Jerusalem,      the     holy  city, 


AWAKE,  PUT  ON  THY  STRENGTH.  Continued. 


holy 

city. 

— «.  is— € 

Tr 

e  red 

eeSed     of    the  Lord  slnll  re- 

1 —  

m  

H  •®s..S  ft© 

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O  Jeranal 

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holy 

Sym. 

City. 

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rrow    and  mourning  sha 

1  pass  away, 

shall  pass  away, 

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shall  pass  away,  shall 
|  iVnV-f"*-!  r 

For. 

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bf  u^on^thdr  head 

r  ^V^l 

'    o  r~ — 

Sorrow  and  mourning  shall  pass  away,  shall  pass  away,         shall  pass  away,  .shall  pass  away,  shall 


AWAKE,  PUT  ON  THY  STRENGTH.  Continued.  285 


— l —  ■ 

 -  > 

1      J*  1  A .  9  m .  J 

-  ^  • 

The  red 

^.all  *  r 

r~  1 

emed        of  the  Lor 

shall  n 

•_  m_ 

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8— »~ 

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:  

J  4-4- 

0  «  -  •  9 

The  re 

1     1  1 

shall  re 

f- © 

— F 

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\  O  1 

pass  away, 
fig  [**-  >- 

F 

The  rede 
P   P   «         ©  f- 

V     £  >  »  ^  *> 

1   -"(J 

Li  1  t^>_l 

irn,  ever- 
r«-f>-iB  i=-f 

astmg      joy  sha 

"Fn   i   i  ft 

_  «  *  «  *  «  1 

i  1 1 

H-4 

- -9-9- 

upnn  thfir 

o  ©  -  f  ®  ® 

head,                      ever  -  1 

— 9^9-9 -@-\-&-®-®  ®  ©"  T 

isting  joy   shall    be  upon    their  head,  s„r 
-                                   r'ia.       ^  ;  

I  r  ;  J  L„  i     c  1 

-  ® — «-L-o — © — -t 

1  J  L.             !_  1     1  . 

^  

sting  joy   shall  be   upon  their  1 

7«  e  o — i  

+4-—- 4-^4 — i+j—h 

ead, 

lasting 

i  [ 
joy  shall 

b-  upon    their  head, 

- — *  ■  ©  1 

lasting  jc 

1            9  !  «  « 

y  -     shall  be     up  -  or.   their  b. 

acl  *eve? 

-  lasting  jc 

y     shall   be  up- 

Sorrow  and 

L^_h^   j 

AWAKE,  PUT  ON  THY  STRENGTH.  Continued. 

i  -  •  r  " 


m 


f^——  


33 


•fi'l  'T 


m 


-p-H 

Awak 

e,            .make,  put 

liy  strength 

0  A 

5ion, 

Awa 

ke,       awake,    put  < 

n    thy   strength,  Aw 

^k7  "ST" 

1  

©  l  -LcZL-L 

© 

«   ~l         *|  - 

1 

>     ©  *  * 

©  ®  ®  ©- 

mm 

n  thy      strength      O  Zion, 


S  S  S  8  i  . . 


put   on  thy   strength,  Aw; 


(9  -©-  -©- 

♦I  3559 


on  thy  strength,   O  Ziou, 


Awafce,  awake,       put  on  thy  strength,  O  Zioo 


Awake,    awake,      put      on  thy  strength,  Awake,   awake,  put 


AWAKE,  PUT  ON  THY  STRENGTH. 


Continued. 


thy  strength,  thy  strength,  O         Zi  ■ 


®-®-© — © 


-  -i  1 

eiigth,  thy  strength,  O         Zi  ■ 


i  e  8  •  ,  a  I  ' 


il  <&     @~r  f  


rength,        O  Zi  ■ 


=fc* 


holy  city,  O 


+| 

r— |  ^  h  

,    ■,  y 

r. 

s  fir 

ents,  O  Je 


lem,   the  holy 


lem,   the  holy 


m,  the        holy  city, 


Jf-    


lem,   the      holy  city,        O      Je  -  ru.  -  sa  -  lem,  tue  lioly 


288      »92  "SALVATION  BELONGETH  UNTO  THE  LORD."  [Chorus.]  Kent. 


^    ^  -            *  - 

1  1       1  f 

1          1   1         1  1 

„  u.   2d  Treble 

==t=tp==h 

Solo. 

8  i 

— H  H  1  r 

11         1         1  ' 

Sal 

TT  J  '« 

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i — ® — A  

T — 9 — ~& — «»  -  $ — ©- 

o 

~   J    'J  f-| 

6  Org. 


Totti. 

Tutti. 

blessing 

thy 

mong  thjr 

people, 

Sal  - 
Tutti. 

rn  -  lion  be 

long  -  e 

jnto  the 

Lord,   and  thy 

f*  " 

Tutti. 

and  thy 

blessing 

thy 

S3 


"  SALVATION  BELONGETH  UNTO  THE  LORD."  Continued. 


23') 


2^  •  112 


I  WAS  GLAD,  WHEN  THEY  SAID  UNTO  ME.  [Anthem.] 


35 


glad,     I   waa  glad 


T1 7h~  r"rr^P^^"^^P^ 


©  •  ~  ©  • 

i — ® 

6     6    7       6      4    7   6__       7   6  7 

2  d 
Duo.  Island  2d  Tre' 


F=f>- 


_LZt_ 


#6     6  4|j     6      6  6 


6       6   48  6         6  6 


~  ©  «  © 

vr>"j" 


We  will  po  in -to  tl 


^y-rrp -r— rf»  rVgrj--  UTT^T 


liouse   of  the      Lord,   We    will  go, 


  6  6  6      6     S  7  6  6      6  A 

(33354         43  4.-.* 


202  "PRAISE  THE  LORD  "— -"  SONS  OF  ZION."       [Chorus.]  Nauman. 

£  pm/I  ^  •  100.    Alia  Marcia. 


^   — 

Lord— 

Glorify     him  for 

•  |»  n 

-«®-®-J4- 

-1 

Voice. 

qJ  

®  ©- 

 a  * 

-i- 

d 

#5 


/.ion  come  before   him,  bring  the  cymbal,    bring  the   harp,   bring   the    cymbal,    bring  the 


1 


bring      the      harp,   bring  the    cymbal,      bring  the  harp.       ®  High   in      glory  lo!   he's  seated. 


Zion    come  before 


cymbal,  bring  the 


7         6      5  6  5 
4      3  4  3 


'PRAISE  THE  LORD."— "SONS  OF  ZION."  Continued. 


e  the      King  he 


Pons   of  Zion  come  before  him, 


«8l 


r 

• 

2- 

— • 

4 

1  i 

5   6    6  ( 


3    3    3         4  4 

-> 

..   ,  f  .  «■ 

n  f 

he  harp. 

r— SErrn 

-e- — !— ?  

-  M 

Ld—  

Si 


'  PRAISE  THE  LORD." — "  SONS  OF  ZION."  Continued. 


§1 


e  haip.      Sons  of  Zion 


^  S — r 


(iti   ti   6   3  7 


Bound    the      lute  and  harp. 

Si-Si 

06      0     87  • 


Hfc*: 


lute  and  strike     the  harp,  strike  the  hai 


Sound  the  lute  and  harp. 


SI 


-4 


|»  96. 


;  HARK  !  THE  VESPER  HYMN  IS  STEALING."       [Vesper  Hymn.]  Russian  Air.  295 


m 


Nearer  yet  and 


-i  Jgzbcjz: 


SSI 


~^uti''  fT~ 


Jn  -  bi  -  la  -  te,    Ju  -  t 


Ju  -  bi  -  la  -  te, 


n  farther    stealing,         Soft  it  fades 


Sole 

1 

*> 

— 0 — s — j — 

if* 

H-H-»-e- 
•  •>  *  i  ■  i 

-d-^o  52 — 

SS^         Jt  120.  HALLELUJAH  TO  THE  GOD  OF  ISRAEL.       [Chorus.]  Haydn 


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Hal  - 

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Hat   -  - 

e  -  -  Id 

but 

HaJ  -  le  - 

jah, 

Hal    ■    le  - 

In  -  -  jah, 

to    the    Rod  of 

Israel, 

i 

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HALLELUJAH  TO  THE  GOD  OF  ISRAEL.       Continued.  297 


m> 

We  will 

1     W  1 

■ore. 

1 — p 

P. 

:                         We  will 

praise   him  ever 

i  

°  1 

Hal  le  - 

O  v.„. 

W~ — ^Lj--*1- — 

O 

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— ©^©-®— e— 

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praise  him  eve? 

7         6  87 

5 

more  we   will   pmise   him  ever 

Tasla. 

5    6    7  6 
4    5  4 

-j»  p  - — 

C  -        -  -  Cfc 

F. 

1  1 

-«'-J-J  J- 

fender,  he  will 

i--ty 

fiod  is 

battle,   for  lie 

is    the    Lord  of 

-P  _  

F 

Voice,  p 

• 

6  ^6 

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6 

88 

65  - 
4$  - 

Taatt. 

c  *6 

6  1 

298 

hai 

LELUJAII 

TO 

THE  GOD 

OF  ISRAEL. 

Continued. 

-ft—  h — i  r 

fey 

Ha!-le  - 
-ft—  ft  1  r 

lu-jah, 

He  is  our 

refuge, 

-Hi" T^H 

We  will 

Hal   -   le  - 

,  Voice. 

,     ,      Pym-    |  1  r 

— P — r 

f  •• 

p  p 

p© 

-H — 1 — F- 

r*  M8- 

i— :;|  b*l»A 

Sym.  » 
•      r-      i  P 

Voice.   „  , 

•      *  i=l_ 

Tasto. 

* 

* 

b7 

4 

2 

6[j4  3  5 

U  1  

4  - 

b  - 

--H  F- 

i  r  -I  « 

-  for  -  ev  -  -er, 

We  will 

-w- 

will 
— • 

ore,  will 

praise  bim,  will 

for  -  cv  -  -  er, 
---  -  O  r 

Voire 

P     f  -  f: 

for  - 

P  P  r-1  - 

ev-er,   ©  for- 

b7  t7  7       -       "        §      §  «.  .? 


HALLELUJAH  TO  THE  GOD  OF  ISRAEL.       Continued.  299 


-,— ,— ,— r 

r 1  r 

-  1  V  if  " 

ft 

*  forever  ^ 

r-.J  J 

_  — 

-i    •  j  - 

«     0     "«  « 

c 

=F 

-  >: 

j-i-p-.1 

n — o[zi 

•J 

ever,            ror  . 

-  ever,  fo 

r-    •  ^ 

6 

6 

forever, 

6  6 

5ev  4v 

5 
3 

6 

forever, 

fo 

~P  • 

6 

6 

forever, 

6  6 
5  4 

5 
3 

TimUi. 

fefe  .  r  . 

P-^  

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will  p 

raise  him,  will  p 

more,             will  j 

raise  him,  will 

• 

i  * 

*  * 

s — - — —  "■  ^  1 

6 
5 

5  i 

fTasto. 

Ll  1  i 

6        6  5 
i       4  3 

'HOLY  LORD  GOD  OF  SABAOTH." 


B.  M.  Swaffield. 


m 


Ho  -  ly,  Ho  -  ly,  Ho  -  ly,         Lord  Goil  of        Sabao'Ji,      Heav'n   and  earlli, 


3^ 

majesty  of 

thy 

glory. 

Glory    be  to 

thee, 

Glory  be  to  t 

-s-o1 

Glory 

be  to 

hee,  0 

Lord,  Most 

.GJiI 

High. 

 ti»  g  9    m  1 

-e^p-p-m- 

"Of" 

-e—j- 

,       « THAT  I  MAY  DWELL  IN  THE  HOUSE  OF  THE  LORD.*  [Anthem.]  301 

■ft*  Reci,atiTe-   I  n* — r> — — N  r>    n  —w-T-i   -ni 


One        thing        have          I           de  -  -  -  sir  -  -  -  ed 

~     u.  # 

of         the  Lord, 

which         I  will 

re  -  -  quire. 

 o 

u,  S  96.  Syrn.  Andant 

e. 

, 

-s- 

4 
2 

6 

9       ©  So 

6 
5 

 ^  Q  g  

<g)  4-  — 5r- 

(^•-*-*-3-H  1  h 

1 — 1 — n — HI — ~ 

i  J 

'|r*ff — 5 — -i"^ 

«•       *    '  s  • 

~^T<i   4- 

r~ 

e  •PS 

•  *  s  SI 

'  r  "  J" 

LJ  L-^- 

"  THAT  I  MAY  DWELL,"  &c  Continued. 


-rx-#- &   , 

That      I  may 

dwell,. 

That       I  may 

dwell, 

That  I  in 

>y 

*•   ♦  » 

dwell   in  the 

• 

DOU 

house      of  the 

Lord,  may 

»  — #- 

n 

23  C  -  5 
45         4     -  S 


3 


dwell    in    the     house    of        the        Lord      all    the      days     of    my        life.  To      be  -  -  hold  the  fair 


-  ty      of      the       Lord,  To 


i — 1 — ' 

i**" — 

m 


6      #6  6 —    65  -     6   6     6  7 

1  4#~  4  I 


t       65         43  Voice. 


'  THAT  I  MAY  DWELL,  &c.  Continued. 


mty       of      the  Lord, 


fair  beauty  of 


Ejl+^-p-fj-g 


7      65  # 


#6   65  6 


6      5        6        5  6 


-ftjf-*  ,  ; — — M 

!=3=J=R 

304      |»  lOu.  « 0  SING  UNTO  THE  LORD."       [Anthem.]  Dr.  John  Clark  Whitfield. 


"  O  sing  unto  the  Lord."        Continued.  303 


-  — — I  ,„  -~ 

*  ~  »  -  !    ^    •  P 

w"  i  hi 

_L_L_ 

-h 

raise  him 

-*L    J — i 

L.  -  F 

o 

1 

Lore 

the 
1** 

— i — i 

Let  the  congre  - 

 *-*-haJ  —  - 

Ration  of  the 

CD  CD 

o 

0 

r   P  ■'  i  w 

Let  the  con 

Prt— — 

f  the 

saints 

m 

1 

o 

r  l 

i  U4 — U 

i    i    i  i 

sing  un  -  to  the 

Lord,  the 

— [> —  

St  —  —  

,7  <=v 

»  A 

1 

Let 

he  con 

gation  of  the 

1  ! 

-^=«C|-  |. 

praise  him.  O 

;  — -t 

 1 — 1 — f*~ 

sing  un  -  to  tha 

^  ^  Lord  a  ne 

song, 

O  si 

f=F=EE 

ig  unto  the 

0 



e> 

sing 

^  <f 

<  > 

-f 

-i — « 

, 

=^ 

— 1  =rH 

song, 

0    sing  utitu 

the 

Lord  a 

— h-f 

i  1  i  ii  i 

song 

i  * 

I- 6  -it. 

7 

Lord, 

0 

«  1 

ing  ante 

—     3   ■ — ■      8   8  6 

the  Lord,  onto  the     Lord  m 

56 

Ut 

i 

w 

««8      H.  &  «. 

39 

'  O  sing  unto  the  Lord."  Continued. 


Vt  the  congre  -  gation    of  the 


ise    him,  Let  the  congregation  of  the 


3^ 


i 


Let   the   congre  -  gation    of  the  saints 


4  3  4  5  43  434543 


Let  the  congre  -  gation  of  the       saints       praise  him,  the        saints      praise  him,  the 


16 


GT)6  •  him,  praise  him. 
43  4      76  5 

S43 


"5*  96  Blessed  is  he  whose  hope  is  in  the  Lord.  [aivtiiEU;.] 

_SO  jLO^    Wante  A  lie gro^   .   fl   -|— 


W.  Jackson.  307 


8=^1  ulll  U'JItUIJ  h 


the      Lord  the       Lord      his       God,  Bless  -  ed 


he,  Bless 


!£yf-Tt 


he,  Blessed.*"      Bless  -  ed       is  he 


-  J- 


the   Lord,    in    the        Lord  his     God,    in  the         Lord  his  


I..  1 


CHORUS  Tenor 


"•"Rlwa^H  is 


21 


Bless  -  ed,  Blessed,  p>  *  Blessed    is  he        whose    hope    is     in     trie  Lord,  in    the    Lord    his    God,  who 


 L«V»-af—  T-to  **** 


God, 
Blessed, 


308 


Blessed  is  he  whose  hope  is  in  the  Lord, 


E3E 


BE 


kcepeth     his    promise,    his     promise    for  - 


who    keepeth     his    promise  for 

J — J— j-pJ— -j— -i— J — j-  -J — i — J 


keepeth     his  prom 


the  Lord,  the        Lord      his    God,  Blessed        is  he, 


ed  ia 

^= 

^  \ 

m 

m 

sed  is 

he, 

hope      is      in  the 

Lord, 

Lord  his 

God,  -who 

/TV 

- 

f° — i — t- 

^tirr.r.rTr  ¥V  v  )h 

1  promise,    hi,     premise     for     ev  -  er,  for  -  ev  -  -  er,  for  -  er  -  -  er.     .    -  - 

who  keepeth     his    piomis.,    his     yromlm     for  .  •»  -  ei 


m  r 96 

■  Again  the  da> 

r  returns." 

1      S  1 

J  •  |  i> 

]  Rev. 

fin.  Mason. 

i 

Bd  Treble 

|  5    «  •  :: 

 1  \-\-r- 

'  1          9  1 

r  c  r  f  ^ 

_JJ  

A 
Let 

-  gain     the  dny 

this 
A 

ns  of 

m 

1,0 

-    -  ly 
-  ted 

1  Or- 

rest,  Which, 
day,             To  It 

h  LI 

*  o 

,vhen    he    made   the  world, 
arn     his     will,  and       all  a 
 -.  -,  

•    •       •  U  F- 

Je   •  ho  - 
ve  learn 

"a  Q 

1"  jj 

bit 
-  bf 

y- 

ffV      L        -  1- 

"  "1  

 1 

1 — 

O  * 

•  °-  ~- 

H-d- 

□  ^TOr_ 

-t>  ^— «  1 
S  1  

7 

- 

*  i  1  i 

7 

93         6  37 
4 

1 

i  ••  i    r  ' 

1 

-  -I 

When  like  his 
So  shall  he 

owh      he  b 
hear    when  f 

•  — •  - 

ide      our      la  -  bours  ceas 
sr  -  vent  -  -  ly       we  rais 

• 

e,  And 
e,  Our 

o 

all  be 
sup    -    pli  - 

P 

i    -    e    -    ty,  ar 

d    all  b 
ar  songs  c 

f 

<> 

— f 

1 

»  • 

1  1 

i  :i 

S-  1  L 

1 

1 

5 

4fc 

[  ' 

'  u 

6  6 

6        8  7 
'  4 

"  Again  the  day  returns."  Continued. 


33E 


Father    of  heav'n  in  whom  our  hopes    con  -  fide,        Whose  pow'r  defends  us,     and  whose  precepts  guide;  In    life    our        Guar  -  dia 


7  6      5  6 


- 

3* 

** 

and    in  death  our  Friend;    Glory  supreme —      Glory  supreme —      Glory    su  -  -  preme         be  JLliine — be    thine —  till      time     shall  end. 


rS 


9  7  6 


5         3  5  7 


312  |*  92  «0  give  thanks  unto  the  Lord."        iaxthem.]  Jno.  Smith. 


 h- 

J  ■ 

5} 

Tutti. 

1  1 

O  give  th 

inki, 

O  (jive  thanks  tin 

-    to  the 

Lord. 
O 

give 

than);  a     nn  - 

-    to  the 

Lord,      give  thai 

iks,  give 

1 

1  1 

k 

v-Q  .  

1 

7 

8  t 

t5      6  O 

■1  "[-■  -  1  1     I  1 

BoH 

-  "  1-+ 

-Si— r 

iqEzEErrl  1 

--F=Re  1 

thanks,  give 

thinks        on    -    -    to  the 

Lord, 

1 

give 

thank 
<> 

an 

-  to        the     Lord,  give 

thanks  nn 

-  to  t 

he  Lord, 

E5=5=4±  4d_J 

m 

—4- 
 ,  _ 

0     |  ! 

k  

ii  '      1  ' 

li  1 

5 
3 

■  1    I    I  1 

-     #      6  « 

1 

314  5  100  "  Lord  of  all  pow'r  and  might.'         icollect.i  Rev.  W.  Mason. 


zzjzri  !  ^_ 

w  4-  

i_i — 1_) — u — rj 

1 

Lord          of  all 

pow'r  -    -  and 

might,         Lord        of  all 

might, 

«.  1 

|^?r*-3— i  

-©I 

.  „    u.   #   Poli  Pi» 

4  7 

(i 

9  4                5           4  6 
8  3                3  3 

9  9        6  7 
7  6  4 

1* 

3 1 

^  &           •  «  J 

Thou  that  art  the 

au  -  thor, 

rho 

- 

u  that  art  the 

au  -  thor, 

thou  that  art  the 

giv  -  er  of 

all  -    -    -  good 

W1 

thirds! 

feS  

•      1      ,®  I 
1              tf»  ^ 

— .  « — «i_ 

A       -  © 

-  -  .  i    r  r_ 

p p ts^ — r — 

»  r>    6     5     6     -5  - 

3     4      3      4      -3  - 


"  Lord  of  all  pow'r  and  might."  Continued. 


Graft  in     our  hearts      the      love      of      thy        name,     the     love       of  thy 


1 


6       7       4  : 


7         4  3       6  6 


3 


m 


Lord    of    all         pow'r       and      might,         nour    -  ish 

r-^^z-^-^-i — <=>  r-r-i  rsr^-A-Fi 


all         good    -    ness,    Lord    of     nil  pow'r 

IS  i  H 


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4  3         6  7  4 


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416  "  Lord  of  all  pow'r  and  might."  Continued. 


Keep 

r  1 

•-•-«T3  9 

of      thy  great 

*  •  •  •  •  . 

mer    -  cy,     and      of      thy  grea 

&  ^  •  *i  ®  <& 

1  m.m.r;.1cy'| 

I-  *. 

Keep 

© 

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Keep  i 

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Tutti 

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^  : 

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Thro' 

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Je     -     -  bus 

Christ  our 

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m 

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'  How  heavy  is  the  night."       [Hymn  98.  Book  1.  Dr.  Watts.] 


1.       How     heavy      is  the  night,    That  hangs  up  -  on  our  eye; 


Till  Christ  with  his 


-  ing  light,      Ov    -    er    our  souls 


m 


Our     guilty      spirits    dread      To     meet  the  wrath  of  he 


But  in  his  righteousness    array'd,  We 


3        Un  -  ho  -  ly     and  iin  -  pure,    Are  all  our  thoughts  and  waj 


"  fy  -  lng  grace. 


Ta„o  ,.#"^56* 
4.       The  pow'rs  of  hell  a  -  gree,         To  hold    cur  souls  in  vain:- 


Ta»to  6  4  43       656  667 

He  sets  the  sons  of   bondage    free,    And  breaks     th'arcur  -  sed  chain. 


5d 


5.     Lord — we  adore  thy  ways     To  bring 

3to 


to  God;  Thy  sov'reign  pow'r,  thy  h 


blood— And  thine    atoning  blood. 


fi    6  87  6  6~6     6    37         T*»to  6j  466    6  87 

5    4  4  *  S  4 


318  120  "  Great  is  tlie  Lord."  [sentence.] 


0=^ 

rk- H- 

J  . 

Great  is  the 

Lor 

greatly  U 

be     praised — and 

y  to 

#|  ^ 

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Sym. 

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6 

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o  e 

42  6 

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A  •  lift  6 

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ci  -  ty     of  o\j 
1 • • #  P- f 

Go< 

,    in  tlie 

ci  -  ty    of    our  God, 

F  - 

D  t 

untain  of  his      ho  -  liness — 

n  the 

"7  ° 

ci  -  ty  of 

p;.  m  | 

1   " 

•— f-f  "I  

 '     ,  ■ 

"  Great  is  the  Lord."  Continued. 


the       ci  -  ty      of  our    God,    in  the 


mm 


f-j? — ^ — — r  ■  > 


3i 


Si 


of  our  God,    in    the    mountain  of    In,    lmlin.^-    in  tl;<-    mountain  of   W    ho  -  li  - 


Hal 


S     3      6     -  * 


320  f  96 

Aflettuo 


"  While  life  prolongs  its  precious  light."  Dr.  I.  Stephens. 

Adapted  to  there  wordt  by  Thotnai  H«»tingi. 


°  <> 

H3*^ 

m 

|-~- 

Pia  Cres 

While  life  pr 

o  <J 

pre    -  cious 

o 
light, 

Mercy  is 

found,  and 

peace     is  g 

v'n:  But 

Boon,  ah! 

won,   ap  - 

>roach  -  ing  night, 

b  '  I 

N  6*6 

*  "i  i  j  *  i 

^   '   I   '    )   I  I  °1  "  =  -  1 

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"  While  life  prolongs  the  precious  light."        Continued.  321 

„  ^   fe\i   Tytti  MF 


Shall 

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ev    -    -    -    ry  hope  of 

heav'n. 

While  God  in  - 

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how     bless'd  the 

o    °    «     :  ' 

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jund; 

O    haste       a  - 

hile  yet  a 

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'  Unveil  thy  bosom,  faithful  tomb."  Continued. 


Pri  nk  i'r  mi  his  thmive,    il    -  lustrious 


O       earth!  his 


ord;        Restore    thy    trust, — a    glo  -  rious  forn»— 


6  7  7 
4     *  * 

 FF  Tntti 


"I 


6  % 


_f,<> 


leet  tha  Lord.         Restore  thy 


s  form—  Shall  the 


to      meet    the  Lord. 


Pi 


324     "f-  104 


Let  the  words  of  my  mouth."  [sestexce.] 


fcsz 


Let  the  words  of  my  mouth, 


and  the  med  -  i  -  taticns    of  my  he; 


»   -  y  p-Ul-l-g.  §  I *        ,  ^  o 


be      always  ac   -   ceptable— be  always    ac  -  ceptable  in   thy       sight,      O    Lord,    be    alwaya  ac  -  ceptable — be   always  acceptable  in  thy  eight,  O 


:#p: 


IS 


Let  the  words  of  my  mouth."  Continued. 


QL°rd'my  ^^"W^g^ren^  &  my  Redeemer,  My  strength  andmy^.     my  strength  &  my  Rede. 


Qz: □ — r 


4  3 


i 


O     Lord,    O  Lord, 


my  strength  and  my  Redeemer,  O  Lord,  O     Lord,  my  strength  aiid  my  Re  - 


3+ 


"  God  be  merciful  unto  us  and  bless  us." 


.  T  I  TT 

O  let  tiie       nations  rej( 


rTl    I   TTT . 

id  be  glad,  for  thou  shalt  judge  th. 


peo  -  -  pie      righteous   -  ly     and     gov  -  ern  tli 


 c_iLi 


Em. 


i  I  I  1    'ill    !  r   r  I 


and    all    the  ends  of  the  earth  s 


pa 


®rt>. 


pfc  pti  -  Jy 


|.a  ^~  jo. 


11=1 


A  -  men,        A  -  men. 

o_  d  o_,_d_ 


f4 

III! 

I  ! 

-HFH-ri- 

nil  the  earth 

1 

J— i-j-f- 

doth  worship 

thee, 

O            1  ° 
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A- *c  — — 

TT  v  ' 

iod,     we  ftckr 

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y 

all  the  earth  doth 

worship  t 

-gbgob[: 

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O  r*»  « 

ather 

— 

d  & 

1    1  1  i  |- 



JJL. 

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doth  worship  thee — worship  thee, 


Tutti 

 21 

hee  all  angels 

^4- 

ffrff 

last  -  ing— 

A    a  it 



Soli 

1 

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ill  the  pow'rs 

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to 

u 

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thee  CI 

frr 

erubim,  C 

herubim  and 

— 1 

330 


"  The  Lord  will  comfort  Ziua." 


■±rtt 


!  -  ! 


The  Lord  will  comfort   Zion,  he  wiU  comfort  her  waste  piaces,  and  mako  her  like     Eden,    like  the     garden   of  the  Lord-  Jjy  and  gladness— Joy  and  gladness 


I 


6       0    7  6 


:  - 


e  fi.usd  therein,  Tliai 


z  c 


jico  of  melo  -  dy— Thanksgiving,       and  the  voice  of  melo  -  dy,  the   voice  of 


I  will  arise,  and  go  to  my  Father.  [semxexcej  331 


T:r  — 

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MF  P. 

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I  will  a  - 

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1    fcl  p»v 

I  will  a  -  i 

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fts    fcl        111    —          I  '         ^  1           1  t\P 

■°r  J 

-  -  ,* 

j  and  will  say      unto  him — 

sip 

Father,      Father,  1  have 

Sym  Pii 

- — • 



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"  Daughter  of  Zion." 


i — p-1— ^ — i — p  i 


E2Z£ 


E39 


I 


Daughter  of  Zio 


'ake  from  thy  sadness,     Awake,  for  thy  toes  shall  oppress  thee  n 


right  o'er  thy  hills  dawns  the 


zzH^llfz^r-fr-fz*: 


SI 


/'/a//  eight  measures  for  a  Symphony. 


6    5      6   6  7 


"IS*  "I — P"l — T 


tBzjBzfiziziiz^^ 


6    5      6     6  7 


"  Daughter  of  Zion  !"  Continued. 


333 


St:  ,ng  were  thy  foes,  but  the  arm  that  subdu'd  them  And  ecatter'd  their  legions 


—6- 


I  "I 


ightier  far;      They  fled  like  the  chaff  from  the  scourge  that  pursu'd  them, 


m 


7     6    5  6 


7   6    5      6  7 


"i — i  — w 


fit 


e  their  steeds  and  their  chariots  of  war.        Daughter  of  Zion,       awake  from  thy  sadness,       Awake,  for  thy    foes  shall  opprtss  thee  i 


 : 


t — p  h — i — i — H — r 


mi 


9     ,  . 
— M  !•  - 

Repeat  for  Symphony. 

i  =  64 

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834  "  Daughter  of  Zion !"  Continued. 


•  a  p  a.*l-a>  ~P^ 

•*  * 

"4  NS- 

r  - 

Daughte 

3 

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1 

Zion,     the  pow'r  t 

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"  C  1 

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f-p-jr 

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"  The  grace  of  our  Lord  Jesu3  Cbrist."  [benediction.)  335 

t^~T-     nz    i  1  — i    .r  — t  =zr~~^TT~~~T~3~:  =t— zr-  zzzzzjzrmznzznzrzLrzi 


The  grace  of  our  Lord  Jesus  Christ, 


vCSJ-®^-*-®-©-®-1-©-©- 

of  Go.l,        and     the    fellowship   of  the  H»!y  Ghost, 


m 


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*  ° 


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336    |*  96  "  Lord,  dismiss  us  with  thy  blessing."  [dismissiox.j 


It 


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H-H- 

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Lord,  dis 

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"  Lord,  dismiss  us  with  thy  blessing." 


Continued. 


Then  well  thee  nobler  i 


i.  And  we'll  sing  Hallelujah,  Amen,  Hallelujah,  And  we'll  sing  Hallelujah,  Am 


Hailelujah,     to  God  and  the  Lamb. 


tot 

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Amen,  Am 


Hallelujah     for  -  ever  and  ever,  Amen. 


H.  &  H. 


6         |  6    6  II 


338    *  "  Praise  God  from  whom  all  blessings  flow."f 


_p  L              i  1-- i-- !  -v 

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o    •  a  i  •  »  «  «  i 

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438--  3       8   4 


340  "  Praise  God,  from  v/hom  all  blessings  flow."  Continued. 


F 

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O  praise  God  in  his  holiness.         Continued.  343 


 — - 

Praise  him  in  the  cymbals,  in  tl 

e  cymbals     and  dances,    Praise  him  on  strings,     on  strings  and  pipes, 

■t^^fH -=-H— H-H-s-H — H- 

Let     ev'ry  thing  th*t  hath 

^=c:+-s  H— ! 

Priise  him  in  the  cymbals,  in  the  cymbals     and  dances,     Praise  him  ou  strings,  on  strings  and  pipes, Let  ev 

— =  -+rfTc± 

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&&&&& 

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£5  — — -p  |~r~fr«  ii^dto-fi  -p--~.?-..P- 

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_                                                     Let    .ev'ry  thiii-r  tl;  .1  linlli  breulli  praise  the  Lord,  tha 

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tl!  prais.i  the  Lord.  Prai 

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t  hath  bre 

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6               3           6              3             6      4  3 

1  I 

6    6  3 

H.  &  H.  44 


346  f72 


"  Come,  ye  disconsolate," 


e'er  you  languish,  Come  rft  the  shrine  of  God,  fer  -  vent  -  for  kneel, 
it       of    the       straying,  Hope,  when    all     oth  -  era    die,       fadt-less       and  pure, 


1  Come    ve     dis  -  con  -  so  -  late, 

2  Joy     of     the      com  -  fortless, 


zer: 

1.  Here  bring  your  wounded  hearts. 


here  tell       your  anguish; 


.Hz 


SI 


.  2- Hereepeakflthe   Comfort  -  er^, 


:  Earth     lias  no 


that.  Heav'n  ( 


zFzz 


3     5     4  3 


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£  104.         "  Watchman  I  tell  us  of  the  night."*      imissiov  ary  or  Christmas  hymn.]        l»  mason.  347 


IE 


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Watchman 

■-(-  ■■  p  p 

-|  ©.  J« 

ray    Aught  of  r 
-lone    GJJd  Hie 
cease ;  Hie  thee 

ope     or     joy       foretell?  Trav'ller! 
to     thy      qui  -  et       home;  Trav'ller! 

yes:    it   brines  the 
io!    the   Prince  of 

1     *  -  X 

day,—  Promis'd 
Peace,   Lot'  the 

day    of       Is  -  ra,  -  -  -  el  ! 
Son     of      Cod      is  come! 

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I        1      '        "1  1        1          1  1  

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'  -©- 

1.  The 

Lord  is 

great!  ye 

O    "r-  * 

— ©  — © — ©  — ® — 

hosts    of  lieav'n  a  - 

-o  < 

lore  hi] 
 g 

i,  And 

s— a  • 

ye  wlio 
-  -O,  C>  

tread           this        earth  :  ly 
|  0        '       ^.1    ©^  . 

ball; 

hh-HI 

2.  The 

Lord  is 

gr|at!  h 

AT 

ma  -  jes  -  ty  how 
J    © — -p  1  }- 

J — _  ^ — r 

glo   -  riom 

!  Re 

sound           his        name            from    shore        to  shore; 

l^f-»  -1— i — I- 

3.       The     Lord  is 

great!  1 

is       mer  -  cy    how    a    -    -    bound  -  ino 

jr»    H     r  -    1  o — 

!  Ye~ 

an  -  -  g 

els        strike          your         gold  -  en  chords! 

| -Q-"-rsr:hn  ^ ,   :!  <  5— rr 

ho  -  iy  ' 

!  3  1 

oice       a  -  loud       be    -    fore  him, 

And  s 
»  1 

"i    "  r 

lout  his 

1  r 

1-  -F    F-!  -r  M- 

praise,        who     made  you 

— 1 — 6_ 

all. 

-0  e  -J-0  —v—  ©'— 

sin       and    death,  and 

la,  I.1 

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liell     now    made      vie  -  to  -  rious, 

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kings, 

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and      Lord  of 

-h=^  i  i  -  f  -i  i»- 
i 

"  All  hail  the  great  Immanuel's  name,"       [hvms.]  shrubsole. 


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"  The  Lord  is  in  his  holy  temple." 


■  3_ 
§  3  \ 


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1 


3      3    12    3  4 


 ,2,  3    i,3»6  t>6 


673  567 
454  345 


GLORIA  IN  EXCELCIS.  [Single.]  353 


Ip^e  o  

t 

If.    Glory  be  to  .... 

Go<l  en 
C>   

high: 
O 

and  on  earth  ..... 

peace,  good 
r-©1  -©1 

©- 

o 

A  - 

<> 

(Sri-  Minor  for  4, '5,  6,  7,  and  8.) 

9.  For  thou        -  - 

10.  Thou,  only,  O  Christ,  with  the 

hTav-n'-'ly 

only  art 
Ho    -  ly 

Ghost;  | 

we  glorify  thee,  we  give  thanks  to  tliee,  for 

thy  great 
Fa  -  ther 

g"i  '  i1' 

glo  - 
Ai     -  - 

Fa"  -,1C- 

-  ■> 

mighty. 

Lord, 
ther. 

A  - 

4.    O  Lord,  the  only  begotten  Son 


-©|-     -Or  J  -©- 
Christ ; 


O  Lord,  God,  Lamb  of  God, 


c>  r©r 


-  or- 


Si 


H 


-  cy    up  - 
|    me/  -  cj^'up  -  |  on' 


BONUM  EST  CONFITERT.  [Double.] 


*  e- 


1.    It  is  a  good  tiling  to  give  thanks 


,  o  ^ 

I    unto        the  J    Lord  ;    |  and  to  sing  praises  unto  thy 

jd  


O  Most 


Hi 


Qran — 


Highest. 

E£E£S 


I 


2.    To  tell  of  all  thy  loving  kindness  early 


the  |  morning  ;    and  of  thy 


ruth  -  in  the   |  night    -  - 


i 


GLORIA.    No.  1.     [After  naming  the  Gospel.]  GLORIA.    No.  2. 


GLORIA.    No.  3. 


G'°  "  "  "  m  ry'i  -j    J  J         ,   ,  h J£    |  c 


Glory,      Glory,  Glory         be   to      thee,    O  Lop 


BEE 


EF|P=[=f:F 


-g-^d  -e- 


ry,  Glory     be    to     thee,  O  Lord. 


DEUS  M1SEREATUR.  [Double. J 


I.    God  be  merciful  unto  wand 

bless    -    -    -  - 

:  o 

and  show  us  the 

O 

light  of  his  countenance,  and  be 

o  o 

— F-f 

y 

-  q'=  ■  eL- 

1  ol  -e>L 

3.    Let  the  people  praise  thee, 
5     Let  the  people  praise  thee, 

O 

God; 
God; 

yea,  let 

allthe    -  people 
all  the    -  people 

1  1 
praise    -  - 
praise    -  - 

thee. 

1  1 

"<vv  q! 

Close. 

^     2.    That  thy  wav  may  be  - 

known  up -on 

hsL  o 

earth  ; 

-o- 

thy  saving  - 

1  -»  f 

#| 

— b  ■  

4.    O  let  the  nations  re- 

6.    Then  shall  the  earth  bring 

=^=-^= 

forth  her 
bless 

glad; 

for  thou  shall  judge  the  folk  righteous- 
ly, and  govern  the 
and  God,  even  our  own 
and  all  the  ends  of  the 

na  -  tions  up 
God.  shall 
world  shall 

 1 — 

us  -  his 

r 

SINGLE  CHANT.  GLORIA.       No.  4.  GLORIA.      No.  5. 


We- 

H-d- 

0  - 

dd 

o  c 

-d-d 

-e'-eL 

1°' 

o 

o'-d 

dp- 

1^ 

GIIiEAD.       L.  M.  [Chant.] 

O  render  thanks  and    bless  the    Lord,      Cull  ye  up  -  on    bis     holy        name}    Tell  all  the     nations     of  his   deeds,     His  matchless  deeds  aloud  pWlalm. 


genera!  index. 


ABfNGTON 

123 

Berwick 

150 

<  hp«t>T 

156 

Dying  Christian 

274 

Ha^ue 

65 

Lutzen 

120 

Natick 

P4 

166 

Christmas 

189 

Hamburg 

69 

Nnzaretn 

Bethel  ' 

171 

Eastbum 

171 

Hamilton 

240 

Eastport 

110 

Mankind 

158 

Macedonia 

211 

Clifford 

104 

Edyiield 

Haw™  h 

213 

Maiden 

Newcourt 

Bethlehem 

Effingham 

llavanna 

92 

Malta 

a!  "i"e 

220 

Beveridge 

168 

Colchester 

130 

Elgin 

ISO 

Haven 

100 

Manchester 

14  1 

"\ew  Market1 

l'5 

A  Mb*  o  i"h 

136 

Billings'  Jordon 

143 

Collingham 

159 

Ellenthorpe 

47 

Haverhill 

175 

Mansfield 

10" 

Newton 

too 

Blackburn 

157 

Columbia 

.198 

Ely 

121 

Hawley 

201 

Alfretoi|ia 

2Iy 

Bladenhurg 

.<;.-> 

Conway 

134 

Emsworth 

50 

Hebron 

54 

Marlow  (Major) 

1  •'•> 

New  Yorl-ath 

4 

All  Saints 

Blandfiwd 

94 

Corinth 

Bafield 

71 

Helmsley 

2S3 

do.  (Minor) 

129 

Ninety  Seventh  ) 

Blcndou 

38 

Cornish 

Ephesus 

S4 

Hingham 

Martin's  Lane 

Psalm  Tune  \ 

48 

Bolton 

112 

i'uKv''rrii" 

241 

Mayhevv 

Norwalk 

Angels  11)  inn 

~28 

3! 

76 

Evening  Hymn 

Hobart 

199 

Mear 

122 

Norwich 

2ll| 

65 

Bowdoin 

131 

Cumberland 

162 

Hotham 

216 

Medfield 

1  1!) 

Appleton 

33 

Bo.vford 

Dalston 

Farn-worth 

109 

Howards  (Majoi 

Medford 

113 

Nuiembur" 

77 

Archdale 

108 

Bradford 

118 

do.  (Minor 

1  135 

Medway 

Oakland  " 

Arlington 

117 

132 

118 

Hudson 

163 

Melody 

127 

Old  Hundred 

Aniheuti 

74 

Brattle  !-'lrect 

Darwells 

68 

Invocation 

165 

Mendon 

Olmutz 

ifl  i 

Armley 

80 

Brentford 

Darwen 

Irish  ' 

106 

Messina 

22S 

Ormond 

1 10 

32 

Ashley 

124 

Bridgeport 

DeerfieM 

Italian  Hymn 

Milan6  Ul"y 

186 

BhfestLe 

til 

52 

187 

Jerauld 

2S1 

Miletus 

jfiddington 

Brooklyn 

Miller      .  (Major) 

Park  Street 

Autumn 

83 

98 

Denton 

Cainsboroii^n 

*  142 

Jordon,  by  Billing 

s  143 

do.  (Minor) 

148 

Parma 

Burford 

152 

Devizes 

140 

Judea 

Milton 

263 

Babylon 

86 

Calmar 

172 

Georgetown 

73 

Kendall 

94 

Missionary  Hymn 

263 

Peckham 

17-> 

Baldwin 

133 

Calvary 

231 

Dismission 

Kew 

Monmouth 

39 

Pelham 

Bangor 

ant  ridge  'n™.l°J 

Monson 

Pentield 

Barby 

1  10 

101 

Dover 

164 

Gloucester 

186 

Lebanon™ 

1  54 

Montague 

246 

Pentonville 

176 

Barnwell 

162 

Doxology 

Leyden 

Peterborough 

Bath 

34 

Canterbury 

136 

Dresden  (  Major) 

79 

Grafton 

153 

Lincoln 

225 

Morning  Hymn 

43 

Pile-sTove" 

66 

Bath  Abbey 

224 

do.  (Minor) 

79 

Gran  by 

223 

Litchfield 

1 05 

Mornington 

176 

Pilton 

221 

Bedford,  No.  1. 

111 

Duke  Street 

Great  Milton 

126 

Little  Marlboro' 

Mount  Epbraraa 

161 

Plaiiifield 

215 

do.  No.  2. 

111 

Cedron 

Dunbar 

229 

Linstead 

Munich  (Major) 

Fleyel's  Hymn 

225 

Belville 

190 

115 

89 

Greenfield 

107 

Lisbon 

184 

do.  (Minor) 

81 

147 

Benediction 

335 

Chapel  Street 

Dunciiurch 

99 

Greenville 

227 

Murray 

209 

PomfJe?" 

85 

Benevento 

260 

Charleston 

41 

Dundee 

119 

Haarlem 

London"1 

90 

Music 

254 

Portsmouth 

40 

Benson 

226 

Cheltenham 

122 

Dungeness 

256 

Haddam 

214 

Lowell 

72 

Nantwich  . 

56 

Portugal 

29 

Berniondsey 

242 

Chesterfield 

111 

Duns  tan 

68 

Hadley 

173 

42 

Naples 

221 

Portuguese  Hymn 

239 

GENERAL  INDEX. 


!  St.  John's 
|  St.  Martin's 
t.  Mary's 
.  Matthew' 
:.  Michael's 
\  St.  Olaves 


Sterling 
ephens 
mthfield 


71 

248 

194 

Wachusett 

156 

102 

Wakefield 

44 

109 

Walney 

123 

128 

Walpole 

235 

154 

Waltham 

252 

L16 

Walsall 

151 

247 

Walworth 

245 

61 

Wanworth 

236 

51 

Ward 

55 

53 

Wareham 

145 

30 

Warner 

60 

207 

Warrington 

174 

Warsaw 

146 

137 

Warwick 

91 

33 

Watchman 

161 

Waters 

17S 

Watertowu 

208 

37 

Waterville 

i 

86 

Westborough 
Westbnry 

*  232 

164 

177 

97 

345 

Westmoreland 

134 

Wiltehtre  (Majo 

Again  the  day  returns,  Hymn 
All  hail  the  great,  fyc.  Hymn 
Awake,  put  on  thy  strength,  Anthem 
Before  Jehovah's  awful  throne,  Den- 


Behold  the  glories 
Blessed  be  the  Loi 
Blessed  is  he  whos 
Come,  ye  disconst 
Daughter  of  Zion 


Fr( 
From  C 


I,  Chorus 
!  hope,  Anthem 
ate,  Hymn 
Hymn 


One  thing  have  I  desired,  Recitative 
e,  troubled  soul-  Palestine 
e  ve  the  Lord,  Chorus 
e  Cod  from  whom,  Doxology 
e  God  forever,  Tabor 
Safely  through  another  week,  Hymn 

'     '  n  belongeth,  Chorus 
Softly  the  shade,  South  Street 
Sous  of  Zion,  Chorus 
That  1  may  dwell,  Anthem 
The  Lord  is  great,  Hymn 
The  Lord  is  in  his  holy  temple,  Sen- 


.■enl,.,  tl  ». 


ten 


v,!!  e 


31  Lord,tho! 


The  rising  morn,  Vienna 
The  saffron  tints,  Camden 

e  voice  of  free  grace,  Scotland 
ire  is  a  stream,  Milton 
veil  thy  bosom,  Funeral  Hymn 
Vital  spark,  Dymg  Christian 
Watchman!  tell  us,  Missionary  or 

hristmas  Hymn 
We  bless  thee,  Lord,  Newark 
Wo  praise  thee.    Te  Deura 
When  I  can  read,  Hymn 
While  life  prolongs,  Hymn 
While  with  ceaseless,  Fenevento 
With  holy  fear,  Waltham 

CHANTS. 


Gloria,  Nos.  1,2,: 


105  j  Vesper  Hymn 


L.  M.  Major. 
AnRe's'lIynii 


ISO  i  Faili  Abbey 


'C,17,  WORKS:  V 
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SAM BATH  SCHOOL  PSALMODY.    By  Kzra  Barrett. 
OLD  COLONY  COLLECTION  OF  ANTHEM&    2  Voia 
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