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^#»:fe«o>:<<>>;<<§>>^^ 

THE 

BOSTON   HANDEL   AND   HAYDN  SOCIETY 

BEING  A  SELECTION  OP  THE  MOST  APPROVED 

PSASM   &STO  HYMN  TUNES,  JBMTHEKE&,  SENTENCES,   ©HH.SJTS,  Stc. 

TOGETHER   WITH    MANY    BEAUTIFUL    EXTRACTS    FROM   THE    WORKS    OF 

HAYDN,  MOZART,  BEETHOVEN,  AND  OTHER  E3HNENT  COMPOSERS. 

HARMONIZED    FOR   THB^EE    AND    FOUR    VOICES,    WITH    A    FIGURED    BASE    FOR    THE    ORGAN    AND     PIANO    FORTE. 


" Assembled  men  to  the  deep  Oi  gan  join 

Tlio  long  resounding  voice,  oft  breaking  clear, 
At  solemn  pauses,  through  the  swelling  Base  ; 
And,  as  each  mingling  flame  increases  each, 
It)  one  united  ardour  rise  to  Heaven  I" — Tltomson. 


BY  LOWELL  MASON. 


SZXTEEWTEt  EjyXTXOSt,  WITH  &33ITIONS   AND  IMPHOVEMEKTS. 


Boston: 

PUBLISHED  BY  J.  H.  WILKINS  <fc  R.  B.  CARTER  NO.   17,  WATER-STREET. 

18:36. 

HffifcP  O/fcO  OAO  DAD  (UKO  O/Kp  O/feQ  O/Kp  O/TfcC  Q>*p  MC  O.-flUp  MJf   O   KQ  &AQ  MfcO  0,1,0  O, (  ■ '    3 .1  -      -■  hQ  BAO  0-1...    "    ti    :'  W  °-<&0  0'VC  o,*v0  °'i*D  °***°  Q<*^°  O-A-O  OAD  O^kO  O-*0  OAO  CVIkO  0A.9  OAO  OAO  0/1W3  Oyfcp  O-VP  <iAP  0,»kO  CUhO  OAO  CM 

»oVfltfv»av« rwov^oV»ov livao'v  I J\  Java  iViovj  jv  jovj  j v  j  ;vj  j  1/»uX  jo\  *  jViGvaovj 


Entered  according  to  Act  of  Congress  in  the  year  1835, 

*  Br  CARTER,  HENDEE,  &  CO.,  , 

W 
In  the  Clerk's  Office  of  the  District  Court  of  Massachusetts.  ^ 


PREFACE. 


THE  several  later  editions  of  this  work  have  presented  an  almost  uniform  appearance.  It  was  thought  better  to  forego  the  advantages,  as 
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  1  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  tl-.at  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. 


jv  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 
licrht  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 
fo  psalms  and  hymns  of  a  didactic  or  prosaic  character,  which  require  to  be  recited  rather  than  to  be  sung. 

2.  Harmony.  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  25 
to  page  248  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  pieces.  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.  89. 


PREFACE.  v 

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  has  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  tile  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  ap- 
probation and  support. 

A  2 


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.  But 
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  p-ivate  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  its  institution  ;  and  we  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. 

Or    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. 


Lines. 


5 ... 
4- 
S- 

2- 

1- 


-Fifth  Line. 
-Fourth  Line 
-Third  Line. 
-Second  Line. 
-First  Line. 


Spaces. 


4 

fourth  Mpace. 

S 

Third  apace. 

second  Space. 

T 

first  Space. 

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. 

6.  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. 

Space  above.  I  Leger  lines  above. 


Space  below. 


ger  lines  below. 


LESSON  II. 

OF    THE    REPRESENTATION    OF    MUSICAL    SOUNDS    UPON    THE    STAFF. 

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

2.  How  are  they  named? 

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

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

4.  What  is  a  Clef? 

A  Clef  is  a  character  used  to  fix  or  determine  the  situation  of  tho 
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. 


w 


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 


Situation  of  the 
letters  upon  the 
Staff,  according 
to  the  Treble 
Clef. 


"  Space  above. 

Fifth  line. 

Fourth  space. 

Fourth  line. 

Third  space. 

Third    line. 

Second  space. 

Second  line 

First  space. 
First  line.- 


Snace  below. 


INTRODUCTION  TO  THE  ART  OF  SINGING. 


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


Situation  of  the 
letters  upon  the 
Staff  according  "S 
to  the  Base  Clef. 


f  Space  above. 

Fifth    line. 

Fuurth  space. 
Fourth  line. — 
Third  space. 
Third  line- 
Second  space. 
Second  line. — 
First  spare. 
First  line.- 


e 


Space  below.  F 

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

When  used  for  the  Tenor  and  often  when  used  for  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. 


TREBLE  CLEF 


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


-TREBLE  CLEF,  as  used 
fur  Tenor  and  Alto. 

-  G 
F 

-  B 
-D. 


BASE  CLEF. 


^ 


B 

-A- 

G 
-F- 

E 
-II- 

C 
-B— 

A 
-a— 


c 

— B- 

A 

— G- 

F 

— E- 


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, 
showing  their  length  and  order. 

2.  How  many  kinds  of  notes  are  there? 
Six. 

3.  What  are  they  called? 

Semibreve,  Minim,  Crotchet,  Quaver,  Semiquaver,  and  Demi- 
semiquaver. 


Semibreves.     Minims. 


Example. 

Quavers. 


Semiquavers. 


n — i" 
rr 


"1      HT 

"I n 


35 


"Err 


R    i    r 


-j^ — U-^ 


Dein  isem  iqnavers. 


-frfe 


6«" 


4.  What  is  the  proportionate  duration  or  length  of  the  notes?' 
One  Semibreve  is  equal  to  2  Minims,  or  4  Crotchets,  or  8  Qua- 
vers, or  16  Semiquavers,  or  32  Demisemiquavers. 

One  Minim  is  equal  to  2  Crotchets,  or  4  Quavers,  or  8  Semi- 
quavers, or  16  Demisemiquavers. 

One  Crotchet  is  equal  to  2  Quavers,  or  4  Semiquavers,  or  8 
Demisemiquavers. 

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 


Dotted  Minim. 

Example. 

Dotted  Crotchet. 

Doited  Quaver. 

Ill 

P* 

D« 

i     • 

1 

1 

*• 

1 

1 

i 

4i 


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? 

It  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.  * 


:£=*: 


8.  What  are  Rests? 

Rests  are  marks  of  silence. 

9.  How  many  are  there? 
Six. 

10.  What  are  they  called? 

Semibreve  Rest,  Minim  Rest,  Crotchet  Rest,  Quaver  Rest,  Sem- 
iquaver Rest,  and  Demisemiquaver  Rest. 

Example. 

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


1 1 .  How  long  is  the  performer  required  to  remain  silent  at  a  rest? 
As  long  as  he  would  be  singing  its  correspondent  note,  or  note 

of  the  same  name. 

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

*  The  figure  6  is  sometimes  placed  over  or  under  six  notes,  signifying  that  they 
are  to  be  performed  in  the  time  of  four  notes  of  the  same  kind  without  the  figure. 

2 


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  of  a  Natural? 

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


:£ 


Example. 

Sharps. 

-4 


r 


Naturals. 


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  sing'e  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. 


.  Measure.     Bar.    Measure.    Bar. 


Measure.       Bar. 


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. 


or, 


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 
a  very  short,  distinct  manner. 

Example. 

Written.  Performed. 


10.  What  is  the  use  of  a  Brace  ? 

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


i^SB 


:t3 


1 


11.  What  is  the  use  of  a  Tie  or  Slur? 

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

Example. 

Tie  or  Slur.  Tie  or  Slur. 


-  *  gn    a      r  i    i    i    i    r 


Tie  or  Slur. 

12.  What  is  the  use  of  a  Repeat? 

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


or 


.  -IF"  w  ^ 

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  tfiat  a  note  may  be  continued  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. 

Direct. 


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. 


ir    Written 


Example. 


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

19.  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. 


20.  What  is  an  After  Note  ? 

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

Example. 


in  various  ways,  no  rule  that  is  of  infallible  application  can  be  given  for  their  performance, 
which  must  vary  according  to  the  expression  of  the  passage  in  which  they  occur 
They  are  usually  written  in  a  smaller  character  than  common  notes,  to  show  that  they 
do  not  properly  belong  to  the  chord  in  which  they  appear  ;  by  which  means  a  visible 
breach  of  the  laws  of  harmony  is  avoided. 

21.  What  are  Syncopated  Notes? 

Those  which  commence  on  an  unaccented  and  are  continued 
on  an  accented  part  of  a  measure. 

Example. 


Et 


a — i — r 


i     I    r 


i    i    r 


I®~ 


? 


7S~ig—mr 


-•&-?- 


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  depend.     This,   i 
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  [ 


LESSON  V.  (a.) 

OP    SOLMIZATION. 

i.  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  Qr  consciousness  of  the  precise  relation  of  the  sounds  in 
the  octave  to  each  other,  and  especially  to  the  Tonic,  or  Key  Note.  By  associating 
the  several  syllables  with  iheir  corresponding  sounds,  this  relation  becomes  familiar, 
and  we  acquire  the  habit  of  expressing  any  note  with  ease  and  certainty. 

3.  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. 

Pronounced. 

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

5.  Which  of  these  syllables  governs  the  others,  and  fixes  their  pla- 
ces 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? 

Natural. 

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

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

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

On  A. 

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

OnD. 

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


13.  If  the  signature  be  four  flats,  (B,  E,  A  and  Dh)  on  what  letter 
is  the  syllable  Si? 

OnG. 

14.  If  the  signature  be  one.  sharp,  (F#)  on  what  letter  is  the  sylla- 
ble Si? 

OnF#. 

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

OnC#. 

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

OnG#. 

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

OnDf 

18.  Having  ascertained  the  place  of  the  syllable  Si  by  the  signa- 
ture, 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,  Fe  for 
Fa,  Se  for  Sol,  &c. ;  and  sometimes  by  considering  the  accidentals 
as  occasional  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  TO  THE  ART  OF  SINGING. 


xm 


LESSON  V.  (6.) 

Of  SOLMIZATION  BY  FOUR  SYLLABLES. 

i .  What  is  solmization  ? 

It  is  the  application  of  certain  syllables  to  musical  sounds. 

2.  How  many  syllables  aro  used  in  solmization? 
Four. 

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

4.  Which  of  these  syllables  governs  the  others,  and  fixes  their  pla- 
ces 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? 
OnB. 

9.  If  the  Signature  be  one  flat,  (B[j)  on  what  letter  is  the  syllable  Mi? 
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  A[>)  on  what  letter  is 
the  syllable  Mi? 

OnD. 

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

OnG. 
13..  If  the  Signature  be  one  sharp,  (Fff)  on  what  letter  is  the  sylla- 
ble Mi? 

OnF#. 

B 


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

OnC#. 

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

On  G#. 

16.  If  the  Signature  be  four  sharps,  (F,  C,  G,  and  D#)  on  what 
letter  is  the  syllable  Mi  ? 

OnD#. 

17.  Having  ascertained  the  place  of  the  syllable  Mi  by  the  Signa- 
ture, 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 
occasional  changes  of  the  Signature. 

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


LESSON  VI. 

OP    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  a 
third  kind  may  be  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. 

6.  What  is  the  first  sign  of  Common  time  ? 

The  letter  -@~ 

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  0-  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  describing  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 


■s- 

-4,' 


15.  What  note  or  notes  fill  a  measure? 

A  Minim  6r  its  equal  in  other  notes  or  rests. 

16.  How  is  it  described  or  measured  and  accented? 

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

OF    TRIPLE    TIME. 

17.  How  many  signs  has  Triple  time? 
Three. 

18.  What  is  the  first  sign  of  Triple  time? 


The  figures 


■a-' 


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 


* 


2.3.  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? 

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

25.  What  is  the  third  sign  of  Triple  time? 

The  figures  3 

26.  What  note  or  notes  fill  a  measure? 

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

27.  How  is  it  described  or  measured  and  accented  ? 

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

OP    COMPOUND    TIME. 

28.  How  many  signs  has  Compound  time  ? Two. 

29.  What  is  the  first  sign  of  Compound  time  ? 

The  figures  2£. 

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  or 
measuring  it Two,  or  Six. 

32.  On  what  part  of  the  measure  does  the  accent  fall? 
On  the  first  and  fourth. 

33.  What  is  the  second  sign  of  Compound  time? 


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  |,  |,  -^-,  &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  Semibreve  contained  in  a 
measure:  as  f,  three  crotchets,  or  three  fourths  of  a  Semibreve;  § 
three  quavers,  or  three  eights  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  beating 

while'  singing. 

Note.  On  the  subject  of  beating  time,  Dr.  Arnold  makes  the  following  remark: — 
"  I  am  by  no  means  an  advocate  for  the  smallest  motion  or  gesticulation,  either  with 
the  hand,  foot  or  head,  when  a  performer  once  begins  to  perform  with  any  degree  of 
exactness;  but  at  the  commencement,  it  is  absolutely  necessary  that  the  right  hand 
should  be  taught  to  make  the  beats  in  every  measure,  till  it  becomes  to  the  pupil  what 
the  pendulum  is  to  the  clock,  which  is  to  keep  it  regular  and  in  exact  motion." 


LESSON  ATI. 

OP    THE    DIATONIC    SCALE    AND    THE    MAJOR    AND    MINOR    MODES. 

1.  What  is  the  Diatonic  Scale? 

A  gradual  succession  of  eight*  fixed  sounds;  proceeding  by  un- 
equal 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  Dia- 
tonic Scale. 

5.  How  many  modes  are  there? Two. 

6.  What  are  they  called  ? 
Major  and  Minor. 

*  The  first  of  the  seven  primary  sounds,  being  repeated  to  make  out  the  eight  notes, 
or  to  complete  the  octave. 


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, 
ascending! 

From  the  Second  to  the  Third  sounds  [Si  to  Do] — and  from  the 
Seventh  to  the  Eighth  sounds  [Sol  to  La]  are  semitones,  the  rest  are 
whole  tones. 

10.  What  is  the  order  of  Intervals  in  the  Diatonic  Scale,  Minor 
Mode,  descending! 

From  the  Fifth  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. 

Note.     The  arrangement  of  Intervals  in  the  Diatonic  Scale  may  be  represented  by 

the  following  divisions  of  a  perpendicular  line. 


MAJOR  MODE. 
Ascending  and  Descending. 


Semitone. 
7 


1 1  N  0  R  MODE. 
'  Ascending. 


La. 


Sol. 


Fa. 
Mi. 


Re. 


Tone. 


Semitone. 
3 


Re. 
Do. 


Tone. 

2 

Tone. 


Semitone. 
7 


MINOR  MODE. 
Descending. 
La.    — 


Semitone 
2 


Sol. 


Fa. 
Mi. 


Do. 
Si. 


La. 


Semitone. 
5 


Tone 


Semitone. 
2 


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  Sig- 
nature. 

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. 

18.  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? 
La. 

*  On  the  Sixth  and  Seventh  DegTeea  of  the  Scale. 


INTRODUCTION  TO  THE  ART  OF  SINGING. 


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     Minor  mode. 

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

23.  On  what  letter  does  the  Natural  Diatonic  scale  commence — Ma-  I  the  semitones  preserved  ? By  the  use  of  Flats  or  Sharps 


jor  mode? On  C. 

24.  On  what  letter  does  the  Natural  Diatonic  scale  commence — Mi- 
nor mode? On  A. 

25.  What  is  meant  by  the  transposition  of  the  scale? 

The  scale  is  said  to  be  transposed  when  it  commences  on  any  other 


27.  Into  how  many  keys  may  the  scale  be  transposed ? 
Twelve — each  of  which  may  be  in  the  Major  or  Minor  mode. 

28.  But  if  there  are  but  seven  primary  sounds  in  music,  how  can 
these  twelve  keys  be  obtained  ? 

By  an  artificial  division  of  the  Diatonic  scale  into  Semitones. 


EXAMPLE  OF  THE  SCALE  IN  ALL  THE  KEYS,  MAJOR  AND  MINOR  MODE. 
Key  of  C,  Major  Mode. Key  of  A,  Minor  Mode. 


ISZST 


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Key  of  G,  Major  Mode. 


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Key  of  E,  Miiwr  Mode. 


jezs: 


3&=$± 


:M©=£ 


-e- 


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-e- 


Key  of  D,  Major  Mode. 


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Key  of  B,  Minor  Mode. 


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-e— e- 


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Key  of  A,  Major  Mode. 


-ST-©- 


Key  of  F#,  Minor  Mode. 


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Key  of  E,  Major  Mode. 


Key  of  C#,  Minor  Mode.^ 


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I 


xviii 


INTRODUCTION  TO  THE  ART  OF  SINGING. 

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53 


t  These  Keys  are  but  seldom  used. 


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*  Douole  Sharp. 


^=^==t 


INTRODUCTION  TO  THE  ART  OF  SINGING. 


XIX 


LESSON  VIII. 

Of  the  peculiar  qualities  and  relation  of  the  several  notes  which  compose 
the  Jiialonic  scale,  or,  of  the  technical  appellations  applied  to  the  seve- 
ral notes  of  the  scale,  descriptive  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. 

5.  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  sjRtains  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.] 

1 1.  Wrhy  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  Me- 
diant 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  Octave? 
The  difference  consists  only  in  the  pitch;  the  Octave  is  essen- 
tially the  same,  being  hut  a  repetition  of  the  Tonic,  eight  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  below  the  last  sharp  of  the  Signature.  If  the  Signature  be 
formed  by  Flats,  the  Tonic  in  the  Major  mode  is  always  the  third  de- ; 
gree  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  signa- 
ture. 

The  last  note  in  the  Base  is  usually  the  Tonic,  though  not  neces-  l 
sarily  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. 


LESSON  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. 

S.  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. 

Example. 

Unison.     This  cannot  properly   be  called  an ) 
Interval,  although  in  composition  it  is  considered  >  Ex. 
and  treated  as  such;  as  C,  C.  ) 


w 


Minor  Second;  as  from  E  to  F,  consisting  of) 
one  semitone.  \ 


Ex 


w 


Major  Second;  as  from  C  to  D,  consisting  of)  -p 
one  tone.  J 


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

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


w 


w 


§gp^ 


I 

Perfect  Fourth  ;  as  from  D  to  G,  consisting  >   -p      (g);   .      _Q  I 
of  two  tones  and  one  semitone.  }         "  ^'  O  I 


Sharp   Fourth;  (called    also    Tritonus ;)    as  )   -p,      (Q;  q  I 

>m  F  to  B,  consisting  of  three  tones.  J      x"  ^-,'  — | 


from 


Flat   Fifth;    (called  also  imperfeet   or  false  ~i 
fifth;)  as  from  B  to  F,  consisting  of  two  tones  >  Ex. 
and  two  semitones.  ) 

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


Minor  Sixth;  as  from  E  to  C,   consisting  of  i 
three  tones  and  two  semitones.  S  Ex. 


w 


^ 


1 


w^ 


1 


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


\  Ex-  ^  a    ~  I 


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


INTRODUCTION  TO  THE  ART  OF  SINGING. 

-e- 


Ex. 


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


Ex 


w 


i 


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


\v*M 


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  lo 
such  change  is  called  Inversion. 

Example. 

By  Inversion _a-_ 


ligher,- 
lojuer, 


a  Second 


a  Third 


a  Fourth 


a  fifth 


becomes  a  Seventh, 


_Q_j    becomes  a  Sixth, 


-e- 


becomes  a  Fifth, 


i! 


q_I    becomes  a  Fourth, 


a  Sixth 


a  Seventh 


becomes  a  Third, 


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? 
The  Seconds,  Sevenths,  and  Sharp  Fourth. 

LESSON  X. 

OP    THE    CHROMATIC    SCALE,  &.C. 

1.  What  is  the  Chromatic  Scale? 

A  scale  proceeding  by  Semitones  only. 

2.  How  is  the  Chromatic  Scale  formed? 

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. 

_3 4 5_ 6  7  8  9  10  11 


12 


-g-#3 — e-#e- 


3=^: 


Chromatic  Scale  descending  by  Flats. 

12  3  4    5  6  7  8  9  10  11 


ZSldsi 


-e—90- 


~o—he- 


-o~ter 


m 


INTRODUCTION  TO  THE  ART  OF  SINGING. 


4.  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.) 

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,  Sixth;  as  from  )  ^     \£ ____ZZI 

B|,  to  g#.  5  *-*•  — 5e 1 


Extreme  Fl 
D#  to  C. 


at,  or  Diminished,  Seventh;  as  from  )  c,      t%S 1 


Extreme   Sharp,  or  Superfluous,  Unison;    as  )     ig     (Qi         ~      1  j 
from  C  to  C#.  )       " '  — P—  .ffSIg  ] 


Extreme   Sharp,  or  Superfluous,  Second;   as  )  •„     (©; 7- — i 

from  C  to  D#.  i  Ex'  ^=S?l|  I 

Extreme  Flat,  or  Diminished,  Third;  as  from  >  f©;- e— I  i 

D#  to  F.  \  Ex.  ^#0— — 


Extreme    Flat,    or    Diminished,    Fourth;    as  ) 
from  D#  to  G.  J 

Extreme    Sharp,    or    Superfluous,    Fifth;    as?     „ 
fromCtoGtf.  \    Ex- 

Extreme  Flat,  or  Diminished,  Sixth;  as  from 
D#  to  Bh. 


* QJI 


Ex.  M*s- 


£0- 


:s~z: 


Extreme  Flat,  or  Diminished,  Octave;  as  from  )  -p,     v^'+t. — — I 

c#  to  c.  j  **•  — gQ S 

Note.  The  Scale  is  also  subdivided  into  smaller  intervals  called 
iJkses,  or  Quarter  Tones,  as  from  Gjf  to  D[j;  or  from  G#  to  A[>,  &c. 
and\ius  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  same  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  D|)— 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 
Harmony,  and  Burrow's  Thorough  Base  Primer,  are  recommended 
as  the  best  works  which  have  been  published  in  this  country. 


_ba_ 


Ex. 


=#e- 


i 


EXPLANATION  OF  MUSICAL  TERMS 


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

Adagio  (or  Ado.)  signifies  the  slowest  time. 

Ad  Libitum,  at  pleasure. 

Affettuoso,  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. 

Andantino,  quicker  than  Andante. 

Anthem,  a  passage  or  passag.es  of  scripture  set  to  music. 

A  tempo,  in  time. 

Assai,  generally  used  with  some  other  word  to  denote 
an  increase  or  diminution  of  the  time  of  the  move- 
ment; as  Adagio' Assai,  more  slow;  Allegro  Assai, 
more  quick. 

Dose,  the  lowest  part  in  harmony. 

Bis,  this  term  denotes  a  repetition  of  a  passage  in  music. 

Brilliante,  signifies  that  the  movement  is  to  be  perform- 
ed in  a  gay,  showy  and  sparkling  style. 

Cantabile,  elegant,  graceful,  melodious 

Canto,  song;  or,  in  choral  compositions,  the  leading 
melody. 

Canto  fcrmo,  plain  song. 

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

Chromatic,  a  term  given  to  accidental  semitones. 

Con,  with 

Confuria,  with  boldness. 

Crescendo,  Crcs.  or  -~==zZt  with  an  increasing  sound 

Con  spirito,  with  spirit. 

Da  Capo,  or  D.  C.}  close  with  the  first  strain. 

Del  segno,  from  the  sign. 

Diminuendo,  Dim.  or  ^r=-,  with  a  decreasing  sound. 

Dirge,  a  piece  composed  for  funeral  occasions. 

Divoto,  in  a  solemn  and  devout  manner. 

Duetto,  or  Duet,  music  consisting  of  two  parts. 

Dolce,  sweetness,  softness,  gentleness,  <&c. 

£,  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  fz.~\  the  notes  over  wliich  it  is  placed  are 
to  be  boldly  struck  with  strong  emphasis. 

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

Grave,  Gravcmente,  deep  emotion. 

Grazioso,  graceful ;  a  smooth  and  gentle  style  of  execu- 
tion approaching  to  piano. 

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

Interlude,  an  instrumental  passage  introduced  between 
two  vocal  passages. 

Interval  the  distance  between  any  two  sounds. 

Largo,  somewhat  quicker  than  Grave. 

Larghelto,  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,  Lcntemente,  slow. 

Ma,  not. 

Ma  non  troppo,  not  too  much,  not  in  excess. 

Melody,  an  agreeable  succession  of  sounds. 

Men,  less. 

Mezza  voce,  with  a  medium  fulness  of  tone. 

Mezza,  half,  middle,  mean. 

Moderato  between  Andante  and  Allegro. 

Motto,  much. 

A*o?i,  not. Non  troppo  presto ,  not  too  quick. 

Oratorio,  b.  species  of  Musical  Drama,  consisting  of  airs, 
recitatives,  duets,  trios,  choruses,  &c. 

Overture,  in  dramatic  music  is  an  instrumental  compo- 
sition, which  serves  as  an  introduction. 

Orchestra,  the  place  or  band  pf  musical  performances. 

Pastorale,  a  composition  generally  written  in  measure 
of  6-4  or  6-8,  the  style  of  which  is  soothing,  tender 
\     and  delicate. 


\  Piano,  or  Pia,  soft. 
I  Pianissimo,  Pianiss,  or  PP,  very  soft 
}  Poco,  little,  somewhat. 
Pomposo,  grand,  dignified, 

!*  Presto,  quick. 
Prestissimo,  very  quick. 
Quartetto,   a  'composition  consisting   of. parts,  each  of 
which  occasionally  takes  the  leading  melody. 
QuintettOj  music  composed  in  five  parts,  each  of  which 
occasionally  takes  the  leading  melody. 
I«  Recitative,  a  soyt  of  style  resembling  speaking. 
Rippienno,  full. 
Sempre,  throughout ;  as  sempre  piano,  ^oft  throughout. 
Soprano,  the  Treble  or  higher  voice  part. 
Sostcnuto,  sustaining  the  sounds  to  the  utmost  of  their 
nominal  length. 
|  Staccato,  the  opposite  to  Legato ;  requiring  a  short,  ar- 
j      ticulate,  and  distinct  style  of  performance. 
I  Senza,  without;  Senza  Organo,  without  the  Organ, 
j  Siciliano,  a  composition  written  in  measure  of  6-4,  or 
j      6-8,  to  be  performed  in  a  slow  and  graceful  manner. 
1  Soavc,  agreeable,  pleasing. 
!  Spirituoso,  with  spirit. 

1  Solo,  a  composition  designed  for  a  single  voice  or  in- 
strument, Vocal  solos,  duets,  &c.  in  modern- music, 
are  usuall}-  accompanied  with  instruments. 
Subito,  quick. 
Symphony,  a   passage  to  be  executed    by  instruments, 

while  the  vocal  performers  are  silent. 
Ta^it,  be  silent. 
Tardo,  slowly. 
Mempo.  time. 

Tasto   Solo,    denotes    that   the    movement    should   be 
performed   with   no   other  chords   than  unisons  and 
octaves. 
Trio,  a  composition  for  three  voices. 
Tutti,  all:  all  together. 
Veloce,  quick. 
Vigorqso,  with  energy. 
Verse,  one  voice  to  a  part. 
Vivace,  in  a  brisk  and  lively  manner. 
Voltij  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. 

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EXERCISES  FOR  BEATING  TIME. 


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♦These  and  similar  lessons.  Taried  at  the  discretion  of  the  teacher,  should  form  a  part  of  every  day's  practice. 


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1.  O  God  of  grace  and  righteousness,  Hear  thou  my  voice,  when  I  complain  ;  Thou  hast    en   -    larged        me         in  dis  -tress,  Bow  down  thy  gracious  ear    again. 


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


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Who  shall  ascend  thy  heavenly  place,  Great  God,  and  dwell  before  thy  face  ?  The  man  who  loves  religion      now,  And  humbly  walks  with  God  below. 


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To  God  the  great,  the  ever  blest,  Let  songs  of  hon    -    our  be  addrest ;  His  mercy  firm  forever  stands,  Give 


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Up  to  the  fields  where  angels  he,        And  living    waters      gently  roll,  Fain  would  my  thoughts  ascend  on  high,  But  sin  hangs  heavy    on  rny  soul. 


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My  God,  accept  my        early  vows,  Like  morning  incense  in      thy  house  ;  And  let  my  nightly  worship  rise,    Sweet    as  the  evening      sacrifice. 


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This         life's         a         dream,    an  emp      -     ty  show,  But 

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the        bright       world         to        which        I 


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Hath         joys  sub  -   stan  -  tial 


and        sin     -     cere,  When        shall       I  wake,  When        shall 


wake,      and     find       me  there. 


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O  come,  loud  anthems  let  us  sing,  Loud  thanks  to  our  almighty    King ;  For  we  our  voices  high  should  raise,  When  our  salvation's  rock  we  praise. 


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O  come,  loud  anthems  let  us  sing,  Loud  thanks  to  our  almighty     King  !  For  we  our  voices  high  should  raise,  When  our  salvation's  rock  we  praise. 


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


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Thy  goodness,  Lord,  doth  crown  the  year :  Thy  paths  drop  fatness  all  around  ;  While  barren  wilds  thy  praise  declare,  And  vocal  hills  repeat  the  sound 


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CUMBERLAND. 


L.  M. 


CAREY. 


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My  soul,  inspired  with     sacred    love,  God's    holy  name  for  -  ev  -  er  bless;  Of    alibis     favors  mindful  prove,  And  still  thy  grateful  hand  confess. 


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Bless,     Omysoiil,the    living        God,  Call  home  my  thoughts  that  rove  abroad  ;  Let  all  the  powers  within  me    join,       In  work  and  worship  so     di    -    vine. 


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


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Awake,  my  tongue,  thy  tribute  bring,  To  Him,  who  gave  thee  power  to  sing  ;  Praise  Him,  who  is  all  praise  above,    The    source    of         wis  -  dom  and  of  love. 


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O  God,  how  endless   is      thy  love,   Thy  gifts  are        every  evening  new  ;  And  morning  mercies  from    above,     Gent   -  ly      dis  -  til       like  early  dew. 


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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. 


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Buried    in  shadows  of  the  night,     We       lie  till    God    restores  the  light ;  Wisdom  descends     to       heal      the  blind,    And      chase  the     darkness    of  the  mind. 


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Through  every    age,  e    -    ternal        God,       Thou  art  our  rest,  our  safe     abode;   High  was  thy  throne,  e'er  heaven  was  made,  Or  earth,  thy  hum  -  ble    footstool    laid. 


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MONMOUTH 


L.  M. 


■s-  ~  s-  ~  -&-  .  .  -o-  . 

Ill  robes  of  judgment,  lo  !  he  comes,  Shakes  the  wide  earth,  and  cleaves  the  tombs  :  Before  him  burns  devouring  fire,  The  mountains  melt,  the  seas  retire — The  mountains  melt,  the  seas  retire. 


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Bless,  O    my  son],  the        living      God,     Call  home  my  thoughts  that  rove  a  -  broad  ;  Let  all  the  powers  within  me  join,  In  work  and  worship  so       divine. 

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PORTSMOUTH.        L.  M. 


GELINECK. 


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Indulgent     still     to       my      request,      How  free  thy    tender      mercies    are  !  With  fall  consent,  my  thoughts  attest,   My    gracious    God,  thy  faithful  care. 


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ROTHWEIL.*        L.  M 


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The  heavens  declare  thy  glory,  Lord,  In  every  star  thy  wisdom  shines ;  But  when  our  eyes  behold  thy  word,  We  read  ihy  name 


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The  heavens  declare  thy  glory,  Lord,  In  every 


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Ve  read  thy  name  in  fairer  lines— We  read  thy  na 

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name       in     fairer  lines. 


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H     *  The  first  four  notes  of  this  tune  may  be  sung  in  unison. 


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From  vocal  air  and  concave  skies,  Let  wafted    hal  -  le  -  lu-jahs  sound  ;  And  let    the    sacred     triumphs  rise,     Till  vaulted  heaven  the  notes  rebound. 


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With  all  my  powers  of  heart  and  tongue,  I'll  praise  my  Maker    in      my  song ;  Angels  shall  hear  the  notes  I  raise,  Approve  the  song,  and  join  the  praise. 


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Now  to  the  Lord,  a      noble  song,     Awake,  my  soul,  awake,  my  tongue  !   Hosanna       to  th'e  -  ternal  name,  And    all  his  boundless  love  proclaim. 


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Soon  as  the  morn  salutes   your  eyes,  And  from  sweet  sleep  refreshed  you  rise,  Think      on  the      Author  of  the    light,  And  praise  him  for  the         glorious  sight ! 


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His    boundless    love     and     grace  adore,       His      mercy      in  -  fi    -    nite       implore. 


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Tby  mercies,  Lord,  shall  be  my  song  ;  My  song  on  thee  shall    ever     dwell :  To     ages      yet     unborn,  my  tongue,  Thy        never     -     failing  truth,  shall    tell. 
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Come,  weary  souls,  with  sin  distrest,  Come,  and  accept  the  promised  rest ;  The  Saviour's  gracious  call    o  -  bey,    And  cast  your  gloomy  fears  away. 


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Lord,  when  thoa  didst  ascend     on     high,  Ten  thousand  angels  filled  the  sky  ;  Those  heavenly  guards  around    thee  wait,  Like  chariots      that        attend     thy    state, 


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


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Eternal  source  of    every     joy,  Well  may  thy  praise  our  lips  employ ;  Thy  goodness  crowns  the      rolling  year,  While  in  thy    temple  we  appear. 


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Great  God,  attend,  while    Zi  -  on  sings   The  joy,  that  from  thy  presence  springs ;  To  spend  one  day  with  thee      on   earth,      Exceeds    a  thousand      days     of  mirth. 


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In  vain  my  roving  thoughts  would  find,  A  portion  worthy  of  the  mind;   On  earth  my  soul  can  never  rest,  For  earth  can  never  make  m?  blest,   For  eaith  can  never  make  me  blest. 


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Great  source  of  life,  our  souls  confess,     The   various  riches         of  thy  grace  ;  Crowned  with  thy  mercy  we  rejoice,      And    in  thy  praise    exalt     our   voice. 


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Hark!  how  the  choral  song  of  heaven,  Swells  full  of  peace  and  joy  above  !  Hark!  how  they  strike  their  golden  harps,  And  raise  the  tuneful  notes  of  love!  And  raise  tile  tuneful  notesof  love! 


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Come,    O  my  soul,  in      sacred  lays,  Attempt   thy  great   Creator's  praise  :  But  oh  !  what  tongue  can  speak  his  fame,  What  mortal      verse  can    reach  the  theme. 


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0      God  of  Sabbath  !  hear  our  vows,  On  this  thy  day,   within  thy  house  !  And  own    as  grateful      sac   -  ri  -  fice,      The      songs  that  in   thy    temple   rise. 


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With 


humble  pleasure,  Lord,  we    trace,   The    ancient       records      of    thy  grace  ;  And  our  own  conso  -  lations    draw,    From  what  thy  servant   Moses    saw. 


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Thua         far  the  Lord  hath  led  me  on,      Thus     far  his  power  prolongs  my  days  ;    And  every  evening  shall  make  known,  Some    fresh  memorial        of  his  grace. 


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Praise  to  thy  name,  e   -    ternal      God,    For      all    the  grace  thou  shedst  abroad    ;  For  all  thine  influence  from  above, 


To  warm  our  hearts  with  sacred     love. 


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Thus  saith  the  high  and  lofty  One,  I   sit    up  -  on     my    holy  throne;  My  name  is  God,  I  dwell  on  high,  Dwell  in  mine  own  eterni    -    ty_,  Dwell  in  mine   own     e  -    terni  -  ty. 


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Thus    saith  the      high  and        lofty 


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Thee  will    I  bless,  my  God  and  King,  Nor  cease  thy  wondrous  name  to  sing ;  Prom  earliest  dawn  to    latest  eve,  Thy    praises    on  my  tongue  shall  live. 


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Softly  the  shade  of      evening  falls,  Sprinkling  the  earth  with  dewy  tears  ;  While  nature's  voice  to  slumber  calls,  And  silence  reigns  amid  the  spheres. 


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Sal  -  va  -  tion  is    for  -  ev  -  er  nigh  The  souls  that  fear  and  trust  the  Lord  ;  And  grace  descending  from  on  high,  Fresh -h'opes  of  glory    shall  afford. 


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Return,  my  soul,  and    sweetly  rest,  On   thy      almighty  Father's  breast;  The  bounties  of  his  grace  a  -  dore,  And  count  his  wondrous  mercies  o'er. 


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Ho  !  every  one  that  thirsts,  draw  nigh  ;  'Tis  God  invites  the  fallen  race  ;  Mercy  and     free        sal  -  vation    buy  ;  Buy      wine,    and       milk,    and  gospel    grace. 


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Were    I      inspired  to  preach  and  tell,  All  that  is  done  in  heaven  or  hell,    Or  could  my  faith  the  world  remove,  Still  I    am    nothing     without   love. 


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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    shiner    may    return. 

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Happy  the  church,  thou  sacred  place,  The  seat  of  thy     Creator's  grace  ;  Thine    ho  -  ly  courts  are  his  abode,      Thou  earthly    palace      of    our  God. 


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


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Awake,  my  soul,  to  hymns  of  praise  ;  To  God  the  song  of  triumph  raise     Adorned  with  majesty    divine,  What  pomp,  what  glory,  Lord,  are  thine. 


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DUNSTAN.        L.  M 


Awake,  my  soul,  to  hymns  of  praise,  To  God  the  song  of  triumph  raise  ;  Adorned  with  majesty       divine,      What  pomp,  what  glory,  Lord,  are  thine  ! 

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Glory      to"  thee,  my  God,  this  night,    For      all  the  blessings    of  the  light ;  Keep    me,  O   keep  me,  King  of  kings,     Beneath  thine  own  al   -   mighty  wings. 


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


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Behold  the  rose  of  Sharon  here,  The     lily  which  the  vallies  hear ;   Behold  the  tree  of  life,   that  gives    Refreshing  fruits  and    healing  leaves. 
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To  thee,     O      God,  without    delay,  Will   I  my  morning  homage  pay ;  For  thee  I  long,  for  thee  I  look,  So  pilgrims  seek  the  cooling  brook,  So  pilgrims  seek  the  cooling  brook. 


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God,   our     constant  praise  In     Zi    -    on   waits,    thy  chosen   seat;  Our  promised  alters  we  will  raise,  And  there       our      zealous  vows  complete. 


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

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Great    God,    to    thee  my   evening      song,  With      humble  grat  -  i- tnde,  I  raise;      Oh      let  thy    mercy  tune  my  tongue,  And  fill  my  heart  with  lively  praise. 


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Salvation       is      forever      nigh  The  souls  that  fear  and  trust  the  Lord ;  And  grace  descending  from  on  high,  Fresh  hopes  of  glory  shall  afford. 


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Sweet  is  the  work,  my  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  night. 

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Sing  to  the  Lord  with  joyful  voice  ;  Let    every    land  his  name  adore  ;  Let  earth,  with   one  u  -  nited  voice,  Resound  his  praise  from  shore  to  shore. 


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How  pleasant,  how  di  -  vinely     fair,  O  Lord  of  hosts,  thy  dwellings  are ;  With  warm  desire  my  spirit  faints,  To  meet  th'assembly     of  thy  saints. 


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Dear      Jesus,  when,  when  shall  it  be,     That        I   no  more  shall  break  with  thee  ?  When  shall  this  war  of  passion  cease,  And  I      enjoy        a  lasting  peace 


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1.  Blest    are  the    humble  souls,  that  see  Their       emptiness    and   pov-er-ty: 

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Treasnres    of  grace  to  them  are  given,  And  crowns  of  joy  laid    tip      in  heaven 

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peacefnl  life,  Who  quench  the  coals  of  burning  strife  ;  They      shall  be  called  the  heira  of  bliss,   The  sons    of  God,  the  God   of  peace. 

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3.  Blest    are  the    faithful. 


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Ye  natioDs      of      the  eartb  rejoice,  Before   the  Lord,  your  sovereign  King  ;  Serve  him  with  cheerful  heart  and  voice,  With  all  your  tongues  his  glo   -  ry  sing. 


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Through  every    age,    e  -   ternal     God,    Thou  art  our    rest,  our  safe  a  -  bode  ;  High  was  thy  throne,  ere  heaven  was  made,  Or  earth  thy  humble  footstool   laid. 


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DRESDEN.        L.  M.        [major  mode.] 

Soli,  or  Tutti—ad  lib. 


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


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M.  [MINOR  MODE  ] 

Soli,  or  Tutli — ad  lib. 


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


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Repeat  either  io  the  Minor  or  Major  Mode — ad  lib. 


80        f  100. 


ARMLET. 


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Now     let      our  mournful  songs     record.         The 

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f'j.»P   O'g- 


dying  sorrows     of  our  Lord  ;  When  he  complained  in  tears  and  blood,    As  one  for  -  sa  -  ken     of  his  God. 

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DENTOJV.        L.  M. 


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[GREGORIAN  CHANT.] 


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

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1.  O  Thou,  who  hearest 

.vhen  sinners  cry,  Thoug 

h  all  my  crimes 

before  thee   lie,        Belie 

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angry 

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2.      Create    my    nature  pure  within,         And  form  my  soul  averse    from     sin  ;     Let    thy  good  Spirit    ne'er  de  -  part,     Nor  hide  thy  presence  from  my  heart. 

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<f  3.  So    shall  thy  love    inspire     my    tongue,    Sal  -    ration  shall  be       all    my      song  ;  And  all  rny  powers  shall  join  to  bless,  The  Lord,  my  strength  and  righteousness. 

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MONSON.        L.  M. 


1.  Stand 

up,  my 

soul,  shake  off  thy 

fears, 

And 

gird  the 

gospel 

armour 

on  ;  March  to  the 

»ates  of 

endless 

joy,  Where 

Jesus, 

thy    great  Captain's 

gone. 

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3.  Then    let  my    sonl  march  boldly     on,    Press    forward      to  the    heavenly    gate  ;  There  peace  and  joy  eternal       reign,    And    glittering  robes    for  conquerors  wait. 

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2.  Hell  and  thy 

sins 

re  - 

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course,    But 

hell  and 

sin  are  vanquished  foes  ;  Thy 

Jesus  nailed  them 

to   the 

cross,    And 

sung  the  triumph 

when  he 

rose. 

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•96. 


SUMMER. 


L.  M. 


LATROBE. 


Thee  will  I    bless,  my    God  and    King,    Nor  cease  thy  wonderons  acts  to     sing  ;  From  earliest  morn  to        latest      eve,    Thy  praises      on  my  tongue  shall  live. 


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ATTTITMTV. 


L.  M. 


DR.  BOYCE. 


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Siag  to    the  Lord  with     joyful  voice  ;   Let      every   land  his  name  a  -  dore  ;  Let  earth,  with  one  u  -  nited      voice,      Resound  his  praise,  from  shore  to  shore. 


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Lord,  when  my  thoughts  delighted  rove,  A  -  mid  the  wonders  of  thy    love;  Sweet  hope  revives  my  drooping  heart,  And  bids  intruding    fears  depart. 


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.   -g-  ^   -g' 

Through    every    age,    e  -    ternal       God,    Thou    art   our    rest,  our  safe  a  -  bode  ;  High  was  thy  throne,  ere  heaven  was  made,  Or  earth  thy  humble  footstool  laid 

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POMFRET. 


L.  M. 


CECIL. 


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fret 


O  thou,  in  whom  are  all  the  springs  Of  boundless  love  and  grace  unknown,  Hide  me  beneath  thy  spreading  wings,  Till  thiB  dark  cloud  be  overblown,  Till  this  dark  cloud  be  overblown. 


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HINGHAM.         L.  M. 


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Sweet  is  the  day  of  sacred  rest!  No  mortal  care  shall  seize  my  breast ;  Oh,  may  my  heart,  in  tune,  be  found,  Like  David's  harp  of  solemn  sound,  Like  David's  harp  of  solemn  sound. 


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86        (•  88. 


WEST  BURY.        L.  M. 


PRELLEUR. 


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So     fades  the  lovely  blooming  flower,       Frail  smiling  solace  of  an  hour;      So  soon  our  transient  comforts  fly,      And  pleasure   on  -  ly  blooms  to  die. 


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SUNDERLAND.        L.  M. 


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Show  pi  -  ty,  Lord,  O  Lord    forgive  !   Let     a     repenting      rebel    live  !  Are  not  thy  mercies  large  and  free  ?  May  not  a    sinner  trust    in    thee  ? 

/T\  /7\  ^  TN 


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DARWEJV. 


L.  M. 


87 


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O  Thou,  who  hearest  when  sinners  cry,  Though  all  my  crimeB  before     thee   lie,  Behold   them  not  with      angry      look,      But  blot  their    memory  from  thy     book. 


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Who,  from  the  shades  of     gloomy    night,  When  the  last  tear  of  hope  is    shed,  Can  bid  the  soul      return    to      light,  And  break  the      slumber       of       the    dead. 


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The  spacious    firmament    on    high,  With  all    the    blue    e  -  the-real  sky,  And  spangled  heavens  a  shining  frame,  Their  great  o-rig  -  inal  proclaim 
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Th'unwearied  sun,  from  day  to  day,  Does  his       Creator's  power  display ;  And   publishes   to       every  land,  The  work   of    an      almighty   hand. 


S      6    -  87 


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DUNBARTON. 


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Through  every  age,  e  -  ter  -  nal  God,  Thou  art  our  rest,  our  safe  abode ;  High  was  thy  throne,  ere  heaven  was  made,  Or  earth  thy  humble  footstool  laid. 


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WINDHAM.        L.  M. 


READ. 


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

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LONDON.        C.  M. 


DR.  CROFT. 


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Placed  on  the  verge  of  youth,  my  mind  Life's  opening  scene  surveys  ;  O'er  all  its  ills  of   various       kind,  With  awful        fear   I  gaze. 


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CHRISTMAS.        C.  M. 


5 


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Awake,  ray  soul,  stretch  every  nerve,     And  press  with  vigor         on  ;     A  heavenly  race  demands  thy  zeal,  And  an  immortal  crown,      And  an  immortal  crown. 


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88. 


WARWICK.        O.  M. 


STANLEY. 


2d  ending. 


91 


ISj^yg^Egg^Bl^iBIEBgBiti^ 


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Lord,  in  the  morning  thou  shalt  hear     My     voice    as    -    cending    high ;  To  thee  will     I    direct  my  prayer,   To       thee   lift    up  mine  eye. 


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Great  God,  to  thee  my   grateful  tongue,  My         fer  -  vent  thanks    shall    raise  ;      Inspire    my  heart  to      raise      the    song,  Which      celebrates       thy    praise 


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LIVERPOOL.        C.  M. 


DR.  WAINWRIGHT. 


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

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HAVANJVA.        C.  M. 


DR.  HARRINGTON. 


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How    vain  are   all  things  here  below !  How  false,  and    yet  how  fair !  Each  pleasure  has    its      poi   -   son  too,      And        eveiy     sweet     a  snare, 


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BRATTLE  STREET.        C.  M. 


PLKYEL. 


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"While  thee  I    seek,  protecting    power,  Be    my  vain  wishes  stilled ;      And  may  this    conse    -     crated     hour,  With    bet    -    ter    hopes  be  filled ! 


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Thy  love    the  power  of  thought  bestowed,  To  thee  my  thoughts  would  soar;    Thy   mercy    o'er  my      life  has  flowed,  That    mercy        I    adore. 


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BLANDFORD.        C.  M. 


T.  JACKSON. 


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2d  ending. 


S-S-h 


aft 


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


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


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C.  M. 


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Lord,  in     the     morning  thou  shalt  hear,  My      voice       as  -  cending     high ;  To  thee  will     I        direct    my  prayer,  To  thee   lift    up     mine  eye. 


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Know  that  his  kingdom  is  supreme,  Your  lofty  thoughts  are  vain ;  He  calls  you  gods,  that  awful  name,  But  ye  must  die  like  men,  But     ye  must  die  like  men. 


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WESTFORD.        C.  M. 


L.  MASON. 


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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. 
fc-^ — r-h — n . ■ — r-75 rr? — I — It ■ a t r-H — hr-m ra -r^._  ■  -  ■  — I — It 


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COVINGTON.         C.  M. 


6    - 


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


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SWANWICK. 


C.  M. 


LUCAS. 


97 


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


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NOTTINGHAM. 


C.  M. 


8  Ms?  t ? 56r 

I.  SMITH. 


87         6 


2<f  ending. 


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Some  seraph  lend  your  heavenly  tongue,  Or  harp  of  golden  string,  That  I     may    raise      a         lofty  song,      To    our      e  -  ternal   King- 


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C.  M. 


L.  MASON. 


Great  is  the  Lord  ;  his    works  of    might         Demand  our  noblest  songs  :  Let        his        assembled  saints  unite      Their     bar   -  mony    of  tongues. 

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O  render      thanks    and  bless  the  Lord  ;  Invoke  his  holy  name,  Acquaint  the  nations  with  his  deeds,  His  matchless  deeds  proclaim,  His  matchless  deeds  proclaim. 


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STEPHENS.         C.  M. 


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Great  God,  how  in  -  fi-  nite  art  thou  !  What  worthless  worms  are  we  !  Let  all  the   race  of  creatures  bow,  And  pay  their  praise  to  thee. 
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Long    as     1   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. 


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C.  M. 


T.  JACKSON. 


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Come,  happy  souls,  approach  your  God,  With  new  melodious  songs  '.  Come,  render    to  al    -    migh  -  ty    grace,  The    trihute        of  your  tongues. 


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


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CAMBRIDGE. 


C.  M. 


[MAJOR  MODE.] 


DR.  RANDALL. 


101 


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My  songs  address  thy  throne,  My  songs  address  thy  throne. 
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render    to  my  God,    For  all  his  kindness  shown1?  My  feet  shall  visit  thine  abode, 

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My  songs  address  thy  throne. 


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CAMBRIDGE.        C.  M. 


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


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St.  JAMES's.        C.  M. 


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How 

shall  I  praise  th'eternal 

God,  That 

in  -  fin   - 

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unkn 

own  ?  Who  can  ascend  his 

high      abode, 

Or 

come      be  - 

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C.  M. 


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


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I    sing  the  wisdom  that  or-dained         The  sun  to    rule  the  day,      The  moon  shines  full  at    his  command,        And        all    the    stars    obey. 


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To  Zion's 

inn     i 

lift      mine 

eyes, 

From 

thence     is 

all 

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aid  ; 

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hill 

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God,   From        Zi     -      on's    hill      and  Zi   -   on's        God,  Who  heaven  and  earth  hath  made,      Who     heaven  and       earth    hath     made. 

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C.  M. 


RAVENSCROFT. 


105 


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To        celebrate  thy  praise,  O  God,      I      will    my  heart  prepare ;      To        all    the        listening  world,  will   I,     Thy  wondrous  works  declare. 


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LITCHFIELD.        C.  M. 


L.  MASON. 


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Ye  hearts  with   youthful  vigor  warm,      In    smiling  crowds  draw  near  ;  And  turn  from      every  mortal  charm,  A        Saviour's  voice  to  hear. 


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IRISH. 


C.  M. 


A.  WILLIAMS. 


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Now  shall  my  inward   joys    arise,        And  burst    into        a  song;  Al    -    mighty        love    inspires        my  heart,      And      pleasure    tunes  my  tongue. 


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What  shall    I      render     to    my  God,     For        all  his    mercies  shown  ?    My    feet  shall    visit    thine      a  -  bode,     My  songs    address    thy  throne. 


Ml  gs  fs 

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GREENFIELD.        C.  M. 


MICHAEL  HAYDN. 


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Begin,     my  soul,  the      lofty      strain,   In      solemn      accent    sing       A      sacred    hymn  of    grateful  praise,    To  heaven's  almighty        King. 


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

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When  God  revealed  his    gracious  name,  And  changed  my   mournful    state,    My    rapture  seemed  a  pleasing  dream,  The    grace    appeared    so    great 

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

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C.  M. 


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Now  to   the  Lamb  that    once  was  slain,    Be        endless        honors  paid  ;  Sal  -  va  -  tion,      g!o  -   ry,      joy      remain,  For  -  ev  -  er        on    his    head. 

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On      thee,  each    moWing,      O      my    God,     My        waking  thoughts  attend ;    In      thee      are    fonnded      all      my    liopes,    In    thee    my    wishes    end. 

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110        f96. 


EASTPORT.        C.  M. 


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How  long  wilt  thou  forget  me,  Lord ?  Must  I    for  -   ever  mourn .'  How  long  wilt  thou  withdraw  from  me,  Oh  !  never      to    return,  Oh  !  never         to        return. 


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ORMOND. 


C.  M. 


2*i  ending 


To    celebrate  thy  praise,  O    Lord,    I    will  my  heart  prepare  ; 


To  all  the  listening  world,  will  I,  Thy  wondrous  works  declare. 


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Lord, 

thou  wilt  hear  me  when  I 

Pray,      I 

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

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Jldagio  Sostenuto. 


EUSTIS.        C.  M. 


MORNINGTON. 


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As  pants  the      hart  for  cooling  streams,  When  heated    in  the  chase,        So  longs  my   soul,  O  God,  for     thee,      And    thy    re  -  freshing    grace. 


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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. 

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C.  31. 


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What  shall  I      render         to     iny  God,  For   all     his  kindness  shown  .' My  feet  shall  visit  thine  abode,      My  songs     address      thy  throne. 


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Father  of  mercies !  in  thy  word,  What  endless    glo  -  ry  shines ;  For    -    ev  -  er    be    thy    name      a  -  dored  ,  For    these      ce  -    les  -  tial  lines. 


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Salvation,        O  the        joyful      sound !  Tis    pleasure      to  our    ears;     A    sovereign  balm  for  every    wound,     A       cordial     for    our    fears. 


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Early,  my  God,  without  delay,    I  haste  to  seek  thy  face  ;  My  thirsty      spirit  faints     a  -  way,    My      thirsty  spirit     faiuls      a  -  way,  Without  thy  cheering  grace. 

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Come,  sound    aloud      Je  -  hovah's  name,    And      in    his  strength  rejoice,     When  his    sal  -  vation       is    our  theme,    Ex   -    alted       be    our  voice. 

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


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116         f96. 


St.  MATTHEW'S. 


C.  M. 


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'  Let  heaven  a  -  rise,    let     earth    appear!'  Thus  said  th'almighty      Lord  ;  The  heavens  arose,    the    earth  appeared,      At        his    ere    -    at  -  ing  word. 


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


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PETERBOROUGH.        C.  M. 


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


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ARLINGTON. 


C.  M. 


DR.  ARNE. 


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Jesus,        I    love  thy  charming  name,  'Tia    music      to    my      ear ;  Fain  would  I  sound  it    out     so  loud,  That  earth  and  heaven  should  hear. 
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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. 


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

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WM.  MATHER. 


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Iu      early   morn,  without     delay,         O  Lord,  I     seek  thy  face ;  My       thirsty        spirit      faints    away,         Without        thy     cheering  grace. 

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


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*LUTZEN.        C.  M. 

'■Jsi^P—e- 


MARTIN  LUTHER. 

Third  line,  as  found  io  the  old  German  copies. 


Sing   to  the  Lord,  ye  distant   lands,  Ye  tribes  of  every  tongue  ;  His  new  discovered  grace  demands,  A  new  and  nobler  song. 


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*  The  melody  of  this  tune  (with  the  exception  of  the  third  line)  has  here  been  restored  to  its  original  form.     It  is  found  among  the  old  German  Chorals,  and  was  without  doubt  composed 
by  Luther. 


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With  reverence  let  the  saints  appear,     And  bow  before  the  Lord  ;  His  high  commands  with  reverence  hear,  And  tremble  at  his  word. 


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How  blest  is      he,  who  ne'er  consents,      By     ill      advice      to    walk ;  Nor  stands  in      sinners'  ways,  nor    sits,  Where  men  profanely         talk. 


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

f  80.  ROCHESTER.        C.  M. 


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God,  my    sup-port  -  er    and  my  hope.  My   help  for  -  ev  -  er    near ;  Thine  arm  of     mercy      held  me     up, 

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When  sinking     in         despair. 


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g     g  w-        v ^  s>      g    ^3r  g^T_/  ; ,  ; "       , s  v y       &  a  a 

O  'twas     a        joyful         sound,  to  hear,  Our  friends  de  -  vout  -  ly    say,  '  Up,     Israel,        to    the     temple  haste,  And  keep  the      festal      day.' 


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My  God,  my      everlasting     hope,  I  live     upon  thy  troth  ;  Thy  hands  have  held  my  childhood  up,  Thou  hast  preserved  my  youth. 


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ABINGTON. 


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DR.  HEIGHINGTON 


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Far     from       the  world,  O     Lord,       I  flee,  From  strife  and    tumult         far;  From  scenes  where  Bin  is  waging      still,      Its        most      sue  -  cess  -  ful    war. 


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WALNEY.        C.  M. 


DR.  BOYCE. 


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Sing  to  the  Lord,  Je   -   ho  -  vah's  name,    And      in     his  strength  rejoice  ;  When  his    sal      -      va  -  tion     is  our  theme,       Ex     -     alt    -     -     ed        be  our  voice. 


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ASHLEY. 


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DR.  MADAN. 


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Salvation,   O  the    joyful      sound,  'Tis    pleasure         to     our      ears ;      A  sovereign  balm  for    every  wound,  A         cordial       for    «ur    fears. 


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Glory,  honor,  praise,  and  power,  Be  unto  the  Lamb  forever,  Jesus  Christ  is  our  Redeemer  !  Hal-le  -  lu-jah  !      Hal-le     -     lu-jah  !  Hal-le-lu  -  jah  !  Praise  the  Lord  ! 


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,•96. 


YORK.        C.  M. 


[NO.  1.] 


JOHN  MILTON,  father  of  the  Poet 


125 


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Thee  we  adore,    e   -    ternal      name,  And      humbly     own    to      thee,    How     feeble    is  our     mortal      frame,  What    dying  worms  are       we '. 


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6  g  i  a 

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


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*  In  this  copy,  the  principal  melodv  is  given  to  the  Tenor. 

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GREAT  MILTON. 


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Thou  art  my      portion,     O    my    God,    Soon    as    I  know  thy  way,    My      heart  makes   haste     t'o  -  bey  thy  word,  And    suffers  no    delay. 


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I    choose    the    path      of       heavenly    truth,    And      glory        in    my  choice :  Not  all  the  riches     of    the  earth,  Could  make    me      so      rejoice. 


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

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|»96. 


BETHLEHEM. 


C.  M. 


DR.  MADAN. 


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While  shepherds  watched  their  flocks  by  night,  All  sealed  on  the  ground,  All  seated  on  the  ground,  The  angel  of  the  Lord  came  down,  And  glory  shone  around,  And  glory  shone  around. 


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


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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. 


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


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<^         2.  And  let  them  say, '  How  dreadful,  Lord,    In        all    thy  works  art  thou  ;  Beneath  thy  power,  thy  stuhborn    foes    Shall     all      be    forced  to      bow. 


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My  God,  my    portion,    and    my      hope,    My    ev  -  er  -  last-ing     all !     I've  none  but  thee  in  heaven  above,      Or       on    this    earthly     ball. 

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O     'twas  a       joyful     sound,  to  hear,  Our  friends  devoutly      say,  '  Up,      Israel,      to  the      temple  haste,  And  keep  the  festal         day.' 


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Awake,  my  soul,  stretch  every    nerve,  And  press  with    vigor       on :         A     heavenly  race  demands  thy  zeal,     A     bright     immortal      crown. 

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


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O       all     ye  nations,  praise  the  Lord,  Each  with    a        different    tongue ;  In       every   language  learn  his  word,   And  let    his  name  be    sung. 


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


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Let      Zion         and  her  sons     rejoice,     Behold  the  promised  hour  !  Her  God  hath  heard  her  mourning  voice,  And  cornea  t'exalt  his  power. 


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awhile      away,      From     every  cambering  care,     And  spend  the  hours  of    setting  day,     In     humble,  grateful  prayer. 
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on    mercies  past,     And      future    good   implore  ;      And     all  my  cares  and  sorrows  cast,  On  him  whom  I     adore. 

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


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


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


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Now    let    Je  -  ho  -  vah    be      adored,      On  whom  our  hopes  depend ;  For      who,  ex  -  cept  the    mighty  Lord,  His      people      can  defend  ? 


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C.  M. 


HARWOOD. 


137 


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Shepherds  rejoice,    lift       up  your  eyes,  And  send    your    fears        away;    News  from  the  region     of      the  skies .'  The  Saviour's    born      to-day. 


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STAMFORD. 


C.  M. 


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57 


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The      glorious  armies       of    the  sky,    To    thee,    almighty    King,    Harmonious        anthems    consecrate,      And    Hal  -  le  -   lu  -  jahs  sing. 


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138        f  96 


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Sweet  was  the  time  when  first  I  felt,    The    Saviour's  pardoning  blood,    Applied     to  cleanse  my  soul     from  guilt,      And  bring  me  home  to  .God. 


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Tutti. 


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[Words  from  Dr.  -Willard's  Hymns.] 
Tutti. 


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Ood  over      all,      to    thee  we    bow,  To        thee    our      fibmage  bring ;    Joyfully    raise,  anthems      of  praise,  And    loud  thy     wonders  sing. 


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139 


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The         various      months  thy        goodness      crowns,      How 

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o'er      the        downs,        And 


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140        f  92. 


DEVIZES. 


C.  M. 


TUCKER. 


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


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


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CHESTERFIELD. 


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


1 


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TWEED.        C.  M. 


6     6     67 


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How    sweet     the     memory      of      thy  grace,  My  God,  my  heavenly  King :  Let  age    to      age    thy    righteousness,  In  sounds  of        glory,    sing! 


Humi 


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142        f  88. 


GAINSBOROUGH. 


C.  M. 


MANUEL. 


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

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grace. 


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


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6      66    46      4  Unison.  «      43     65     6     67  6    43  56     6  57 


I    I6      3 


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6    4  3  5  6     6  57 

*   Not  to  lui  nsed  as  a  final  clow. 


96. 


BILLINGS'S  JORDAN.         C.  M. 


BILLINGS. 


143 


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G'-xS-M-8-L-&   O  '  O    •■te^J— o — «■ 


ternal    day    excludes       the   night,  And    pleasures    banish  pain. 


There    is    a    land    of     pure      de  -  light,  Where  saints  im-mor  -  tal  reign  ;   E 


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Sweet  fields     beyond     the        swelling  flood,  Stand  dressed  in     living  green  ;  So       to  the  Jews  old  Canaan  stood,  While  Jordan  rolled  between. 


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This  passage  may  be  sung  alternately  by  Trebles  and  Tenors. 


G 


Ef    M 


144        f  96. 


MANCHESTER.         C.  M. 


DR.  WAINWRIGHT. 


« 


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There  is  a  land  of        living      joy,       Beyond     the      utmost      skies,    Where  scenes  of  bliss  without     alloy,  In     boundless  prospect  rise. 

"~  -AT1  T-l— .T f*T IT T-l 1— ,T-T— W- 

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Blest  morning,  whose  first  opening  rays,    Beheld      our    rising  God  ;  That  saw  him      triumph      o'er    the  dust,  And    leave  his    last      abode. 


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•92. 


WAREHAM. 


C.  M.    or  lis  &  8s.* 


DR.  ARNOLD. 


145 


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C.  M.        How        large  the        promise,      how        divine, 

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To        Abraham 


and 


his        seed !       '  I'll        be 


God      to      thee    and        thine, 


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joyful,  ye  servants  and  children  of      God,        And      sing  of  his         mercy    and      might ;      With    grateful  de  -  votion,  at  -  tend  in  his     conrls, 


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Sup    -    ply  -  ing  all        their      need,'        '  I'll 


be 


a        God      to        thee         and    thine,  Sup   -   ply  -  ing 


all    their         need.' 


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duty    and      pleasure    in    -    vite,  With  grateful    de  -  votion     at  -  tend    in    his  courts,  While  duty      and      pleasure  m    -     vite 


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By  omitting  the  Ties,  so  as  to  make  three  syllables  in  a  measure. 


6    6      7 
4 


19 


146        f  88. 


BRADFORD.         C.  M. 


HANDEL. 


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I    know  that  my     Re    -   deemer  lives,  And    ev  -  er    prays    for    me ;  Sal  -  vation        to     his  saints  he  gives,  And  life  and    lib  -  er  -  ty. 


%   v  %n     6 


|»96. 


PLYMPTON. 


C.  M. 


DR.  ARNOLD. 


147 


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Now  let  our      drooping  hearts    re  -  vive,       And      every      tear    be     dry  ;  Why  should  these  eyes  be  drowned  in  grief,     Which  view  a  Saviour  nigh  ? 


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Now  let  our    drooping    hearts    revive,      And    every      tear  be  dry  ;  Why  should  these  eyes  be  drowned  in  grief,  Which  view  a  Saviour  nigh 


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MILLER.        C.  M. 


[MINOR  MODE.] 


DR.  MILLER. 


1.     My    soul    lies    cleaving      to      the    dust,  Lord,  give   me     life      di  -  vine  ;   From  vain ,    desires      and        every        Inst,     Turn    off  these    eyes    of     mine. 


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2.     Are      not    thy     mercies      sovereign  still  ? 


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faithful     God  ?     Wilt  thou    not    grant  me      warmer      zeal,      To     run    the      heavenly  road  .' 


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3.     Then  shall  I  love  thy    gospel  more,  And  ne'er  forget  thy  word  ;  When  I  have  felt  thy  quickening  power  To  draw  me    to    the  Lord, 


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Si.  AUSTIN'S. 


C.  M. 


WM.  HORSLEY. 


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


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E  -   temal    power,  al  -  mighty    God,  Who  can  approach     thy  throne ;  Accessless  light    is      thine    abode,        To      angel      eyes  unknown. 


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


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BERWICK. 


C.  M. 


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To       celebrate    thy  praise,  O  Lord,        I 


will  my  heart  prepare  ;  To  all  the  listening  world,  thy  works,  Thy  wondrous  works  declare. 


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WORKSOP.        C.  M. 


151 


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


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-    I       *7 

WALSALL.        C.  M. 


# 


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PURCELL. 


Si 


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Rebuke  me    not,    O  Lord,     for  -  give  ;    In      mercy     O      reprove ;  And  in  thy      mer  -  cy      grant      re 


lief,  Nor    cast      me  from  thy    love. 


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# 6*6     66      6      87 

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152        f  80 


WINDSOR. 


C.  M. 


G.  KIRBY. 


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My  God,  how    many       are    my    fears !  How  fast  my    foes  increase ;  Their  number  how    it    mul  -  ti  -  plies,    How       fatal        to      my  peace  ! 


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BURFORD. 


C.  M. 


PURCELL. 


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

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FUNERAL,  THOUGHT. 


C    M. 


SMITH. 


153 


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Hark  !  from  the  tombs,  a       doleful  sound,    My    ears,  attend     the    cry;      Ye        living  men,  come  view  the  ground,  Where  you  must  shortly      lie. 
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6    #g 
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C.  M. 


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s  depart,      For  -  get  -  ful      of     his     word. 


-s^.      -----        -  -  -         _  ^_.     _^ 

How     oft,     aius!     this  wretched  heart,    Has  wandered  from  the  Lord!  How    oft     my       roving  thoughts  depart,      For  -  get  -  ful      of     his     word 


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[  ii.  &  ii.  ] 


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154        f  SO. 


LEBANON.         C.  M. 


BILLINGS. 


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Lord,  what  is  man,  poor      feeble        man,    Bora     of  the  earth  at    first  ?    His    life     a    shadow,  light  and  vain,   Still      hastening        to     the    dust. 

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IS 


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f  80. 


#       &5  6  # 

Si.  MARY'S.         C.  M. 


6  6      # 


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Si 


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Lord,  what  U  man,  poor   feeble  man,  Born  of    the        earth  at  first .'  His  life     a     shadow,  light    and  vain,  Still  hastening       to     the  dust. 

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IS 


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BANGOR. 


C.  M. 


RAVENSCHOFT. 


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Pifei 


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— © — 4-1 — 


2d  ending.  155 


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Hark!  from  tlie  tombs,  a         doleful  sound,  My      ears         attend    the   cry;     Ye      living  men,  come  view  the  ground,  Where  you  must  shortly     lie. 


jm 


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C.  M. 


L.  MASON. 


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

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156        » 84. 


WACHUSE1T. 


C.  M. 


L.  MASON'. 


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Oh  !  for  a    closer  walk  with  God,   A  calm  and  heavenly  frame  ;  A  light  to  shine   opon       the      road,   That  leads  ma  to      the  Lamb  ! 

>  /7s 


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CHESTER.         C.  M 


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That      awful    day  will   sure    -    ly      come,   Th'nppointed  hour  makes  haste,  When    I      must  stand    be    -  fore        my    Judge,  And  pass  the         solemn        test. 


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BLACKS URIY.*        C.  M. 


157' 


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*#«L  ^~eh   *#J-  z^-&   *-%£--&-&-    * 

Behold     thy   waiting    servant,  Lord,  De  -  voted     to    thy    fear  :    Remember  and  confirm  thy  word,  For    all  my  hopes  are  there. 


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*  For  this  beautiful  melody  the  author  is  indebted  to  Mr.  George  Pollock. — 

HAAREEM.        C.  M.        [German  tune.] 


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Strait  is      the  way,  the  door    is    strait,  That  leads  to    joys   on    high  ;  'Tis    but      a      few  that    find  the    gate,  While  crowds  mistake  ;ind  die. 


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Return,     O     God  of   love,    return,     Earth  is  a  tiresome  place  ;  How  long  shall  we,  thy  children,  monrn,  Our  absence  from  thy  face  ? 


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Behold  thy  waiting  servant,  Lord,      De    -    voted        to  thy  fear ;  Remember       and      con    -    firm      thy   word,      For       all      my  hopes  are  there. 


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COLLINGHAM.        C.  M. 

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By  foreign  streams  tliat  murmered  round,  "While  captive  Israel  mourned,  Their  mind  was  free — their  thoughts  unbound,  Were  still  towards  Zion  turned. 


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Great  God,  to  thee  my  grateful  tongue,  My  fervent  thanks  shall  raise;  Inspire  my  heart  to  raise  the  song,  Which         eel     -    ebrates  thy  praise,  Which  eel  -  e  -  brates  thy  praise. 


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PATMOS.  C.    M.  [GREGORIAN  CHANT.] 


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Sing     to    the  Lord,  ye      distant    lands,  Sing  loud  with    solemn       voice ;  Let      every  tongue  ex  -  alt    his  praise,  And  ■    every  heart     rejoice. 


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S.  M. 


[CHANT.] 


L.  MASON. 


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Is    this    the  kind       re    -   turn,    Are  these  the  thanks    we       owe ;  Thus  to        abuse        e     -     tenia!      love,  Whence  all  our      blessings     flow  ? 


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


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Your  harps,  ye    trembling  saints,  Down  from  the    willows  take  ;  Loud    to      the    praise    of     love      divine,    Bid        eve  -  ry      string    awake  ! 


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Let  songs  of    endles9  praise,  From     every      nation    rise  ;    Let    all  the  lands  their  tribute  raise,    To  God,  who  rules  the  skies. 


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Let  differing      nations     join,    To      cele   -   brate  thy  fame  ;    Let  all  the  world,  O  Lord,  combine,  To  praise  thy     glorious    name. 


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HUDSON.        S.  M. 


R.  HARRISON.  163 

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Ye  saints,  in    concert    join,  Your    tuneful     voices    raise  ;  And  eel  -  e     -    brate  in   songs      divine,      Your  great  Cre  -  ator's    praise 


1st 


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FROOME.        S.  M. 


I.  HUSBAND. 


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Ye    saints,  in      concert    join,  Your  tuneful  voi    -     ces  raise  ;  And  celebrate  in  songs  divine,    Your  great  Cre  -  ator's   praise,  Your    great      Creator's    praise. 


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

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


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1.  O  cease,  my  wandering    soul,    On  restless  wing  to    roam ;  All  this  wide  world,  to  either        pole,    Has        not      for     thee    a  home. 


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2.  Behold  the   ark      of       God !       Behold       the      open     door ;  Oh  !  haste  to  gain  that  dear  a    -    bode,  And 

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rove,  my     soul,    no  more. 


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3.  There,  safe  thou  shalt  abide,      There,  sweet  shall  be  thy     rest, 


And    every    longing    sat  -  is    -    fled,  With      full     sal     -   vation     blest. 


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Exalt  the  Lord  our  God,  And  worship    at  his      feet ;   His    nature      is  all    ho  -  li  -  ness,    And    mercy      is  his 

1 — h 1— h — r-T— I      li      i      ii — r--i r t-& 


seat. 


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166      f  SO.        [No.  i.] 


BETHANY. 


S.  M. 


[GREGORIAN  CHANT.] 


1  *-^       Second  Treble.         ]^ 


4 — I — E 


x 


Is         this    the  kind 


turn  !    Are     these    the  thanks  we 


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blessings         flow  ! 


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SILVER  STREET. 


S.  M. 


I.  SMITH.  167 

2d  beginning. 


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


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Halle    -    lujah,       Halle     -     lujah,         Halle     -     lujah,  Praise   ye     the      Lord. 


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Praise  ye  the       Lord,       Halle   -   lujah, 


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Unison.  Unison. 

*  This  Chorus  has  received  a  new  arrangement^  in  which  the  rhvthm  has  been  corrected, 
the  Treble  Solo  throughout,  the  small  notes  may  be  used,  and  the  Tenor  Solo  omitted. 


f 


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A  regular  answer  to  the  Treble  Solo  is  also  given  in  the  Tenor.      Should  any,  however,  prefe* 


168      |»  10S. 


BEVERIDGE.        S.  M. 


A.  WILLIAMS. 


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Welcome,  sweet  day    of     rest,    That         saw      the  Lord        arise.;    Welcome  to  this  re  -  vi  -  ving  breast,  And       these         re     -     joicing  eyes. 


21 


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UTICA.        S.  M. 


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


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SHIRLAND.        S.  M.        [major mode.] 

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STANLEY. 

2d  ending. 


169 


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

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S.  M. 


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My      gracious  God,  how     plain      Are      thy     di  -  rections      given  !       O.,        may      I  never     read      in      vain,  But      find    the  path     to    heaven. 


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

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High  as  the  heavens  areyaised    Above  the   ground  we  tread,     So    far  the  riches   of  his  grace     Our    highest  thoughts    exceed,       Our    highest  thoughts    exceed. 


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EASTBURN.        S.  M. 


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


let         me         not  be  put    to  shame,  Nor  let   my  foes   rejoice. 


6     66     6     87 


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

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

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How  pleased  was  I    to  hear,  The  friends  of       Zi      -      on        say, '  Now  to  her  courts      let   us       repair,      And         keep     the    solemn  day.' 


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|4  6W~  4*  6         6*|  6 

CALMAR.        S.  M.        [Gregorian  chant.] 


6  66     67 


2d  ending. 


■S-  •&—&'■   & 1 -JtT 

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My  gracious  God,  how  plum,  Are  thy  directions      given  ;     O   may   I    never  read  in    vain,     But  find  the  path  to  heaven. 


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LINSTEAD.         S.  M. 


2d  ending 


173 


*'  a   d  VJ:V 


Mine -eyes  and  my  desire  Are  ever     to  the  Lord;  I       love    to  plead  his  prom  -  i  -  ses,  And  rest      upon    his  word. 


|    66     6     87 


J  104. 


U       IP 

HADLEY.        S.  M 


• -e-  v — /  ~    --  ^ — '         "-0- 

O      Lord  !  accept  the  praise,  Of  Ihese  or.r  humble  song?,  Till  tunes   of         nobler       sound    we   raise,  With  our  immortal  tongues,  With  our  immortal  tongues. 


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St.  THOMAS. 


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High   as  the  heavens  are  raised,        Above  the  ground  we  tread,  So    far  the  riches   of       thy      grace,    Our    highest  thoughts  exceed. 


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1  J    §  21  X  I  S     6      6 

OLMUTZ.        S.  M. 


5#6  6  6        fi     87  6  6        G  87 


ARRANGED  FROM  A  GREGORIAN  CHANT. 

2d  ending. 


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Your  harps,  ye  trembling  saints,  Down  from  the  willows  take  ;  Loud  to  the  praise  oflove   divine,    Bid    every  string  awake  ! 


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


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5  6      7 

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

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

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MORNINGTON. 

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My  gracious  God,  how  plain,    Are       thy     directions   given!  Oh  may  I      never    read  in    vain,  But   find    the  path  to  heaven. 


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WESTMINSTER.        S.  M. 


[CHANT.] 


DR.  BOYCE.  I?? 

2d  ending. 


-#-* 


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


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Come,  Holy  Spirit,  come  ;  Let  thy  bright  beams  arise  ;    Dispel  the  sorrows  from  our  minds,   The  darkness  from  our  eyes. 


[  H.  &  H.  ] 


178         »104 


SOUTHFIELD.        S.  M. 


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


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


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Is    this  tlie  kind      retitrn,  Are  these  the  thanks  we  owe ;  Thus  to  abuse        e  -  temal  love,  Whence  all  our  blessings  flow  ? 


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


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And  must  this    body  die  ?  This    mortal    frame  de   -  cay  ?  And  must  these    active      limbs        of    mine,    Lie    mouldering  in    the      clay  ? 


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See  what  a        liv    -    ing  stone,  The    builders       did        refuse  ?     Yet      God  hath  built  his  cnurch  thereon,  In      spite      of       envious     Jews. 


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Is     this  the  kind  return  !    Are    these  the  thanks  we  owe  !  Thus   to    abuse      eternal      love,  Whence  all  our  blessings  flow  ? 


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He      leads  me        to    the    place,  Where  heavenly    pastures  grow,  Where      living       waters         gently       pass,    And      full    sal    -    vation     flows. 


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For  my  desponding  soul,  What      mercy      can        I      find ;  Where  is  the    sovereign      healing      balm,         Of     an  afflicted     mind  ? 


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Have    mercy,  Lord,  on     me,      As    thou  art    ever         kind  ;  Let     me,  oppressed  with  loads  of  guilt,  Thy      wonted      mercy      find. 


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


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

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Father,      God      of     love,  Oh  !     hear    a  humble  suppliant's  cry  ;  Bend  from  thy  lofty  throne      above,    Thy  throne  of       glorious   majesty  :    d.  c. 

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from   flesh  and        sense,     Thy     word,    O      Lord,  can      draw     me    thence;       I     would    o    -    bey    the    voice    di    -    vine, 

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How    sweet  thy      dwellings,  Lord,  how    fair,       What  peace,  what  bliss,  in    -     habit        there  ?     With       ardent      hope,  with  strong  de   -    sire, 


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My     heart,  my      flesh,  to      thee     aspire ; 


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I        burn     to       tread  thy  courts,  and     thee,        My       God,  the         living  God,    to         see. 


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6  lines. 


WYVILL. 


189 


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Awake,    our  soula,    away         our    fears,  Let        every         trembling  thought  be      gone !  Awake,    and  run      the     heavenly    race, 


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And   put      a      cheerful  courage    on  ! 
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Awake,     and      run      the        heavenly  race,       And      put        a 


cheerful    courage    on ! 


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BELVILLE.        L.  M.        6  lines. 


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I         so  false,  so       faithless    be,      To     think  of  once   de    -    setting  thee ;        Where,     Lord,  could      I   thine         influence  shun  ? 


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Or      whither      from  thy      presence      run ?  Where,  Lord,   could  I  thine       influence  shun  ?        Or      whither    from      thy    presence   run? 


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BROOKLYN. 


L.  P.  M. 


GERMAN  TUNE. 


191 


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je=g— «— *: 


Let      all    the  earth  their     voices 


To        sing    a      lofty        psalm  of      praise,      And    bless  the  great  Je    -    ho     vah's      name; 


S 


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His         glory       let     the       heathen       know,         His        wonders    to     the       nations       show,       And        all     his  works  of     grace      pro    -    claim. 


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MARTIN'S  LANE.         L.  P.  M. 


:tiz:: 


PS* 


ISEF2 


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JJR.  ARNE. 


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I'll    praise  my      Maker       with     my     breath,    And    when    my    voice  is,       lost     in      death,    Praise  shall      employ  my         nobler    powers. 

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My     days      of    praise  shall   ne'er     be      past,      While  life,    and  thought,  and       being        last,        Or      im  -  mor  -  tal    -     i  -   ty    endures. 


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H.  BOND. 


193 


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of  thy  name ;  There    thy      rich       works       of 


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Foice  or  Organ. 
[H.    &    H.  ] 


194      f  112. 


St.  HELLEN's.        L.  P.  M. 


JENNINGS. 


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ty       hymn     of    praise,  And    bless  the     great       Je 


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His  glory         let    the        heathen         know,  His    wonders         to    the        nations    show,      And  all      his  works    of       grace      proclaim. 

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RAPTURE.        C.  P.  M. 


HARWOOD. 


195 


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'Begin,     my        soul,      th'ex    -      alted  lay,      Let    each   en      -      raptured       thought  o    -    bey,    And  praise  th'Al      mighty's    name : 


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Lo !     heaven  and       earth,  and        seas    and          skies,        In      one        melodious  concert      rise,      To        swell    th'in    -     spiring    theme. 

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KEW. 


C.  P.  M. 


DR.  RANDALL. 


3f=* 


~jB     W- 


~~P'=ZP- 


1.  The 


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joyful  morn,  my     God,      13      come,  That 


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to      thine         honored      dome,    Thy 


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2.   Whut         joy,    while     thus      I        view  the        day,   That          warns        my  thirsting 
»~r— 73 ■=-  t !—■ t a— r— »-^— *~ 


xES=* 


--Mr- 


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tend,    With        willing        steps    thy     courts      ascend, 


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deemer's       power,      Unfolds 


the        ev  -  er 


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door,     And 
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Largo  e  Piano. 


AITHLONE. 


C.  P.  M. 


fGERMAN  TUNE.] 


197 


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1.     O       thou,  that     hear'st  the     prayer    of  faith,        WUt      thou     not  save        a  soul     from     death,       That       casta     it    -    self        on 


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2.     Slain       in     the  guilty  sinner's  stead,        His  spotless  righteous      -      ness       I         plead,      And        his        a    -    vail    -    ing 


blood  : 


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3.     Then  snatch  me      from      e    -     ter  -  nal       death,      The  spirit 

g~r~» t — s — —i — i — h 


of  a 


doption      breathe,      His      con  -  so 


tions        send : 


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4.     The      King  of 


6  8     7 

terrors        then  would       be, 


5    6  6     5  6 

A         welcome  ines 


-  sen  -     ger       to 


To 


bid    me      come 


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I         have    no  refuge  of       my         own,  But         fly        to         what       my         Lord  hath       done.        And  suffered         once    for  me 


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Thy  righteousness        my      robe    shall        be,  Thy 


shall        a    -    tone      for        me,        And       bring    me 


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near    to        God. 


g^g^jJg^fefeEJ^gplS^ip 


^Z^r 


tS=t3==U=t:J>i: 


By         him  some     word      of        life 


part, 


And  sweetly 


whisper 


to       my       heart,      '  Thy 


Maker 


is      thy     friend.' 


SiE 


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Unclogged    by        earth     or         earthly        things,        I'd      mount,    I'd  fly      with  eager        wings,        To  ev   .   er 


%       % 

lasting 


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C.  P.  M. 


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Father        of       ali,      e    -    ter  -  nal       mind,         In        un  -  ere   -    at  -  ed      light    en  -  shrined,       Im    -    mensely    good  and      great. 


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Thy      children   formed  and  blessed  by        thee,       With        filial        love  and      reverence        pay,        Their      homage        at     thy        feet 


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1.      Be    -    gin,   my        soul,     th'ex  -   alt  -  ed  lay,        Let        each    en     -      raptured    thought  o 


bey, 


And    praise    th'Al  -  mighty  'a         name. 


±2L: 


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2.     Wake,      all     ye 


soaring 


throng,  and 


sing, 


Ye 


feathered 


warblers         of    the        spring, 


Har 


anthems         raise. 


=Spi 


=4M*= 


10 — I — l . 0 — I 1 1 & — L_l_ 


'P—B-  S-^~ 


-e-r-d- 


X=-A 


2.      Let        man,   by 


nobler  passions      swayed,     The  feeling  heart,  the       judging  head,  In 

~p — p — J~P !~"r~       B    T~~P      a     T~a~        r^5  T!S>     ~"«— * 


heavenly       praise        employ  ; 


HI 


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Lo  !    heuven     and        earth, 


and       seas       and        skies,        In      one        melodious 


:5 


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:=t 


1 


1 


concert 

q_f=|z 


To        swell      th'in 


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spiring 

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theme. 


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To         him      who      shaped  your       fin     -    er        mould,    Who  tipped  your  glittering    wings     with         gold,      And      tuned      your         voice       to        praise. 

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Spread       the       Cre 


SEE 


tor's     name  around,  Till  heaven's  broad  arch  ring  back     the        sound,      In 


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geneial 

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bursts      of         joy. 


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s  4  e  a  a 


s  3  *  g  §  1 1  a 


200        f»  96. 


WORSHIP.        S.  P.  M. 


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How        pleasant  'tis      to  see, 


Kindred     and  friends  a    -    gree,        Each  in         his  proper  sta     -      tion         move, 


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And       each      fulfil      his         part,      With        sympathizing  heart,        In 


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the  cares       of 


life         and       love. 


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— b-i)   '     +-i — \z.  i     — h -s-t^-T-1 — 1>*  ■    d-+= — -a-r-H — g g — i-   g     t    +  i  »      g  ]     =flg 


6        G 


8     7 


5       4    3  6    6 


96. 


HAWLEY.         S.  P.  M. 


RADIGER. 


201 


Stzzzt 


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H (- 


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^ 


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How       pleased  and  blest  was        I, 

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To 


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Ut 


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sztje; 


hear  the         people         cry,         [omit.]  *  Come,  let    us  seek  our  God  to      -    day  V 

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ITnison. 


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53: 


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Yes,         with    a     cheerful         zeal, 


We'll  haste    to       Zion's         hi!!, 


And    there  our  vows 


and 


honors  pay. 


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[  H.    &   H.  ] 


26 


43 


7     IS 


202        |»  96. 

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BETHEL. 


S.  P.  M. 


L.  MASON. 


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at 


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1 


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EE 


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How  pleased  and  blest  was       I,       To   hear  the        people       cry, ' Come  let      us    seek  our     God      to-day!'    Yes,  with     a  cheerful       zeal, 


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EEEE 


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Unison. 


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hon   -      ors        pay,      And  there  our    vows  and        honors        pay. 

s- 


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Let  this  passage  be  sung  alternately  by  Trebles  and  Tenors. 


8    7 


]»96. 


DALSTON. 


S.  P.  M. 


A.  WILLIAMS. 


203 


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The  Lord  Jehovah  reigns,  And  royal  state  maintains,  His  head  with  awful  glory  crowned  :  Arrayed  in  robes  of  light,  Begirt  with  sovereign  might,  And  rays  of  majesty  around. 


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HADDAM. 


H.  M. 


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The  Lord  Jehovah  reigns,  His  throne  is  fixed  on  high;  The  garments  he  assumes,  Are  light  and  majesty:  His  glories  shine  with  beams  so  bright,  No  mortal  eye  can  bear  the  sight. 


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87 


204 


80. 

Slow. 


JVEWBURY. 


H.  M. 


* * 9 C- 


Hg 


M.  HAYDN. 
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mm 


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happy  souls  who      pray,   Where   God  appoints     to         hear : 

■0 g — ,_T_^. — p, * — £. 


O 


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happy  men,  who     pay      Their        constant     service       there ! 


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praise 


thee 


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still ;  And  happy   they,  Who        love      the 


way, 


To 


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hill. 


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P  100. 


ACTON. 


H.  M. 


L.  MASON. 


205 


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-J- — s- 


To  God     the 


mighty 


Lord, 


Your 


zez^z 


joy    -     ftil      thanks     re 


peat; 


To        him    due    ]>raise      af 


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ford, 


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53 


good         as 


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For        God  does  prove    Our      constant  friend.         His    boundless    love  Shall    have    no        end. 


m 


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8    7 


206       S 126 


TRIUMPH.        H.  M. 


LOCKHART. 


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-0-       ^  ••"  -y- 

Re     -       joice !  the        Lord      is      King !    Your      God  and     King      adore !  Mortals,  give   thanks  and       _sing,         And  triumph 


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ev  -     -  er    -    more ! 


Lift     up  your  hearts, 


Lift    up   your  voice  !        Rejoice  ! 


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say,      re    -   joice ! 


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Unison. 


7     8        5 
5     6 


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(•112. 


Si.  PHILIP'S.        H.  M. 


LEVESQUE. 


207 


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To        God,      the         migh    -    ty      Lord, 


Your  joy    -     ful        thanks     re    -    peat;        To         him    due       praise         af    -    ford, 

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As  good       as       he     is        great,      For     God  does  prove  Our      constant      friend,        His       boundless        love    Shall  have  no         end, 


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5  T?7 
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208 


|»  112. 


WATERTOWJY.        H.  M. 


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Lord      of       the      worlds  a  -  -  bove,        How        pleasant        and         how  fair.        The  dwell  -  ings  of  -      thy         love,        Thine      earth  -  ly 


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Willi      warm  tie  -  -  sire? 

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|»  112. 


MURRAY.        H.  M. 


L.  Mason. 


203 


6         65 
47 


210 


g  11^ 


SHAFTSBURY.       H.  M. 


VV.  Burney. 


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wake,      cur 


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droway 


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day, 


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Au     -     Bpi  -  cioua        mom,    Thy  blissful       rays       Bright       seraphs       hail, 


songs       of       praise. 


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BETHESDA.        H.  M. 


Dr.  Green. 


211 


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Lord    of       the      worlds       a    -    bove, 


How       pleasant 


and       how  fair, 


The       dwellings  of 


thy 


love,       Thy 


<3 
earthly 


I  1 


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temples 


are: 


To  thine 


bode    My       heart  aspires 


With         warm       de 


To  see  my  God. 


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212 


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100. 


WEYMOUTH.*        H.  M. 


Rev.  R.  Harrison. 


m 


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5 


o-o- 


All       hail,  triumphant    Lord,        Who    sav'st    us  by    thy 


blood; 


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Hi 


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Wide        be       thy  name       a       -       dor'd,  Thou         ris  -  -  ingj  reigning       God. 


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1.    Jesus       refuge       of       my       soul,    Let    me       to    thy       bosom       fly;    While  the  raging    billows  roll,        Whiie    the       tempest       still    is       high;    All    my    trust    on 


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Sov'reign      Ruler       of  the        skies,      Ever         gracious,  ever         wise;    All  my    times       are       in  thy      •     hand,       All       e    -    vents      at  thy     command. 


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So  4 


HAPLES. 


Sevens 


Sov'reign       Ituler,    Lord       of       all,       Prostrate    at       thy     feet      I       fall; 


Hear,    O    hear,  my       ardent 


cry;       Frown  not,    lest    I 


faint        and        die. 


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6    4  6        6        57  4«=6 

S  4  2J5 

PILTOIV.         Sevens. 


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6       6     6 

Weldon. 


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Praise  to        God,        immortal 


praise,       For    the    love  that  crowns  our    days;    Bounteous    Source    of       ev'ry 


Let    thy    praise    our        tongues    employ 


34    56      66     7 
56    ^5         4 


222 


•  96. 


SABBATH.         7?s.  6  lines. 


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Safely         through  an    -  ctli    -    er  week;  God         has         brought     us         on         our  way;         Let 


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lis        now  a 


blessing 


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


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6  5    4$ 
8  6    6  5 

RUTLAND. 


65  87    43 
43  98 

Sevens. 


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6     66 

Winter. 


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wide,    From    the        central       point      of      bliss,    Turn      to         Je-sus 


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FIv        to      those    dear  wounds  of       his. 

D.  C. 


IE 


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flood,       Rise      in  -  -  to       the    life       of       God 

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Fine. 


76      65 


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224 


100. 


BATH  ABBEY.        7's,  or  8's  &  7's. 


Milgrove . 


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3        4      54     76         5    3       98 


6        5    6     3 

4       3     5 


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4       64      43 


6#4       6         7       4  3         32    32 
4^2  9  8  5     57 


6     87 
4 


88. 


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sqs: 


PLEYEL's  HYMN 


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PLEYEL 


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Children    of   the      heavenly      King,      As    ys   journey       sweetly         sing  ;  Sing  your  Saviour's    worthy       praise,   Glorious      in    his  works  and  ways. 


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6  8     7  G 

5.  #    — 

*  The  key  of  G  (in  which  this  piece  was  originally  written)  will  be  found  best  for  many  choirs 


f  88 

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LINCOLN. 


7's. 


DR.  BOYCK. 


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Morning  breaks    npon     the    tomb,       Jesus         dissipates      the  gloom :  Day  of     triumph  through  the  skies,     See      the      glorious     Savionr  rise. 


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5     8    7 
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226      |»  8S. 


BENSOJY. 


7's. 


L.  MASON. 


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■d-zr-^rd-^d  J"  &—& 


Lord,  we  come    be  -  fore   thee       now,      At  thy  feet    we        humbly     bow;     Oh  do    not  our     suit     disdain,     Shall    we  seek  thee,  Lord,  in         vain? 

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8    7 


5  ioo. 


ADULLUM. 


7's. 


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

35 


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GREENVILLE.        S's  &  7's,  or  S's,  7's  &  4. 


Rousseau. 


227 


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D.C. 


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gi-f— r-r~i — Tr~i — i  i "  iTr~ ~rrj~Ty  . 

Gently,       Lord,  O !      gently        lead       us,    Thro'  this       lowly       vale      of   tears;    And         O    Lord,  in         mercy        give       us,    Thy     rich    grace  in       all      our    fears ! 


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refresh 

us, 

Oh 

re 

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with  thy 

grace. 

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87  6       6        7 

SICILIAN  HYMN. 


7's,  or  S's  &  7's. 


3     3      6 
S 


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1,        Lord,    dismiss        ua    with  thy        blessing, 

•  f>     i    ii 


1 


Fill  our    hearts  with  joy  and  peace  ;       Let     us        all  thy         love       possessing. 

n— pi    pj 


Triumph       in       re-deem-ing    grace. 


TH3 


_ — pjj 


T 


w~y 


1 


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•O-d-ni* 


s   w 


2.    Thanks  we    give,     and        ado    -    ra    -    tion,       For  the       gospel's        joyful    sound  •,  May      the       fruit  of       thy       sal    -   vation         In       our  hearts    and     lives    be    found. 


Jesus,     thou       art     all  com  -  passion :  Pure,  un  -  bounded       love  thou  art , 


us  with      thy       sal   -  vation, 


trembling    heart. 


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3    4 


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6    4*1-- 
3 


7— 


87     65    86      66       6    87 
35      43    64  4 


•228      f  88. 


MESSINA. 


Ps,  or  8's  &  7's. 


L.  KOZELUCH. 


JZZ-e — s- 


y-r-i 


o — e-  ~s — s~  -e- 


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Lovely  is    the  face  of  nature,  Decked  with  spring's  unfolding  flowers ;  While  the  sun  shows  every  feature,  Smiling  through  descending  showers. 


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f  96. 


8  I     § 

WORTHING. 


6    I 


8'S.   &   7'S. 


SCHELZ. 


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s-    -o-     s-    -e—e~  "• '  v J    *■ '  ^ — '  -£*-  -s1-     -©- 

Glorious  things  of  thee     are    spoken,    Zion,      city        of      our       God;      He  whose  word  cannot    be    broken,    Formed  thee    for  his  own  abode 


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|»  96. 


GREECE.         8's  &  7's,  or  8's,  Vs  &  4. 


229 


S^ 


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Q>  I 


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c>     m 


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BE 


cr 


23      Q|  I  U| «: 


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221 


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231 


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Lord,      dismiss 


us        with    thy        blessing, 


ro~ 


-o 


!      o  ro 


is 


O  I  o> 


Fill        our  hearts        with    joy        and        peace;  Let        us,    each        thy        love 

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r^r 


3HK 


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87 


4       6 


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231 


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lc>      w 


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Triumph  in        re  -    deem    -    ing        grace. 


"^3         =©^^©l 

Oh!        re  -  fresh        us!        Oh!  refresh  us!        trav'ling        thro'        this        wil    -    der    -  ness. 


grgg 


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23: 


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7~6 
6     i*T 


6  87 

4u  a~ 


6       56 


6       6 


6    G       6 
4 


87 


230  •  83. 


SMYRJVA.        8's  &  7's,  or  8's,  7's  &  4's. 


Mozart. 


v 1 

1 1 — *~ 

i  I 

a          I     " 

1-     _ 

l     1 

l 

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1  1 

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P  «     I     W 
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1 
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1       1       1       1 

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w 


a    *i  -&-«-« 


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5 


Gently,    Lord,  oh    gently  lead    us,    Thro'  tins    lowly  vale    of       teal's;        And,  O     Lord,  in    mercy        give  ns,    Thy      rich    grace     in    all    our 


WCT^~9- 


.-Q 


=f 


•^ 


it 


3L~. 


fears; 


a 


:r*+«- 


8s 


a — gj 


-•- 


-o-« 


"» s 


-Op 


i — r 


-©- 


"i      r 


_Q_C 


_§ §_. 


Tf 


L^ 


6       4 
8 


5       6 
3 


-  6 

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17    43  6     4 

98  3 


7  6       6     5     5-36       6 
4     3        "! 


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8's,  7»s  &  4. 


Dr.  Marfan. 


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Thousand,  thousand  saints      attending.        Swell  the  triumph    of    his      train. —    Hal  -  le  -  lu-jah!        Hal  -  le  -  lu  -  jah!        Hal  -  le  -  lu  -  jah!        Jesus  now  shall  ever  reign 
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Thousand,    thousand       saints       attending,  Swell    the       triumph       of  his       train.       Hal-le  -  lu-jah!       Hal  -  le    -    lu-jah!  God    appears    hn 'earth       to  reign 


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May  the       grace  of  Christ  our     Saviour,      May  the     Father's     boundless  love,   With  the       Holy         Spirit's        favour.      Rest       upon        us        from     above. 


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Thus  may      we        abide        in  union    With  each  other 


and   the      Lord,   And    possess       in    sweet    communion,       Joys  which    earth    cannot      afford. 


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Harwood. 


5    6    7 
3    4    5 

3.  Awake,  then,  my  harp  and  my  lute, 
4   His  love  in  my  heart  sued  abroad, 


#    6£66      6     7    % 


Sweet  organs  your  notes  softly  swell, 
My  graces  shall  bloom  as  the  spring ; 


4    6 

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No  longei  my  lips  snail  be  iimte, 
T.'iis  temple,  his  Spirit's  abode. 


6      8765 
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The  Saviour  s  high  praises  to  tell. 
My  joy,  as  ray  i.utv.  to  sing. 


Tenor 


|»  88. 


GOSHEJV. 


Eights. 


237 


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angels,    who  stand    round    the 


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f^rrp- 


31 


throne,    And  view  my    Iminanuel's       face,       In    rapturous    songs    make    him    known,       Tune    all    your    soft    harps  to  his  praise, 


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|»  108. 


DEVONSHIRE. 


5's  &  7's. 


Prof.  Norton. 


If-M. 


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1.        Ye  servants  of  God;  Your 

master 

proclaim,  And  publ 

sh  abroad  His 

wonder    1    name 

The  namt 

all  victorion 

Of 

Jesus 

exto 

; 

His  ki 

ngdom  is 

glorious,  And  rules  over  all 

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2.       God  ruleth  on  high,    Almighty    to  save;    And  still  he  is    nigh,  His    presence    we  have.    The  great  congregation  His  triumph  shall    sing,     Ascribing   salvation  To  Jesus  our  King. 


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3.       Salvation  to    God,  Who  sits  on  the  throne:  Let  all  cry  aloud,  And    honour  the    Son:      Our  Jesus'  high  praises  The  angels  proclaim,  Fall  down  on  their  faces,  And  worship  the  Lamb. 


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4.       Then  Let  cis  adore,  And  give^hun  uis^righ:;"  Ail  gloryDand  pow'r,  AnJ 'wisdom  and  might.  All    honor*and  blessing,  With  angels  above;  With  thanks  never  ceasing,  And  infinite  love 


5   5   6 

3   S  4 


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Pleyel. 


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From         Jesse's  root,         behold         a         branch         a    -    rise 


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Hia    care    and    protection,      Hia    care    and    protection,       His      care  and  pro  -  tec  -  tion    iiis    flock    wil 
Soto.  -  Tutti.  ^ 


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HAMILTON.        10s  &  ll's. 


j  -.  Aflettuoso 


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Tlie       day      is      far  spent, 


the 


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nigh,  When     we    ranst    lay  down  this         bo  -  -  dy  and  die. 


m 


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Great       God,       we     but  -    ren  -  tier         our        dust    to        thy  care ;        But,       oh !  for  the  summons    our       6pir  -  it       pre  -  pare. 


I: 


*  72. 


HIJVTOIV. 


Elevens. 


241 


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pa 


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i   I 


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3 


-d sf— ^-^ — o — ~» — • — o — zg; — w — c«       •      d — * 

The  Lord         is       our  shepherd,       our  guardian       and       guide,      What  -    ev  -  er 


5=< 


we 


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want,       he 


will 


kindly 


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provide: 


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04  3        5 

—* — 


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To       sheep         of       his  pas  -  ture  his  mer  -  cies  abound, 


=3- 


care       and    pro      -     tec    -    tion      his 


-©- 


HE5 


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flock        wiil 


surround. 


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76 
54 


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76 
54 


6       6 
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31 


EERMOjVDSET 


6  s  &  4's- 


Mikrove. 


Glory       to  '     God  on    high,  Let    earth  and    skies    reply,    Praise    ye    his    name;  His    love  and    grace    adore,       Who       all       our       sorrows       bore;       Sing    aloud, 


1=3" 


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Unison. 


6-65 


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1 


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g  ro       "~^~Tf  ff" 


-© 


evermore,        Worthy  the  Lamb!— Worthy    the        Lamb! — 


Worthy    the    Lamb! 


Sing        aloud. 


Worthy      the  Lumb! 


fnr 


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6  6 


#   6    # 


6       6 


•  12. 


ITALIAN  HYMN. 


6's  &  4  s. 


Giardini 


"O  "  0 '     «  •  • 
Come,  i!iou       Almighty       King,  Help  us  thy  name  to       sing,    Help  us  to  praise:  Father    all    glorious, 


O'er    all       victorious,       Come  and  reign  over    us,    Ancient  of       days. 


22 


E^Sgg^PgPS 


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u- 


v  a  a  a  m, 


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6      6,       57 
$88. 


4    6 
3     5. 


AUBURN. 


5  6   7    3      3    8 
3  4  5    5      4    3 

8,  3,  &  6. 


5    6     7 
3    4    5 


3      2    3 
5      4    3 


6     5 
4    3 


6     6     7 

4 


E=i 


5 


-0 


©=-#- 


IS" 


1.    Ere    I       sleep,    for 


favor 


This       day  show'd       Ily 


do       '    bless       my 


5 


s 


4 


■©;-«• 


J7 


2.    Leave  me  not,    but 


"o — d- 

ever  love 


me;       Let       thy 


-©- 


peace  Be       my 


cr  ~cr 

bliss,      .    Till  thou       hence  re  ■ 


me. 


m 


m 


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-^ 


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j_i 


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j 


X 


3.    Thou — my  Rock,    my    Guard,      my 


Safely 


keep,       While       I 


W=£f 


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^ 


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sleep,       Me  with 


thy 


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s 


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:s: 


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4.    And    whene'er    in 


6 

5 

death       I 


6  5 

4  3 

slumber, 


"#!" 


6 

rise 


7 
with    the 


6  56 

wise —  Counted 


4  3 


65  6       7 

4 
their  uum 


244 


108. 


±~n 


MALTA. 

F* 


6's  &   10's. 


X 


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Sl 


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tmt 


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22 


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w     & 


5X3 


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-t& 


war    nor       battle's         sound  Was         heard      the       world       around,       No 


> 


hns    -   -    tile       chiefs       to       furious 


^E 


p»    <5 


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P— P: 


B 


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tf£ 


2 


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^=J 


qt~@     a~ 


3- 


~Q^~^r 


peaceful       was    the       night,         In  which    the    rrince    of       light       His 


reign  of 


peace       npon       the  earth 


began. 


o*  m 


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4       6 

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7» 


|»  88. 


WALWORTH.        10»s  &  ll's. 


Dr.  Wainwright. 


243 


s 


■©s 


I 


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w~-cu     rt  a  «~e 


3 


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ffi 


«l  V   o •  ^j_   «  « V^" 


szzst 


o     d     w 


O     *     e'-i-S 


«T»    g    g 


Behold!    the     Judge    descends,  his  guards  are  nigh,   Tempest     and      fire       attend      him   down       the       sky:  Heav'n,  earth,  and  hell     draw   near,   let    all   thing9     come, 


jS~ 


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w. 


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? 


rt 


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«  6 


57 


6  #6       6        #4      6  #6 


6   5 

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1 


£ 


tP_J-   J 


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± 


O      1      g 


*i   a 


Q~y 


^=S 


r>L 


-o- 


To    hear    his        justice     and   the        sinner's     doom:     "But      gather        first  my  saints,"  (the  Judge  commands,)  "Bring  them,  ye     angels,     from     their        distant 


H-H+* 


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3  S 


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6     #6 
3 


6      57 
4 


MONTAGUE. 


10»s,  or  10's  &  ll>s. 


"o     ~a w    •    »    o       ■  •  #«!-  '°~ 

10's      Not      to     oca  names,  Thou       only       Just     and  True,       Not       to     our     worthless   names    is        glory         due;        Tut  pow'r,  and  grace,  th?     truth    and     justice,  claim, 


'p-W—p 


<& 


£ 


-• — o- 


10's  &.  ll's.  The  God   of        glory      sends    his       summons  forth,     Calls     the     south   nations,     and       awakes     the   north;       From   east       to  wast     the     sov'reign       orders    spread, 

A ©_ 


^e? 


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a 


1      r 


i_c 


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T 


-js~ 


5 


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6     #6 
3 


F=8=^-^: 


1© — !•- 


3-  -p — e — »- 


"5ro~grj 


J-eJ-i»- 


I 


r~l  i      i      r 


jj 


J-F^N1 


-e 


I 


© — ©- 


IZpSSo 


i 


honors        to     tht   sov'reign   name.    Shine    thro'  the   earth,  from     heav'n  thy    blest        abode. 


r^ 


f7*1 


-,°-e» 


3 


© — m~~** — 

Nor  let  the       heathen  say, "  Where    is      your     God. 


•—- •- 


^=S= 


1* —  .    i  ~ffr~ 


ZCZZC 


-ere-e^ 


i       li 


+± 


■*-&*- 


ss 


Thro*      distant     worlds,  and     regions         of        the  dead.    The       trumpet  sounds;  hell      trembles;  heav'n         rejoices:  Lift      up  your  heads,  ye  saints,  with    cheerful  voices 


m 


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T 


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§   -   6 
3    — 


I       7 


6       6 


6        1       I 


6     5       4     5     6 


8.7 


112. 


LYONS.        lO's&lt's. 


Havdn. 


247 


ft— bo     p- — Ti — p-pS-p-e-i9-r-p-r         .I ■ ||    [— rr-j— ;      i  i   t~  i    i  i    i    i^ if  i  l  I    |'~ 


h^SeS 


3353 


m 


3 


-e- 


sxa: 


tt& 


Oh!  praise  ye  the  Lord,  prepare  a  new  song,  And  let  all  his  saints  in  full  concert  join;  With     voices     united,    the         anthem  prolong,  And  shew  forth  his  praises  in  music  divine. 


mtk> 


!# 


:o-& 


£ 


^pP- 


I 


i  i  i  3 


£ 


-§-d 


rri 


sfn 


cro-g 


o  o 


l     r 
i — i~f 


rr 


-Q-Q. 


J=£ 


PRtF 


iff 


P£ 


gzP-g; 


e-e-p- 


P-p-p- 


5=0^ 


SE 


"i — r 


t    I — r 


EEI 


jzzzr. 


6      4 
3 


6 


6      6 


6  7       P   8 
4 


(•    108. 


St.  MICHAEL'S. 


—  ,  2      S    -    6       5 

n  n  - 4 

10»s&  ll's. 


6      7 
4 


6      6        6  7 

4 

Handel. 


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Sf§ 


I 


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32 


T-scg 


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ITT 


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rrr 


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I 


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£ 


Hfe^H 


TTI 


T~n — r 


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S¥ 


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dad  °  I  »• 


■$©■ 


^=2^ 


-e-"-s- 


i¥ 


H3-¥ 


'-¥•=& 


-4 


Oh!  praise    e  the  Lord,  prepare  your  glad  voice,  His  praise  in  the  great  assembly  to  sing,  In  their  great   Creator        let     all  men  rejoice,     And  Iieii  -  of  salvation  be  glad  in  their  King. 


rt 


TIT 


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"O'er 


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£ 


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rzc 


Fp 


p-R 


PPP 


a 


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1 


era 


~rn 


6  #6 
3 


87  7  ft        #6  6 


6  #6 


6        I 


Dr.  Nares. 


tfti 


Rise,  my  soul,  stretch  out  thy  wings,  Thy     bet  -  ter         portion      trace; 
Rise  from    transi tory      things,  Towards  heav'n  thy   native      place. 


-©- 


a 


Son   and  moon  and   stars     decay.     Time  shall  soon  this  earth     re --move; 

D.  C. 


»^» 


±Si 


s 


US 


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rr 


2C 


"i — n 


-@~ 


-e- 


r~r 


J-L 


a? 


£ 


Rise  mv  soul,  and  haste     away,       To       ( 


■£ 


£_£. 


)  seats  prepar'd    above. 

-p  a®'  f " 


I        1     I 


m 


w 


Pf 


D.  c. 

n 


"^"^  a   T  I  I 


3= 


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-eC 


P==E 


'i       r 


i     I  i     L 


j~r 


JZL_L 


^=^=nzrfzn 


6     7 
4 


Fine. 


33     6  6        4 

8—  S. 

*  The  notes  under  figure  3  are  to  be  sung  only  at  the  close  of  the  tune. 

•     g  90.  "THE   RISING   MORN,    THE    CLOSING   DAY."         [Vienna.] 


Beethoven. 


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w. 


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m  @_ 


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EB 


1 


5(H*a: 


i=b?s=s=fi 


3 


5BHES 


s 


-©-«- 


#*-^#« 


i^  The     rising   moir.,  the     closing     day,         Repeat     thy  praise  with   grateful  voice;        In     both  their  turns  thy    pow'r  display,         And,  laden     with  thy     gifts,    rejoice. 


Y^ 


4r&- 


~w 


"i    r 


#- 


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JQJ 


I* 


Nf®' 


PttP 


a: 


■P-©- 


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5 


a 


aff 


t     r 


i  6 


t  6 


i 


t — r 


1 — r 


3 


# 


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6    7 
4 


P  80. 

t  Sostenuto  AdagioS* 


"LORD,  WHEN  MY  THOUGHTS  DELIGHTED  ROVE."         [Owens.]  Mozart.  249 


ft  m 


JDC 


iH 


"is-*: 


~  "i — w 


~Q«    I     I      I 


i    r 


3 


s 


i 


«r»r 


<B- 


I      I 


3 


~gr-g|- 


-•-• 


^ 


Lord,       when  ray  thoughts    delight  -  ed  rove,  Amidst    the 


p.  fa. 

of       thy  love,        Sweet        hope    revives    my 


drooping 


heart, 


IT 


33 


? 


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1^& 


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1 


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~a — f 


4        6 

3 


87       65 
98       43 


67        5 

45        7 


sES: 


k«cs: 


tw    r 


3E^ 


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d— P- 


-©- 


-d- 


^j— #•- 


i    r 


~^~ 


£: 


"i    r 


55 


~S~ 


i 


3 


And       bids       my    fears       and    doubts 


-    -    part,    Lord,    so  my    thoughts    de 


-0- 
Ughted 


=!=*= 


Amidst  the  wonders 


of       thy       love. 


T=F 


m 


±ee 


3-=* 


t 


^p- 


stHt 


3=S 


£ 


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n 


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fe6       6  6      67 

4  45 

3    H.  &  H. 


5fe6      6 


32 


98 
76 


65 
43 


*l 


6       65 
4       3- 


250  ft  92. 

Adagio  Soatenuto. 


•IN    VERDANT  PASTURES." 


'^ffiT+f 


:t± 


T 


m 


p-  -e-p-  — e-g-p-  -e-p-  -e-p 


ESjSPfeE 


Geminiani. 


HH 


-4-^S-  =§-•=  =Q-« 


i    r 


3S 


§§a 


:? 


g£ 


-0 — J-  -' 


In     verdant    pastures    large    and    fair,    The    Shepherd    feeds    bis    chosen 


s 


sheep;  He    guards    his    flock    with   tender    care,    And    watchea    o'er  them    while    they    sleep* 


bfc* 


—    43  6      6  4  &7 
-8  3     3     9  3  .  3  n 

|  86. 

Soslenuto  Adagio. 


65        8  87 


-4  6  6   7      43 


J  4  6  6      4 

"HOW  PLEASANT,  l!5w  DIVINELY  FAIR." 


[Gardner.] 


4       6    4       6  697  65        9! 
3  3  565  43       7 

Viotti.  4 


4r 


i     r 


i — r 


i^tE?: 


-o 


yr 


=E 


rn 


:*~e 


"i    r 


'i    r 


gg[^E 


t#r* 


=8=8# 


43 


®=tS 


•Sr 


e-aC 


T~ r 


1      I" 


n 


-e- 


-OrSP- 


?C5 


rrn: 


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3==J-Ti 


li  How        pleasant,        how    divinely    fair,        O    Lord    of    hosts,    thy    dwellings    are!    With    strong    desire    my    spirit    faints,    To    meet        th'assembly        of    thy    saints 

~~r*'i    i  •  n  i    i   n  i       pi  i    ~r~irr     n  I        -J       ht~ 


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


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"PEACE,  TROUBLED  SOUL" 
T51 


[Palestine.] 


Mazzin<dii. 


«  THE  SAFFRON  TINTS  OF  MORN  APPEAR."         [Camden.] 


Mozart. 


259 


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«  WHILE  WITH  CEASELESS  COURSE  THE  SUN."         [Benevento.] 


Webbe. 


|»  92. 

>m  Andante. 


"SAFELY  THRO'  ANOTHER  WEEK."         [Hymn.] 


L.  Mason. 


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all    the  earth       abroad,              Let          ev'ry           nation              now  v  be  -  hold      Their    Saviour  and  their         God— be  -  - 

lold      Their           Saviour 

an<l     their        God, 

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|»  92. 

Second  Treble. 


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


L.  Mason. 


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fountains 


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3.  Shall       we,    whose  souls  are  lighted       By  wisdom       from       on  high,  Shall       we    to      men       benighted,  The  lamp       of   life       deny? 

4.  Waft,  waft  ye    winds,    his  story;       And         yon,  ye       waters,  roll,  Till       like    a    sea       of       glory,  It  spreads    from  pole  to  pole; 


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3.  Salvation.           O           salvation.  Tho  joyful    sound           pro    -    claim,           Till          earth's       remotest 

4.  Till    o'er    our       ransom 'd       nature,  The  Lamb    for       sinners                 slain,              Redeemer,.           Kino, 


6         6  64       5 

natfon,  Has       learnt     Messiah's  name. 

Cueatok,       Returns       in       bliss       to  reign. 


"MORN  OF  ZION'S  GLORY." 


From  "Spiritual  Songs;"  published  in  this  work  by  permission 
Words  by  S.  P.  Smith. 


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Bright  -  ly     thou    art       break  -  ing, 


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Now   the   night     is 


Now    the     star       is        high     in     heav  -  en;      Morn     of       Zi  -  on's       glo  -  -  ry, 


Joy  -  ful    hearts   are    bounding, 


Hal  -  Je  -  -  lu  -  jah's    now    are      sounding^  Peace  Wit"  men.  Dwells  a  -  gain,  Je  -  sua  reicns  for  -  ever !  Je  -  siis  reigns  for  -  ever. 


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"VITAL    SPARK    OF  HEAV'NLY   FLAME."         [Continued.] 

Ores.  For. Pia. 


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"VITAL    SPARK   OF  HEAV'NLY  FLAM£:"         ("Continued.] 

Dim.  Cres.  F- g     j  '*'*•        Alio.  Staccato.  F. 


Heav 

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eyes!     My 

ears 

witfi 

sounds        ae    -    raph    -    1c 

ring! 

Lend,  lend  your  wings!  I    mount    I    fly, 

0    grave,  where  is  thy 

victory?     0 

0   *> 

Or 

|""  o 

•  r     a 

!<: 

\     V   V 

■• 

/   O 

p  ■  • 

r  i 

»l" 

i       F 

2_ 

ri,  r»    » 

(J^®    -1    © 

1       1    ■       -   M    « 

F  •  F  1 

A  A  * 

ffh  1 

r~i — 

i    i 

Pi     « 

<m 

i 

■-H*  i  i 

i       i 

1  "«^   I     e 

•w    1          II 

III      II 

1    f      j     -  1    1    i 

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i    i 

1 

- 

m       i 

1 

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1* 

9 

">  " 

y>  &■  ^ 

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i 

,'        1 

1 

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-r— P  1 L~J— 

*•   ,  ! 

Ores. 


"VITAL   SPARK   OF   HEAV'NLY  FLAME."         [Continued.] 

Dim.     ^ Pia. For. Pia. 


277 


*~°  m   m   ■*•©  © 


P—P^P-M 


-»••  »~g| — cr 


J°F 


4 


n 


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t 


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=b 


a   ft   ft 


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_nzr 


p— p     p— p- 


"2 

-f^Lif.  -*- 

*-^- 

^ 

'*. 

fa  fa 

— fa- 

vy^s  r~i 

f* 

S 

^-tm — h-i^-r  * 

^-r-sH 

vfl)      o     *     0     'J 

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tJ  a 

6 

_| 1 

0      gi  '  0      0 

-s 

— 1 — 

1     1 
0    e 

« 

-   ii    i    i   i 

'g           v'      «     ©     ®     a 

j  rl 

grave,  where  ia  thy 


I 


victory?       thy    victory? 

fa — fa — fa— fa— fa 


grave,      where  is  thy 


victory?       thy    victory?    O    death,    where  is  thy  sting,    O  death,    O    death,    where;    &c. 


~S~ 


M^J*dfcr*-&: 


fa — fa — fa — fa' 


fa— fa— fa— fa^ 


-®— ®- 


'i     r 


5 


J     J     0'0    8' 


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~0    ~0      0' 


3= 


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m 


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->-^~^~ 


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£ 


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-p 


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it 


6    6- 
4     - 


278 


"WHEN   I   CAN   READ   MY  TITLE   CLEAR." 


Andante  Moderato, 


Thos.    Hastings. 


o:. 


HE 


ft     * 


i      h 


:± 


~f)~ — o — i — 1 

V 

■  n 

1 — I n 

n 

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p* 

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i        1 

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© 

1 

m 

©  ffl    *® 

®®     ^s 

« 

1 

jr 

© 

-el-*    -®l- 

9 

-# 

-* 

When    I    can       read       my       ti  -    -tie       clear, 


mansions      in       tlie       skies 


I'll       bid      fare  -  well         to 


■  ry         fear,       And      wipe       my 


^^^^ 


its: 


"WHEN   I   CAN   READ   MY   TITLE    CLEAR.*         [Continued.] 

r 


279 


■»—/»- 


:fe 


BE 


B      g  gr 


"EC 


J     J 


'i r 


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3: 


rx 


i    n    r 


3^£ 


5 


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3= 


-©, 


Let  cares  like   a  wild 


And  storms       of  sor row 


fall; 


#-'*■• 


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~i     i  -I 


T3    9       i    r~ 


^ 


5 


qm 


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±t? 


May  I       but 


:£ 


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fe 


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r— ca 


FT 


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8     7 
6     5 


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98 


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For. 


Tg 


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si 


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safe  -  -  ly       reach  my  home — May 


hut  safe  ■ 


reach       my  home —       My 


God, 


my  lieav'n      my 


3 


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3    3 


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280 


"WHEN   I   CAN  READ   MY  TITLE   CLEAR."         [Continued.] 


• 

30. 
— © 

-© 

■  o 

BLESSED  BE 

THE  LORD  FOREVERMORE. 

I 

lev.  A.  Thomps 

Dn. 

281 

&h¥^{ ' 

_«_ 

Solo. 

Tutti 

p. 

Solo. 

'Iff  1 

1     ^            hi 

I                | 

i 

1         *»     I           * 

i     fc     I       is 

i'     <1» 

i 

I 

O1    !*         1 

|       I 

n 

•         1 

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1       - 

mM— 

— © 

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! — •- 

-•-*L-«.   a 

-© 

- Si-«i — 

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ri 

Slessed, 

o 

Blessed,        Blessed    be    the 

Solo. 

Lord        fur    -    ev  -  er  -  more, 

Blessed    be    the    Lord, 
Solo. 

Blessed  be  the 

Lord, 

Off  i       i        i 

J 

*• 

a            I       * 

••■ 

| 

A  r1*     '    o1 

H 

e     1     •'  » 

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fiO 

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i     r      »•    « 

1         - 

ftV,   lb  ^j     <-» 

•*     i 

i 

I      H    "•    # 

H 

i    i      i      r 

<> 

VU*    T  c* 

1      1 

1 

1 

I      i      ■  . 

^    1      1 

»                                                             ^                                                                      ^                                                     * 

Tutti.    ^                                            P. 

(^7p" 

r-  Q— 

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1        T 


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5 


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221 


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=©C 


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IX 


=©^ 


•ztm 


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a) L 


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Blessed  be  the  Lord,       for    -    ev  -  er  -  more, 


Blessed  be  the    Lord,  for    -    ev     -    er  -  more.        A  -  men        and    A  -  men, 


A men, 


r£- 


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221 


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H.  &.  H. 


6  5 

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Aa2         36 


3    8    S 


6      87 
4 


87 


•  88 


AWAKE,  PUT  ON  THY  STRENGTH. 

EftcpHFg 


[Anthem.] 


Abridged  from  W.  Jackson. 


P= 


32; 


Awake,             awake,         put 

on     thy  strength, 

0 

z 

-  -  on, 

1 

put 

OP 

thy  strength,    0 

Zi 

on, 

o, 

jfrt     H 

—    1^        *| 

**| 

IT* 

H — r~rr 

1  !~  ~1      1 

_j 

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1 

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rAC    * 

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1  i 

HB^3 

r" 

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i 

\^j 

9 

■it 

"•        1 

m     m    ft  J 

•a 

a 

*  *  • 

a    ° 

_i 

«? 

-© 

• 

Solo.     Awake 


AWAKE,  PUT  ON  THY  STRENGTH. 

Solo.  Pia. 


Continued. 


283 


on  thy  strength,  thy  strength,  O  Zion, 


*-^—m- 


■- — p- 


e£ 


put       on       thy    beautiful  garments,  ®~  O,     O        Jerusalem,       the 
Solo.  Pia.  Tutti.  For. 


feE 


7- 


iffrs; 


fa  1> 


'©-»-; 


:F 


on  thy  strength,  thy  strength,  O    Zion, 


m 


e 


a 


:J. 


Solo.QPia^a 


£r^,arJg' 


s 


put      on      thy      beautiful       garments, 
Tutti.  For.  Q 


O        .Jerusalem,       the  holy        city, 


l|i     r 

T1 — — pi 


i©- ©  _• 


:^^e 


♦  • 


od  thy  strength,  thy  strergth    O  Zion,  pu',       on      thy 


garments, 


O,       O  lerusalem,       the     holy       city, 


284 


AWAKE,  PUT  ON  THY   STRENGTH. 


Continued. 


O           Jerusalem, 

the           holy 

city. 

TJie 

redeemed 

of     the  Lord  shall  ] 

■e- 

y  * 

P     ^     P     •     A 

P"*  i 

A           ft    1* 

A    *     r     - 

i    i    1  '  i    P"m" 

- 1»"  #  r 

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r 

1    • 

~s~~ 

p- 

*3-™— ft    "_-£_ 

• 

ffh    ' 

** 

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f     bLiI     1     | 

F 

_ 

A      n'  * 

■'    I 

n    r      1 

^ ! 

1 1 

1 ! — &-^-J 

J L_ 

•_J_1 

U— L* 

^ — 1 

— UVU-i— 

turn, 


Sorrow     and  mourning  shall  pass  away, 


g 


^->-s> 


shall  pass  away, 
fc-fc-r*— 


shall  pass  away, 

V-N-P-, 


3 


shall  pass  away,  shall 
iV>->- 


H 


* 


••-• 


••-•- 


*m- 


fteUttb 


f^Fm 


WTF- 


23 


J^ 


g 


"i — r 


■F-? 


3 


i    r 


r       n 


E 


£ 


ever  -   lasting   joy   shall 


be    upon    their  head, 

— -_P 


F~~F~~F- 


^ 


"pP-ft-p- 


5^C^Ig 


shall 


pass, 


shall 

a:?: 


»i  !    r 


s 


£W 


£ 


x 


**-*"- 


=^C=c 


turn, 


Sorrow  and  mourning  shall  pass  away, 


shall  pass  away, 


shall  pass  away, 


shall  pass  away,  shall 


AWAKE,  PUT  ON  THY  STRENGTH. 


Continued. 


285 


:•  „~: 


TJ*- 


~i    r 


£^ 


n       pass  away, 

^ — V- 

<s> 

*v 

The 

redeemed 

of  the      Lord    shall 

return, 

-fl—H—r-  -— 

» — 

«*- 

^- 

— S- 

B 

fFl  a  a          ' 

■■ 

™ 

— i — 

s 

-U*«l    * 

1»  i    j»-g 

-4ia 

— na : 1 

M 

W'            0 

©'-«' — 

E= >        ^ 

-fl-w 

pass  away,      Sym. 


The  redeemed  of  the  Lord   shall  return,  Sym. 


5? 


~3_**  i 


-Gh 


-o~ 


~*igr 


•-^ 


#y 


i    i    r 


■flt2 


TT 


^,»- 


£= 


—•-•Jr-a-P- 


#-Fr^ 


§ 


The      redeemed     of  the  Lord  shall     return, 


w 


T 


1*  #»f 

-i  m         i — 


jdt. 


"cr 


"i    r 


~P- 


i    i    r 


T5~ 


=£=e= 


fe 


A   _ 


i    i — r 


r 


^=w= 


pass     away, 


The         redeemed        of    the    Lord    shall     return, 


D 1*- 

-           ~=F=: 

r-1"*rf«- 

Vn 

l 

r« 1 

<r>                                       1 

ff\     »   r**      l 

i 

1 

1     1  h* 

-  r  a  B 

"  me>  m  a® 

r.  P  *  m  ii|- 

™* ©  «  «  @  e 

■p  ®  a  i-  r 

fen        * 

4 

®  ©  ©  el 

el  «•  « 

m  a  ' 

1     p 

i     i-.P  i     n 

1    1    1    p  1   ' 

•M 

I        Pi    I 

i    i    P  •    i 

^ ' 

I — ■ — U-o"-1 

i     ill     1  I 

ca na 

Lt«L_>_^_i| 

-   ^U  i  Uk- 

ii!       I 

ever 

- 

lasting 

j'- 

/    Bhall 

be    upon 

their  head, 

ever  - 

lasting  joy  shall 

be 

upon  their 

head, 

sorrow    and  mourning  shall    pass  away, 

i 

■■-m*-..- 

i 

-,  ,- 

r 

S       tm    r* 

•i 

n 

i    i 

"*   1  ""■ 

r* 

—  r~ 

1 

-; 

i 

fw 

1          1          1 

1      Ir 

-J 

i 

©  m  ■ 

j 

• 

aJ 

J  . 

1 

m 

1          1 

1      r 

2 « 

<    a 

•  " 

•* 

w   •-! 

^s 

1 — o^ fil fiL 

_o' — © 1 

ever 
T5 

-  lasting   joy     shall     be 

>         T         T       T= 
X        r  T  r   T\T 

upon     their       ead, 

T*   2   >         X 

s-  ir  j  >  r 

ever  -  lasting  joy    shall 

be  upon    their 

head, 

Pia. 

sor    -  row    and 

mourning 

\#            >■• 

5    * 

A    ® 

p  «-.  •  ~«i  r  r  *  -  m 

^O 

t^ 

o'            r 

ff\         n 

l-   #.• 

r 

n^Se^P  *p 

1      1 

■#»  p  1- 

-  ■«-    P    1 

1 

III 

w    (-r-» 

A   - 

r~ 

i-  r 

Irh 

i  ^i    i    ii 

1      1 

TT|       ,       1 

'II 

i — r 

i  -  i 

U"  U  1 

1     '    " 

1      P    (8 

i 

i 

■     1 

^ 

1*"-- 

-^ — 

i    i    i  i 

j*_*_^VJ 

>J^ 

i 

i 

1  •*  r  v 

* 

1      U— 

I a 

ever  -  lasting    joy    shall  be    upon    their  head, 


ever  -  lasting    joy  shall    be  upon    their  head,    sorrow'   and  mourn 


m 


-er 


-p~p- 


?F 


_rr 


~©~ 


-^-•P; 


*tKt 


a* 


g 


n     r 


^ 


tflP- 


rrn 


n — r 


5 


1    r 


IWH    ^[^ 


i    r 


lasting 


joy  -     shall  be     up -on    their    head, 'ever     -    lasting 


joy     shall    be     up  -  -  on    their  head, 


Sorrow    and    mourning     shall    pass    away, 


286 

AWAKE,  PUT  ON  THY  STRENGTH. 

Continued. 

0       *  -. 

P  ■  a  -  *■■ 

a 

Oi       ^ 

*3|    '      a 

/    f   

m  a 

■  r      — 

r       P    P 

•   r   r*   ! 

1 

r 

L> 

I1" 

-1 

*1 

a        P 

p* 

ft 

i     i 

i 

p 

1 

pi,, 

i        i 

1                 a 

•     r 

S 

/ 

i 

i 

i 

1 

i 

1                 • 

•                  !i- 

• 

r 

Shall    pass    away,                                  Shall    pass         away,                           Shall       pass,       Shall       pass 

a  - 

-  way. 

Awak< 

.  ' 

awake, 

^ 

1 

i 

i 

l 

i 

i 

r    i  • 

r*    - 

j 

li- 

1 

M 

"1    P 

ft 

1              " 

Da ■ 

~i 

am    '•      o 

_<y     o 

_c 

jj.^^1 

<>       r 

1  r 

vS 

> 

ff»               w 

ff»                   w 

1 

u 

m> 

Shall    pass      away,                                         Shall      pass         away,              Shall       pass 

a  -  - 

-  way. 

Awake 

} 

awake, 

put 

y 

I       1 

p. 

i 

> 

r  a  r 

•  •  r    - 

r 

•    r     a 

o 

C>           D, 

I       It- 

H 

*       "1 

*       1 

•1 

ft 

\             - 

P  i 

i     ' 

■    i     p 

1           M 

<y      1              a 

1 

vs 

> 

i    i 

i 

i      i 

1                1 

^ 

_—    —                      Shall    pass    away,      _—                                  Shall    pass      a  -  -  -  way,       Shall         pass 

a  -  - 

-  -  way, 

Awake,                 awake— _ 

P 

put 

f&-  "-'    '    i 

1     r 

M 

1          1 

a    i 

vy  •  ~  i    i    i 

a     f     — 

r«  i     i     i 

•     i"    ^    p 

1        r-i 

o 

o 

1          |l* 

n. 



««■ 

l"» 

i       ' 

1             i 

i       '      ■      r 

1        <-} 

1          1 

«      '    i 

I 

i                 i 

O          I 

i* 

i^i 

Shall    pass    away, 


Shall       pass       away, 


Shall       pass,     Shall       pass 


awake, 


ft~j*    f^fjF 


•  ft    *    ^ 


.i    r 


:F=: 


I 


X 


awake,       put       on    thy    strength    O       Zion, 


Awake,       awake,    put    on    thy    strength,  Awake,       awake,       put 


5 


s 


-F-=l- 


a  a   » 


on  thy       strength       0    Zion, 

P_ 


Awake,       awake,    put    on  thy    strength, 


Sym. 


^5 


h1 


,  AKdhC,  J'.VilAf,         JJIZ*        UU     illy         flli'lll 

-P^p-P-Fa-I-P     a  B    Pnnr#-y 


£ 


=ET: 


Awake,      awake,    pu 

9 


g 


ii= 


-3- 


"i — r 


r 


*2*_ 


on  thy  strength,    0  Zion, 


•±9m 


LJ    i    g 


^ 


Awako,     awake,    put  on  thy  strength,       Awake,       awake,     put 


£ 


S 


£ 


-J^— =r- 


--P- 


5 


^£ 


Awake,  awake         put   on  thy  strength,  O       Zioa 


Awake,     awake,       put       on  thy    strength,  Awako,    awake,       put 


AWAKE,  PUT  ON  THY  STRENGTH. 


Continued. 


287 


-e-^- 


i    r 


i      'i 


SF^PPf 


• — i*  .r  -jl 


^ 


on  thy  strength,  put 

on       thy  strength,  thy  strength,  0 

Zi 

-  on, 

put 

on           thy 

beautiful 

garments, 

■v 

Oil1 

1          1          1 

i      i 

1            1 

r 

n  *  * 

H 

Jh-4  -^-^~ 

J-d — 

i      i 

1            1 

1* 

— 

al 

—        >•     -l 

^ 

-44- £-R- 

i 

^ffi-^-el_® — «— 

-*1— •.-•J-.-j 

-eL-ei- 

_0 — qL 

L — e 

.     . 

: © — 

=*«^iziii=i 

J- 

on  thy  strength,  put    on 


put     on      thy       beautiful 


Je  -  ru  -  sa    -    lcm,    the       holy 


288        |»  92. 


«  SALVATION  BELONGETH  UNTO  THE  LORD." 


% 


I 


Solo. 


^E=E 


-P— ,»— P 


[Chorus.] 

sz: 


Kenl. 


0       *)' 


& 


T31 


,V— ,V 


*& 


I        I        h»~ 


"I 1 


it 


i 


» — a 


5 


22 


-©- 


Sal va  -  -  tion  be  -  -  long  -  eth 


:m 


p  -p 


long  -  eth       un  -  to       the     Lord,       And    thy  blessing,       and     thy  blessing  is 

—  I  ^ P*»- 


i      r 


-P- 


-» — «- 


i      r 


~i [ 


& 


'«$=SE 


=£ 


ft A 


TT- r»- 


I         I 


5 


I 


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"i      r 


-^r 


i      r 


„ ,                  Tutti. 

6 

Org. 

*» 

i 

1         | 

1          P        * 

r     ®          ," 

X_  ^?_*P      L_ 

r    •    *  1    » 

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i 

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L_i — i — 1 — Lj — 1 

i 

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A  t± 

_ 

Tutti. 

and      thy 

blessing,              Ihy 

Otf_y. 

1 

] 

1        !     1* 

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f/T* 

I 

1       - 

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— « 

«l    • 

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« 

""."• 



Le_ 

-© © — 

L  4I — © gL  _ 

0 

-• — a 

— ©- 

-•' — 

1 qI J 

mong              th 

people, 

Sal      - 
Tutti. 

va  -  tion                be 

-    long  -eth,                   be    - 

long  -   eth       unto 

lie 

Lord,    and    thy 

bless- 

Vtfu. 

1 

1                   & 

/     # 

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1 

19       0       f**       IB 

1        l~        1 

P      *       *       • 

O 

•■  P 

U 

"^     " 

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* 

i     i     >  .  r 

III 

d 

| 

VS 

i     i         i 

ffV 

III 

l 

4 


Tutti. 


and    thy        blessing, 


BE     l1     ,-f: 


% 


j§g 


*    *    i* — - 


N — N 


P~fg" 


3 


_3 


y— g 


H 


Voice. 


6        5 

4       J7 


6        5 

4        3 


"  SALVATION  BELONGETH  UNTO  THE  LORD 


Continued. 


289 


-#— »- 


2± 


1» — w 


"i    ZC 


-|9 © 


r\   a 

blessing 

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1 

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ra 

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fit)           ° 

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fl 

al 

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a 

n 

€ 

•? 

ing. 

thy 

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blessing 

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a 

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mong 

thy 

people, 

And 

thy 

blessing, 

and 

thy 

blessing, 

• 

and 

C 

t) 

y 

TT 


1        I 


M 


fc3 


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n r 


£ 


i      I 


~0 — 01 


331 


sr 


blessing. 


And       thy 


thy 


ayrf 


-*- 


i 


^ 


— S-C 


6       5 
4        3 

6 

4 
3 

c 
3 



S    3 

6 

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y  ffu 

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18 

blessing,    and    thy 

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9  ^ji 

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thy       blessing 


thy 


thy 


5 


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Spzzr^ 


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a 


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thy 


^ 


Or 


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I 


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TT 


31 


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blessing,       and      thy      blessing,  thy 

H.  &  H.     Bb      37 


5 6 

3 4 


290 


•  112. 


Sym 


■&- 


"«~T 


I  WAS  GLAD,  WHEN  THEY  SAID  UNTO  ME 

_  Solo.  Treble.  _  _ 


[Anthem.] 


:g 


T 


~T<r 


s 


22 


Dr.  Callcott. 
5~rr-  


=#F 


^•krib 


_r 


_r 


r 


^ 


J    I    r 


<r  r 


I    was    glad,      I    was    glad,    when  they    said    unto    ine,    We    will 
Solo  Base.  A — ..  ^— 


i 


8t 


£ 


go. 


-zrf- 


■Qf-^r 


i~r 


i    r 


6    7         6       4    7    6 

o 

Duo.  1st  and  Qd~Trehles 


"»7«- 


i    r 


25: 


JE3D 


7    6    7 

4 


3-6 


7    6  7 
4 


E 


i     r 

house    of    the    Lord,    We    will    go 
£5 


ffr-fjFFF-To         i — p— p-h 


^ — © 


in  -  to    the    liouse, 


r 


~r~! 


-©- 


SE 


:lj    ' 


H 


3t 


-J-.F*- 


18 c~ 


i     r 


122: 


3C 


We    will    go 


32: 


to  the    house,    &c. 


=3= 


S 


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i    r 


©: 


»/ 


6     5- 

4    -S    — 
'  ^               ^    Tutti. 

56 

#4 

7 
5 

#6      64fr       6 

6     6 
5 

56 
84 

7 
5 

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6 

e 

43    6 
4 

6 

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C>      «•     » 

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<"> 

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1 

^- 

cz.c3r 

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£=P 


Tutt;. 
i — r 


-*=l 


13 


3 


■eSE*£S 


We    will    go    into    the  house,  into  the  house  of  the  Lord,  into  the  house  of  the  Lord.^^ 


m 


^= 


3U1 


wf 


«jy 


into     the      house    of   the 
—Tutti. 


We  will  go   in  -  to  the    house 


—.into  the  house  of  the  Lord,  into    the     house     of   the    Lord. 


5 


-©- 


t 


FT 


23: 


£5  I  e 


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25 


t    r 


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into  the  house    of  the       Lord,    We    will 


into  the  house  of  the  Lord,    into    the    house  of  the      Lord. 


W=^ 


•^FfrTK 


i  I  i  ii 


Ol_*-lA 


£=*?=£=? 


W# 


C^ 


? 


52: 


*n 


22 


*3E 


»•* 


8 

3  3    3    33  3  S3     3 


8 

5  3 


3  33  3  33    3 


6  6  6 

5  4 


§  7 
3 


6  6 


-f* 


H»  66. 


I  WAS   GLAD,  &c. 


Continued. 


*-«-• 


i    i    r 


i_  L_1._L 


Tutti. 


291 


W- 


-•-«- 


© 


-P—wr 


Peace    be    within       thy  walls, 


Peace    be    within       thy       walls, 


W 


-U 1 U 


3ZIT 


4=» 


SZE 


SI 


121 


*-•- 


^F 


->->-^- 


-^ — ^ — ^ — > — ^ 
i    J    I     - — n 


•zi 


-•--•■ 


Peace  be       within       thy       walls, 
Solo.  


Peace  be     within       thy    walls, 


&-»: 


o~ 


221 


*-•- 


© 


And       plenteousness    within 
Tutti.  ..     -.■    __ 


thy       pal  -  a  - 


-  • 


* 


t=^*- 


© 


Teace    be    within    thy    walla. 


~w    w 


-,•-•- 


*■=£ 


ss 


3    i    r 


1 — r 


J_L_ L 


T 


sE 


*  * 


i    r 


ss: 


25 


-k«- 


5 


6     4 
3 


6    - 


I     ~*2 


2       3 


^ 


-»-©-©- 


m-m 


& 


Psne 
h — r 


*<.-*.- 


X2Z 


3= 


r> 


fi 


4*-P 


T~r 


£ 


!V-N- 


a^_: 


*w* 


Tutti. 


-9-*-«— h» 


1      T 


-|V-N 


<v 


V>- 


rrm 


az^dzzif*? 


i~r 


3 


221 


-© 


Z± 


Peace    be  within  thy    walls,         Peace    be    within    thy    walls, 


_r 


•tt 


J~T-f 


3U-E- 


S 


Ann    plenteousness,    and  plenteousness  within    thy 
Tutti.     ^    ^  w     -  — 

-^-^-i — n — fa-^-n — •■ 


T" 


T 


S3=J 


r" 


X 


<±m- 


r 


TL 


palaces. 

V-g*- 


men.  A  - 


J_ 


i 


©r 


2S 


22 


T 


"^ 


re 


S 


5=^: 


22 


3: 


S<=tr 


it 


i    I — 

6 


T r-- 1 


*± 


_2> 


^T^ 


2X_« 


6     5 
4    3 


292 


tft 


-#- 


60.//. 


i-J — a— a -ao- 


« PRAISE   THE   LORD  "— "  SONS   OF  ZION."        [Chorus.] 
^  •  100.     Alia  Marcia. 


Nafiman, 


-8t9 


X 


W~W 


T 


s^ 


bfc* 


£=©? 


^-p» 


^ 

H* 


Song  of 


_ab 


Rr 


i-o-a'^ 


■o- 


«(-«- 


tfc* 


Traise  ye    the    Lord—        Glorify      him  for  -  ev  -  er: 


i=e^ 


^=t 


^e^ 


3E*    SI§ 
~i     r 


£ 


-#» 


£<&: 


-Pl9-'^ 


& 


IF= 


rj® — © — p~ 


-P-  f-  •-§- 


^Q- 


I^T^l 


nig ~_Wati i__w Voice. 


-a 


"S'Sons  of 


_czn 


S^ 


P    »•!» 


1 — r 


=£=£ 


2H32 


a je 


1      <3 


H,: 


-6f 


.i    i    r 


i    g 


j-i—i^g 


t# 


*. 


#2 


7    ' 


e~^El*r:  ~e      »B 


n«»-^ 


5 6  6"T~ 

333      4  7 


r=? 


•(    i    rr 


j M r 


ill 


r®-^®-^ 


ti    rr 


Tr~F~ 


£ 


¥=&?$£ 


i    i    n  "i    r 


'i    i    n   i    r 


Zion  come  before    him,  bring  the  cymbai,    bring  the    harp,    bring    the    cymbal,    bring    the    harp; 


io!    he's  seated, 


m 


XZE 


-9 O- 


5 


£ 


-o — o 


High    in        glory   lo!    he's    seated,  see  the 


-#- 


come      before 


him, 


garjg: 


"ffi^g 


bring       the       harp,    bring  the    cymbal,       bring  the  harp. 

Syro. 


:o] 


m 


P 


3£b=Jj: 


£ 


vi 


i    r 


# 


?ExrWS 


£ 


ET 


"azizn 


g 


1 


1       M 


_r 


'i    r 


"rr 


^ 


nxzc 


"i    r 


s 


r 


Zion    como     before  him,  bring    the    cymbal,  bring  the    harp,  bring    the    cymbal,    bring    the    harp.       ^ 

— I _  rP  I  I ?- 

—       —     o       »     i  «.       >■««  I 

I  1 H  T  T      I      If 


lo!    he's       seated, 


:§: 


-    » 


£= 


£ 


"i    r 


xxx: 


fe 


5    6 
3    4 


# 


•:&* 


*■ 


"PRAISE  THE   LORD."— "SONS  FO  ZION." 


Continued. 


293 


zVfnr; 


55 


?EE 


4=4 


«-rlkJ- 


TTT 


1*4 


zee 


m 


^eza: 


^ 


-A 


£ 


he  sits  in  state 

, 

See  the 

King  he  sits 

in    state. 

33*p= 

1 

-B-1- 

— 

— ] 

*~ 1 

I - 

-=:-^-H- 

i      I     _ 

l  f* 

«r4: 

hH 

^l-«r"*y  - 

-© 

1 

G> 

«.'     J 

H- 

l 

-4- 

* 

li 

</      ga 

• 

•#? 

A 

King  he  sits  in  state,  see  the       King       he    sits    in 


i^^S=E 


state. 
Sym. 


OTM 


&$. 


-fo- 


Sons    of    Zion  come  before  him,  sound    the  lute    and  strike  the  harp,  sound    the 
Voice.       -.  -. 


a-a-*1- 


n     r 


i 


See  the  King  he  sits  in  state. 


*©--© 


■Q, 


M 


M?- 


~M 


IZI 


rr 


-9-F-i®-©- 


3: 


-o 


£ 


Sym. 


Tasto. 


m 


c 


fro: 


g    © 


^ 


»r  i    r 


r r 


'i — r 


EL 


i£* 


5  „    6    6  6 

3     3     3  4  4 


«—,•»- 


ff~T  r  PS   r^t     m®  r  i — i       w — r 


£ 


a 


n 


o 


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i  I**  _ 

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i     ) 

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i  1 

■■ 

■l 

M 

■" 

1  J*  " 

©                   1         ! 

1     1    »* 

V        e    -U 

1 — © i 

L— © — © — «— ' 

-© 

1      w 

lute,  strike  the  harp. 
ft   Q S* 


-0-©- 


3 


a 


•a 


-^33 


*= 


3»= 

-o-o— 


.*» 


tW3-m 


9E 


Sons  of  Zion       come       tiefore    him,       Sound  the 

Voice. 

o==n==s 


i       r 


"s'~wOJ 


at 


"T 

5 


>•    »  • 


SS 


-©- 


•  ft 


i: 


£■ 


Sym. 

-g£© 


*sW 


gja.  MtnCB 


IE 

_SI 


je^ir 


~a     a 


Bb2 


294 


"PRAISE   THE   LORD."— "SONS   OF  ZION."        Continued. 


v*      tTTTT 


lute         and    strike    the    harp,  sound  the       lute       and  strike  the  harp,         Sound       the       lute       and       strike  the  harp.       Sons  of       Zion    come    before    him,      sound    tire 


m 


2S£ 


_£}._ 


T~T 


EE 


"b — m~ 


Sound  the  lute  and 

-  wr    > 


harp, 


JSTBT 


Sound    the       lute  and  harp. 

-> 


am 


i    - 1* 


i — r 


7     - 


■#      ■ 


H 


66     6     G     87 

4 

*t— , n 


66       6      87 


jcs=: 


^hr-jB— 1|- 


-9— •- 


±= 


EZ 


Sound  the    lute    and        harp. 


-«-©- 


-«— •- 


^1 


lute    and  strike  the  harp,  sound  the      lute  and  strike      the    harp,  strike  the    harp, — strike  the  harp 


strike  the    harp — 


3 


i     i 


"i    r 


J*=*r 


T^ 


-•-•- 


9  r~ 


no: 


£_-_ 


& 


g_  3B    lt: 


£ 


-•— •- 


iczzs: 


Sound  the  lute  and       harp. 


A    * 


M  g  (P 


Sym. 


'£-?-<- 


fet 


"Q'Voice. 

"1° 


#Tt=2t3t 


i£ 


t     r 


T~r 


5 


TZ3 


"*zff 


( —    6  8  7 

SSS    4 


Rr* 


«-•      ©-Q-    -e- 


96. 


"HARK!   THE  VESPER  HYMN  IS   STEALING. 


Vesper  Hymn. 


Russian  Air. 


295 


:F 


T 


« 


-e- 


_L 


A    -    -    men, 


-e- 


1.       Hark!     the     vesper 
Solo. 


hymn     is     stealing,     O'er     the     waters        soft        and  clear; 


Nearer  yet   and 


-&-    -e- 


nearer      pealing,       Now  it  bursts  up  -  on     the   ear. 


M 


:*~ 


T 


SZr 


T~1 


i*»-v- 


s 


£: 


"US" 


-©— r 


t     r 


■>~r 


i         r~ri 


iEiza: 


Now,  like  moonlight     waves     retreating 


E 


£E— =£ 


:t- 


To   the   shore     it 


^ 


along; 


Now   like     angry 
Solo. 


surges        meeting,  freaks  the   mingled        tide    of   song. 


BE 


f — ^- 


B 


fi: 


n — r 


±Z 


V=£I 


i— [ 


£: 


Tutti.  F. 

-^        Solo.  P.P. 

Ju 

-  • 

bl 

-   - 

-    la 

.   -    te, 

A    - 

men,               A    -    men. 

V 

mi 

r. 

1          1                 || 

#-  k 

©•     © 

© 

o 

A 

•      • 

© 

«•  * 

» 

a 

,"«-.!■           1                1 

P        o 

1          1       J       III 

?r 

1 

1 

1 

I 

1         1         1         1 

1         1         1         1      1  1      1      T- O   |        O            O 

1            1 

cJ.         e 

*      m     °     1 

i* 

^ 

'                    (-11 

1         1         1         1 

.-.II                          I 

1          1 

i 

^         Tutti.    _ 

^ 

3                                 Ju    -    -   bi    -    -    -    la    -    -    te, 

Solo. 

A    -    -   -    men,              A        -    men. 

v  .  ■!  n       • 

1    >                       > 

1                         1 

1 1 

yt 

1 

J 

1 

J                            1 

1           1          II 

1 

1 

ll! 

1 

« 

1       * 

I  "a: 

HI 

Jill                  1 

1 

1 

i 

1           ill* 

* 

.  •   « 

•      J      O'l                       1 

c 

>J 

•     ' 

I 

i               II 

Ju    -   bi 

■  n-  •    •TllUi 

-  1ft 

■  te,    Ju  - 

bt  -  la   • 

te,     Jo  -  bi  - 

la  ■ 

*. 

A    -    men.              Farther       now,  now  farther    stealing, 
Solo.          -.                                 -. 

Soft   it    fades   up    -    on       the       ear 

y       * 

r 

1        '-       ' 

r    * 

•     ' 

| 

1 

"    1 

r 

1 

^z: 

b  '       ' 

i 

• 

1         1 

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1        1        :        « 

1  1  I 

1 

i 

1 

1       1 

l» 

i    ra    5    i  1  li 

1  y  i       i 

"•      J      •      1 

iii 

ill 

_l       _! 

1 

■  «.' 

1              '1 

i 

i                          i 

• 

i 

•       Cl«'fl       0     6 

©  ©    «    »•  i 

•  J    J    c  1 

1 

Tutti. 

Hush!   again,     like  waves     retreating, 
Solo.,. s 

To  the      shore       it            dies            along. 

rPr  .. 

•     •- 

J 

1 

A 

• 

-■• 

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n   1  a                       1- 

i         i 

1 

'         n     II 

\i  b 

■           |                |               w 

r 

• 

1 

P  Ir    •    m     i 

i         i 

*       •       • 

J        P     1  rr 

1     '     1 

'*■■ 

« 

.      .. 



_ 

« 

■  1  ~   r    •   « 

u-      '     O 

'       1       *     d 

°        II 

i 

k   - 1 

1 



1 

•        1   II    1    ■ — ■ 

•  Hw 

II-" 

1      li 

Ju 


•   bi 


te, 


A    - 


29G 


»  120. 


lf#£ 


HALLELUJAH  TO   THE  GOD   OP  ISRAEL.         [Chorus,] 


Haydn. 


6-6- 


4 


~trn~ 


31 


5= 


SEr 


J: 


333 


EZZJT 


=E± 


©-©««- 


:eP- 


-2q~^!-©: 


£5 


1 


§ 


Ugii 


;c*; 


-©— °- 


ftt 


razP: 


~J5_ 


j*~r 


Si 


-©- 


£ 


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ft  i     I 


XTX 


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'i    r 


6    6 


6       - 
S       3 


if-ft-tr 


6     4       6     6- 

4    2  3     3 


4    6 


6     5       Tasto. 
4    3 


5 


£=^ 


iP^Jz 


s-:,®1^- 


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»~l  .1    m    m 


Hal    -    ]e  -   lujnli, 


Hal    -    -    le    -    -    lu    -   jail, 


Hal    -    le   -    -  lu 


jah, 


£ 


jah,        to     the     God      of       Israel, 


3~Z^~ 


:£=:* 


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>— © 


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4       6     6- 

2  SS 


o    — 
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6      4       6 


6       5 
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HALLELUJAH   TO   THE   GOD    OF   ISRAEL. 


Continued. 


297 


~  ii    r 


nja: 


P-P-p-m 


^ 


:ESEFS 


T 


R£=: 


We  will       praise       him      we  will    praise 


him    ever         evermore. 


n     !     n 


~i    r 


s 


"«j~«r 


5 


0 '  • 


-«- 


-ffigv 


Hal-ie  -  -  lu-jali,        the    Lord    is    our    de- 


"9"  b  n  "         I 

P'      a 

^Tf^f- 

Sym. 

— i-**n 

O    Voice. 

e     -1 

-  - 1  r*» 

jfaj^fz^i 

1  i    ,••  i  "I     ■ 

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r        .      ! 
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H— f-P- 

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i 

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1  1      II      !      I      1 

1  i 

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5     6     7      6 
$     4     5      4 


6  765 

43 
will    praise    him    ever 


87 


more  we    will    praise    him    ever       more 


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o 

fender,  ha    will    save  us    he    will    save  with  his      mlgh  -  -  ty       arm. 


Sp 


T=F 


Sym. 


God    ia       great       in       battle,    for       lie       is     the     Lord    of         hosts. 


•~l r— 


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:Pz 


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Voice,  i 


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3E 


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6     fe6 
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298 


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HALLELUJAH   TO   THE   GOD    OF   ISRAEL. 

=P 


inued. 


n-n- 


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•    * 


±=t 


i 


I 


-*-!»- 


"-*- 


I         I         I 


1U 


mk 


:g=td 


© — » 


Hal-le  -  -!u-jah, 


He    is    our       refuge, 


We    will    praise  him    for    -    ever, 
is      ~  *>P"     - 


i= 


ET 


£ 


^ 


ever  -    more, 


I  I         I 


X 


Sym, 


zfzbfll 


Hal    -    le    - 
,    Voice. 


s^-ai- 


la    -   jaha 
Sym. 


b«g-«W 


P=F 


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tm L 


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Sym. 


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Tasto. 


b"1 


6fr43 


5       - 
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I)  p    p- 


i — a 
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• — » 


Voice. 


gf5^ 


-i-r 

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Sym.  Voice. 

w>      i  r 


"i       r 


will    praise    him,    will  praise  him      will  praise       him        for    -    ev  -  er 

Q , 


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b7 


t?7 


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HALLELUJAH  TO   THE   GOD   OF  ISRAEL. 


Continued. 


299 


I5=F3= 


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3-W- 


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forever, 


forever, 


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sE 


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forever, 


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ever, 

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fflE 


fr*       jg" 


forever, 


I 


=S=F 


ever, 

azz; 


-P- 


_L 


~r 


for    -    ever. 


for   -    ever, 


ever        more,       for    -    ever, 


for    -    ever. 


ever        more, 


r 

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-© — - — - 


ever       more, 


will  praise  him, 


-©- 


will  praise  hi 


for  -  ever,     ever     more.    Sym 


1 


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300 


"HOLY   LORD   GOD    OF    SABAOTH." 


B.  M.  Swaffield 


_      Andante 

Maestoso 

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SZglg 


-a1  W  • 


Ho  -  !y, 


Ho  -  ly, 


Ho  -  ly,  Lord  God  of  Sabaoth,       Heav'n    and  earth, 


Heav'n       and      earth 


Heav'n  and  earth  are     full 


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3 


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O  p 

Allegro. 
o     pV*   S   A 

* 

i  p-p  r  r  i 

rp 1 

o 

^o 

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li 

/     »•«    P- 

i-r-p- 

r^r^ 

oil  r  i 

-     1                      >"                       bC                EM 

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J        |               "        " 

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n  rl 

°  H 

3      Bi 

IP 

y-  o.*  •  • 

.  ■  i  ' ' 

1 

u  o 

°  o 

^•11 

majesty     of        thy          glory.          .        Glory     be     to    thee.                                          Glory   be   to     thee,                                             Glory      be     to     thee,  O        Lord,  Most   High. 

-ti-.T-         -       - .                  4  v  j  ••'•■,.               f  J  j  j              _  ^  ~  - — «    r- 

/  f  *p  ^ 

g> 

p^ 

o  o  1  o    p.*  *  ,S 

m  w  •  S-g-  »'- 

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p — ^-«^*- 

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■**¥-. 

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+ 

r  J 

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i                 •    « 

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nV                                        ^                                          -e-~     ~    ^ 

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r 

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&. 

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1 

™              ™ 

1 — ^_ 

i 

4- 

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4     6 


65 

43 


6    6    T 

4 


■<-a-# 


'THAT  I  MAY  DWELL  IN  THE  HOUSE  OF  THE  LORD.'  [Anthem.] 

jfe       Recitative.  ^ ^ ^ j^__ 


301 


~m 


*=& 


:£•: 


5 


Ono         thing         have  I  de  -   -    -  sir  -  -  -  ed  of  the         Lord, 


which 


re  -  -  qnir 


7^. 


-eF 


1H 


XE 


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-o^ 


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cy 


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o 


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« 


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m.  •  96.  Sym.  Andante 

*-^= r— ,""^ ■- 


fca 


SHf 


^ 


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8=3: 


ri 


£    I     4 


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22: 


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222 


Cc 


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802 


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f'THAT  I  MAY  DWELL,"  &c. 


Continued. 


if: 


i     i 


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4- 


m~@ 


4- 


5 


'«•  «    i 


5 


gi 


33 


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That       I       may       dwell, 


That 


may       dwell, 


That  I     may 


« — •- 


-©- 


-O 


^- 


dwell    in      the       house,    in      the       house        of        the         Lord,     may 


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"sn 


./. 


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23  6-5  4       6  6      56        7  45 

45  4-3  2  5      34         5  9i 


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dwell     in     the       house     of  the  Lord        all     the 


of    my  life. 


To       be  -  -  hold    the     fair  beau  -  ty       of         the         Lord,     To       be- 


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6       4 


If 


Organ. 


T 


65 


4  3       Voice. 


Q#    ft ^— pi 

1 ^ — 

CC   ' 

>- 

rHAT   I  MAY 

DWELL,  &c.        Continued. 

<» 1 

<-, 

ft — pi 

303 

r\    §     ••  m 

a.|ft®    A"    J        ■ 

I         1       I*       « 

■••■■»     *• 

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m- 

ffh                * 

Pi      1         •      * 

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•     ■■*■'   o 

»•   a 

a 

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&     — 

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beauty        of        the        Lord, 


and         to  visit,  to 


3 


his         temple,         to 


beliold        the     fair 


beauty 


7¥ 

the 


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1 ^ f1 

n — f* 1 

rn > — r 

T ]**! fcrr 

— flr 

jh\- f^-<*- 

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0        A 

nfrr-d-f-e- 

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6.     A  A« 

P     A 

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1 

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65 
49 


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g^=g^^^Eg 


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«- 


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:£= 


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temple,  and     to 

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:& 


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"A      A" 


IX 


65     - 

43      - 


6         5 
4        3 


304 


^  100 

Allegro. 


<0    SING   UNTO   THE   LORD,"        [Anthem.] 


Dr.  John  Clark  Whitfield. 


tm 


i 


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TSZ  3 


nzc 


0 

sing  unto 

the 

Lord   a 

new 

3ong}  ij 

new 

SOIlg. 

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"  O  sing  unto  the  Lord." 


Continued. 


305 


fcreVy+E-ftFii 


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*= 


£ 


3 


ar 


s-zz^r 


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Let  the  congre  -  gation  of  the  saints        praise    him. 


O    ping  un  -  to     the         Lord 


the 


•-•- 


'£=*- 


wns 


^ 


~Q~ 


22: 


i 


-g^^ft 


Jar 


i    i    i 


I   J L 


xzr 


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S 


Let  the  congre  -  gation  of  the 


O 


1 


saints         P£gj??  kijP»* 


-r- 


Let  the  congre  -  gation  of  the 


saints        praise  him. 


Et 


1*^9- 


i 


O    sing   un  -  to    the         Lord, 


the 


£= 


P 


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X 


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r©r 


Let  the  congre  -  gation  of  the  saints  praise  him. 

^-r^i 


O      sing  un  -  to  the 


i    i    r 


i    i    i    i 


Lord  a   new        song,       O     sing  unto  the        Lord      a 


5 


17 


22 


221 


s 


22 


sing 


« 


-O- 


-P- 


,«_«_«_«_ 


new        song. 


1   -  ■       ~ 


:®r 


23' 


~&! 


fe*  -f - 


o~p~ 


=t 


9  i*  ~i  ^fg" 


»— » 


-B— » 


^•a 


ZOL 


i — r 


Lord  a    new      song,        O    sing  unto  the      Lord 


^^ 


TCt 


^ 


new        song 


"*    ^ 


£ 


7 
Lord 


—  3 


^h 


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l~i — r 


O  sing  unto  the  Lord,  unto  the 

Cc2 


"•5~ 
Lord     a 


©r 


"% 


56 

new 


t> 


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-€> 


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sorB         H.   &   II. 


S9 


306 


"  O  sing  unto  the  Lord." 


i    w    r    ^ 


Let   the     congre 


tion      of    the 


=frf=FPm 


saints 


"i~r 


Continued 

m 


■P 


o 


er% 


sira 


pra 


3X 


XE 


praise  him, 


S3. 


331 


«-»-  -J-»-» 


i- ffl 1" 


« 


Let  the   congre 


5 


-©rOp 


"i — r 


ise     hiin,  Let  the  congregation  of  the  saints       praise  him 


r  r 


><5 


gation    of  the 


-*Tf-P* 


W 


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1    .    [    1         II 

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1   _ 

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"  While  life  prolongs  its  precious  light." 


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"  The  Lord  will  comfort  Zion."* 

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The  grace  of    our  Lord  Jesus  Christ,       and  the  love,  the  lovo  of  God,  and      the     fellowship    of    the  Holy  Ghost,  be  with  hs  all — bo  with  us  all— bo  with  us  all  ev  -  er  -  more. 


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Fill  each  breast  with   con  -  so    -   -    lation,        Up     to     thee  our         voi  -  ces    raise;When  we  reach  that  blissful  station,Then  we'll  give  thee  nobler  praise, 


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Then  we'll  give  thee  nobler  praise.  And  we'll  sing  Hallelujah,  Amen,  Hallelujah,  And  we'll  sing  Hallelujah,  Amen,       Hailelujah,     to  God  and  the  Lamb. 


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t  For  this  vory  popniar  piece  the  editor  acknowledges  his  obligation    t«  Mr   James  Sharp. 


"Praise  God,  from  whom  all  blessings  flow." 


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339 


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First  and  Second  Treble. 
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O  'twas  a  joyful  sound  to  hear."  j  psaum.  122.] 


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O    'twas   a      joyful     sound      to  hear,    Our    tribes  de 
O    pray  we  then  for        Sa  -  lem's  peace,  For    they  shall 


Tout    -    1*       say,        Up        Is  -  rael 
prosperous        be,        Thou      ho  -  ly 


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keep      the      festal        day. 
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Second  Treble 
At        Salem's     court  we 
May  peace       within     thy 


must      ap  -  pear,        With      our        as    -    sem    -    bled 
cred  walls,        A         con    -    stant    guest      be 


pow  rs; 
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strong  and    beauteous      or   -    der  ranged,  Like  her  uni  -  ted  towers.    Like  her  uni  -  ted  towers,  Like  her  united  towers,  Like  her    uni  -  ted    towers, 
plen  -  ty     and  pros  -  per  -  i    -    ty,      Thy      palac  -  es  be  crown'd,  Thy    palaces  be  crown'd,  Thy    palaces  be  crown'd,  Thy  palac  -  es  be  crown'd. 


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O  praise  God  in  his  holiness. 


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O  praise  God  in  his      ho  -  li  -  ness,       Praise  him  in     the        firmament       of   his  pow'r; 

Second  Treble 


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Treble    O  praise  God  in    his    lio  -  li  -  ness,      Praise  him    in     the       firmament       of    his  pow'r; Praise  him  in  his    noble  acts,  Praise  him  in  his  noble  acts, 


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O  praise  God  in    his    ho  -  li  -  ness,      Praise  him    in     the       firmament         of  his  pow'r; 
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Praise  him  ac  -  cording  to  his     excellent  greatness;  Praise  him  in  the  sound  of  the  trumpet,  of  the  trumpet. 


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Praise  him  upon  the  lute  and  harp; 


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Praise  him  ac  -  cording  to  his    excellent  greatness;  Praise  him  in  the  sound  of  the  trumpet,  of  the  trumpet,  Praise  him  upon  the  lute,  upon  the  lute  and  harp; 


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O  praise  God  in  his  holiness. 


Continued. 


343 


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breath,  Let      ev'ry  thing  that    hath        breath,     that  hath  breath  praise  the  Lord,  that  hath  breath  praise  the  Lord.    Praise  the  Lord,  Praise  the  Lord. 


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Mark  the  perfect  man,  and  behold  th'upright;        For  the  end  of  that  man  is  peace — peace — For  the  end  of  that  man  is  peace, 

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For  the    end    of  that  man  is  peace — peace —    For  the  end  of  that  man  is  peace — For  the  end  of  that  man  is  peace — peace — For  the  end    of   that  man  is  peaco — peace — peace. 


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tTABOR.J  345 

Composed  and  sung  by  the  ancient  Bohemian  Brethren  in  times  of  persecution. 


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"  Earth    has     no      sor  -  row     that  Heav'n   can  -  not 


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I  MISSION  ARY  OR  CHRISTMAS  HYMN.] 

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Li  MASON. 


347 


Watchman!     tell    us     of    the       night,   What    its    signs       of       promise         are;  Trav'Iler!      o'er    yon    mountain's    height,  See    that       glo     ry       beaming     start 

Watchman!    tell    us     of    the       night,    Higher  yet     that    star       as-cends:         Trav'Iler!    bless  -  ed  -  nesB    and      light,    Peace  and   truth     its    course    portends! 

Watchman!     tell    us      of    the       night,    For     the       morning    seems      to       dawn;       Trav'J!er!      darkness    takes    its       flight,   Doubt  and      ter     ror       are    withdrawn. 

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Watchman  I  will      its    beams    a lone    Gild     the    spot    that    gave    them    birth? 

Watchman !  let      thy     wand'rings    cease  j  Hie     thee     to      thy       qui  -  et       home ; 


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Trav'Iler!        a  -  -  ges     are       its        own,     See!    it      bursts  o'er      all     the        earth. 

Trav'Iler:        lo!     the    Prince    of     Peace,    Lo !    the    Son      of  God      is         come. 

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Trav'Iler!       ages        are      its    own,   See!    it  bursts  o'er  all  the    earth.  -  r~\ 

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For  he  is  the       -    -     -  . 
Glory  be  to  die  Fadier  and 


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GLORIA  PATRI.        No.  I,        Purcell. 


GLORIA  PATRI.        No.  2. 


V.  Novello. 


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2.  We  praise  thee,  we  bless  thee,  we 

3.  O  Lord,  God, 

(See  Minor  for  4,  5,  6,  7,  and  8.) 
9.     For  thou  .... 

10.     Thou,  only,  O  Christ,  with  the 


wor  -  ship 
heav'n  -  ly 

oniy     art 
Ho     -    ly 


thee ; 
King; 

holy; 
Ghost; 


we  glorify  thee,  we  give  tlianks  to  thee,  for 
God  the        ..... 


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art  most  high  in  the  glory  of 


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5.  That  takest  away  the 

6.  Thou  that  takest  away  the 

7.  Thou  that  takest  away  die         »• 

8.  Thou  thart  sittest  at  the  right  hand  of 
(See  Major  for  9  and  10.) 


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sins  of  the 
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3.    The  Lord  declared 
5.    Show  yourselves  joyful  unto  the  Lord 
7.    With  trumpets 

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ll.   Glory  be  to  the  Father,  and 


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sal    - 

valion ; 

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shawms , 

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the 

Lord ; 

to 

the 

Son, 

his  righteousness  hatJi  he  openly  showed  in  the 

Sin?,  re- 

O  show  yourselves  joyful  be- 

for  lie 

and  | 


sight 
joice   • 

lore  the 

cometh    to 
to  the 


mo. 
rlh. 

Ghost. 


Z2 


S 


* 


3X 


-Or 


w 


331 


33ZZS<22 


4-2 


32- 


-G> 


•-©p 


322 


I 


& 


2.    With  his  own  right  hand,  and  with  his 
© 


O 

ho  - 


-]y<3- 


-©- 


-&r 


-o 


hath  he  gotten  him- 


-O- 


H 


4.     He  hath  remembered  his  mercy  and  truth  )  ]  house  of 
toward  the                                                      J  | 

6-    Praise  the  Lord  up  on  the. 

8.    Let  the  sea  make  a  noise,  and  all  that          !  there    -  -    in 

10.    With  righteousness  shall  he  judge  the 

13,    As  it  was  in  the  beginning,  is  now,  and  ever  shall 

BEWEDICTUS. 


-©L 


©L     -©- 


-©- 


-°r 


32T 


5 


Israel  : 
harp; 


world ; 
he, 


I 


No.  1. 


and  all  the  ends  of  the  world  have  seen  the  sal- 
sing  to  the  harp  with  a 
the  round  world,  and 
and  the 
world  without 


w 


331 


o1 oL 


331 


331 


331 


331 


[Single.] 


psalm 
they 
people 
end. 


tion 

or 
that 

Willi 

A    -    - 


our 


of 

thanks    -    - 
dwell    there    - 
e    -     qui    - 
men.    A    -    - 


God. 
giving. 


ty- 

men. 


-©- 


2 


~®r 


33Z 


3C 


321 
35_ 


-©- 
-©r 


~ocr 


I 


m 


1.    Blessed  be  the  Lord 


-©- 


God 


of         I      Israel } 


_oL 


-©- 


-©l 

-©r 


people. 


I 


331 


j-©- 


5 


ZOI 


r 


3.  And  hath  raised  up  a  might*sal-    -    -    • 

3.  As  he  spake  by  the  mouth  of  his 

4.  That  we  should  lie  saved 

5.  Glory  be  to  the  Father,  and 

6.  As  it  was  In  the  beginning!  is  now,  and 


ration 

for 

ho    - 

-  iy 

from 

our 

to 

the 

ever 

shall 

us;        I 

prophets,  I 

enemies,  i 

Son:  I 

I    be,  | 


in  the 

which  have 

and  from  the 

and 

world  without 


house 

heen 

hand 

to 

end, 


of  his 

since     the 

of 

the 

A 


ser  - 
world 
all 

Ho  - 
men, 


vant 
be-    - 
that 

iy 
a  - 


David 
gan. 
hate  us. 
Ghost, 
men. 


BONUM  EST  COJVFITERI. 


[Double.] 


355 


-©- 


S 


I 


^= 


33 


■<* 


-©■- 


2 


O        Most 


Pi? 


1.     It  is  a  good  tiling  to  give  thanta 
-©- 


T3T 

UQtO 


O 


the 


Lord; 


and  to  sing  praises  unto  thy 

<2Z 


Highest. 


i 


r$ 


3X 


23: 


^=g 


-©- 


231 


-Qnr 


3.     Upon  an    instrument  of  ten  strings,  and  up 
5.    Glory  be  to  the  Father,  and 


the 
the 


lute ; 
Son; 


upon  a  loud  instrument 
and 


-©- 


and 
to 


up-        on        the  harp 

the         Ho    -    ly  Ghost; 


2=F 


I 


-©L 


o~ 


331 


33Z 


331 


231 


-or 


-©r 

truth  -  in  tlie 

,     32L 


-& 


-or- 

night    -    - 


r 


a& 


* 


2.    To  tell  of  all  thy  loving  kindness 
S2 


early      in     the 


morning : 
O 


-©r 


and  of  thy 


231 


-©- 

season. 


25: 


§ 


331 


3X 


=5 


r 


-H 


OTJ 


4.     For  thou,  Lord,  hast  made  me 

6.     Ae  it  was  in  the  beginning,  is  now  and 


I  glad  throngh-thy 
J  ever  shall 


works ; 
be, 


and  1  will  rejoice  in  giving  praise  for  die  ope- 
world  without 


ra  -  -  tions 
end.       A  - 


of        thy  hands 

men.    A  -    |    men. 


GLORIA.     No.  1.      [After  naming  the  Gospel.] 


GLORIA.    No.  2. 


GLORIA.    No.  3. 


^d^frg^ 


~w~w 

Glory      be    in      thee,   O    \*\u 


DEUS  M1SEREATUR.  [Double.] 

-©- 


-©- 


~cr 


_r 


m 


s 


22T 


3 


22 


2X 


22: 


X 


1.    God  be  merciful  unto  us  and 
Q_ 


bless    -    -    -    • 


I 


o 

and  show  us  the  light  of  his  countenance,  and  he 
© 


-~or 

merci    ■ 


-©- 


22 


fnl 
-©L 


-#©r 


or 

to 

ol      O1 


us. 


US 


3 


22 


3.    Let  the  people  praise  thee, 
5.     Let  die  people  praise  thee., 


God; 
God; 


yea,  let 

yea,  let 


I  all  the    -    people 
I  all  the    -    people 


-d- 


22 


praise    - 

praise    - 

Close. 


thee. 

1  hue. 


I 


221 


T<y 


3 


S 


-©- 


-© 


s 


ZX 


zs: 


3^= 


22 


— ©- 

up  -  on 


— T5~ 

nations. 


2.    That  thy  way  may  be 
-©- 


E 


known 
-©L 


earth ; 


tliy  saving 


#■ 


health         a  - 

22 


all 


A    - 


-©- 


©- 


3z«4 


s— 


f* 


-© 
-© 


s 


Q 


a 


-©- 


-© 


2E 


U=22 


4.     O  let  the  nations  re- 

6.  Then  shall  the  earth  bring 

7.  God  shall 


joice 

fortli 
bless 


and  be 
her 


glad; 
increase ; 


for  thou  shalt  judge  the  folk  righteous- 
ly, and  govern  the        - 
and  God,  even  our  own 
and  all  the  ends  of  the 


na  -   Uons  up- 
God,        shall 
world      shall 


give  us    -    his 
fear 


earth. 

blessing 

him. 


SINGLE  CHANT. 


GLORIA. 


No.  4. 


GLORIA. 


No.  5. 


BEKEDIC  akima  me  a. 


[Double.] 


357 


JE 


-©- 


W~ 


s 


231 


-Eh©- 


-©- 


22: 


3X 


zo: 


-i©- 


T©" 


1.    Praise  the  Lord, 


I 


S* 


Ml 


-&- 


my 


©— 

soul ;         [  and  alt  that  is  within  me, 
© L 


n©- 


3X 


praise  his 


ho    - 

I 
<2__ 


-©- 


o 


©- 


"SI 


ie- 


3.     Who  forgivetli        -        -         -  _     -  [  all 

5.     O  praise  the  Lord,  ye  angels  ofhis,  ye  that  ex-  |  eel 


sin;  f  and  ------ 

strength  ;  [  ye  that  fulfil  his  coin rnand men t  &7.ii  hearken  ui> 


healeth 
to 


all 
the 


thine         in- 
voice   ofhis 


firm  hies, 
word ; 


23: 


-©- 


TT 


-©- 


-©- 


"O" 


-©^ 


:r 


-©- 


n©- 


2.     Praise  the  Lord, 


St 


-©©- 


£ 


-©- 

my 


221 


221 


IX 

-©- 


-©' 


jo: 


soul ; 


and  for- 


2 


_Q_ 


not 


-©- 


-e1- 

T©- 


— gr- 

hia 

j 

o 


benefits. 


-O- 


iB- 


x>: 


^31 


T 


~Q~ 


4.     Who  saveth  thy  life      - 

6.  O  praise  the  Lord,  all 

7.  O  speak  good  of  the  Lord,  all  ye  works  J 
of  his,  in  all  places  of  -  \ 


from 

ye 

his 


de  - 
his 


do- 


struction; 
hosts : 


and  crowneth  thee  with 
ye  servants  of 
praise  thou  the 


mercy         and 
liia  that 

Lord,  O 


do 


his 
my 


kindness. 
pleasure, 

souk 


GILEAD 


i 


3: 


-M 


ssmitsz^^: 


«- 


i 


~Q;M. 


L.  M. 

4 


[Chant.] 


:c: 


W 


O  render  thanka  and     bless   the    Lord, 
-0- 


m 


■P-.-4-  -4 


-^ 


i    i    r 


am 


Call  ye   up  -  on     his      holy  nam* 


; r 


lCd: 


32i«: 


r 


^^r-F^1©11^ 


;czs~s: 


ICI 


J_J- 


z><i: 


itP* 


:j=&: 


'i    r 


n    i    i 


Tell  all  the      nations      of  his    deeds, 


iiis  i 


i-g: 


i    r 


i    i     r 


ar|~d~d~  ~e^r 


-g-©. 


tcldcss  deeds  aloud 
I      I 


3 


H 


noclaim. 


u— w— w-i 


em 


T 


fa 


i 


\ 


GENERAL   INDEX. 


ABINGTON 123 

Abridge 91 

Acton 205 

Addison 83 

Adullum 22G 

Aithlone 197 

Alcester 220 

Aldborough 13(5 

Alfreton 39 

All  Saints 53 

Alsen 220 

Amsterdam 248 

Angels  Hymn 28 

Antigua 65 

Appleton 33 

Archdale 108 

Arlington 117 

Armley 80 

Arnheim 74 

Arundel 133 

Ashley 124 

Atlantic 52 

Auburn 243 

Autumn 83 

Aylesbury 180 

Baldwin 133 

Bangor 1 55 

Barby 140 

Bath 34 

Batb  Abbey 224 

Bedford, No.  1 111 

do.      No.  2....  Ill 

Belville 190 

Benediction 335 

Benevento 260 

Benson 226 

Bermondsey 242 

Berwick 150 

Bethany  (majnr) . .  166 

do.    (minor)..  166 


Bethel 202 

Bether 158 

Bethesda 211 

Bethlehem 127 

Beveridge 168 

Beverly 162 

Billings'  Jordon..   143 

Blackburn 157 

Bladenburg 165 

Blandford 94 

Blendon 38 

Bolton :..  112 

Bowdoin *...  131 

Bowen 31 

Boxford 181 

Bradford 146 

Braintree 132 

Brattle  Street 93 

Brentford 38 

Brewer 37 

Bridgeport 98 

Brighton 1S7 

Brooklyn 191 

Broomsgrove 98 

Burford 152 

Calmar 172 

Calvary 234 

Cambridge  (major)  101 
do.       (minor)  101 

Camden 259 

Canterbury 136 

Carthage 185 

Castle  Street 45 

Cedron 183 

Channing 115 

Chapel  Street 46 

Charleston 41 

Chelsea 77 

Cheltenham 122 

Chester 156 


Chesterfield 141 

Christmas 90 

Clapton 171 

Clarendon 106 

Clifford 104 

Clinton 58 

Colchester 130 

Collingham 159 

Columbia 198 

Conway 134 

Corinth 133 

Cornish 147 

Covington 96 

Culworth 76 

Cumberland 35 

Dalston 203 

Danvers 36 

Dartmouth 178 

Darwells 213 

Darwen 87 

Dedham 138 

Deerfield 814 

Denbigh y272 

Denmark 266 

Denton 80 

Devizes 140 

Devonshire 237 

Dismission 336 

Dorchester 113 

Dover 164 

Doxology 338 

Dresden,  (major)..  79 

do.     (minor)..  79 

Duke  Street 44 

Dunbar 180 

Dunbarton 89 

Dunchurch 99 

Dundee 119 

Dungeness 256 

Dunstan 68 


Dying  Christian . .  274 

Eastburn 171 

Eastport 110 

Eaton 189 

Edyfield 215 

Effingham GG 

Elgin 150 

Ellenthorpe 47 

Ely 121 

Emsworth 50 

Enfield. 71 

Eustis 112 

Evening  Hymn. . .  69 

Fairfield 162 

Farnsworth 109 

pPerry,  (major).  .. .  118 

do.   (minor).  .. .  118 

Framingham 68 

Franklin 128 

Froome 163 

Funeral  Hymn...  322 

Funeral  Sentence.  344 

Funeral  Thought.  153 

Gainsborough ....  142 

Gardner 250 

Georgetown. ..'...  73 

Germany 57 

Gilead 357 

Gloucester 186 

Goshen 237 

Grafton ....  153 

Granby V  223 

Great  Milton. ... .  126 

Greece 229 

Greenfield .\il07 

Greenville....'...  >227 

Haarlem J57 

Haddam 203 

Hadley lVS 

Hague 6p 


Hamburg 69 

Hamilton 240 

Hartland 158 

Harwich 213 

Havanna 92 

Haven 100 

Haverhill 175 

Hawley 201 

Hebron 54 

Helmsley 233 

Hingham 85 

Hinton 241 

Hobart 199 

Hotham 216 

Howards,  (major) .  135 

do.      (minor).  135 

Hudson 163 

Inverness 165 

Irish 106 

Islington 32 

Italian  Hymn  ....  243 

Jerauld 231 

Jordon 137 

Jordon,  by  Billings  143 

Judea 142 

Kendall 94 

Kew 196 

Lanesboro' 114 

Lebanon 154 

Leyden 27 

Lincoln 225 

Linstead. 173 

Lisbon 184 

Litchfield 105 

Little  Marlboro' . .  179 

Liverpool 92 

London 90 

Lowell 72 

Luton 42 

Lutzen 120 


Lynn 64 

Lyons 247 

Macedonia 84 

Maiden 78 

Malta 244 

Manchester 144 

Mansfield 102 

Marietta 63 

Marlow,  (major). .  129 

•  do.     (minor).  .  129 

Martin's  Lane ....  192 

Mayhew 61 

Mear 122 

Medfield 119 

Medford 113 

Medway 47 

Melody 127 

Mendon 349 

Messina 228 

Middlebury 77 

Milan 186 

Miletus 160 

Miller,  (major). ..'  148 

do.     (minor) . . .  148 

Milton 253 

Missionary  Hymn.  263 

Monmouth 39 

Monson 82 

Montague 246 

Montgomery 76 

Morning  Hymn..  43 

Mornington 176 

Mount  Ephraim..  161 

Munich,  (major) . .  81 

do.     (minor) . .  81 

Murray 209 

Music 254 

Nantwich 56 

Naples 221 

Natick 64 


Nazareth 58 

Newbury 204 

Newcourt 193 

New  Ipswich 51 

New  Market 43 

Newton 100 

New  Sabbath 73 

New  York 144 

Ninety  Seventh  >  « 

Psalm  Tune.    j  *° 

Northfield 59 

Norwalk 184 

Norwich 218 

Nottingham 97 

Nuremburg 217 

Oaklaiia 95 

Old  Hundred 25 

Olmutz 174 

Ormond 110 

Owens 249 

Paddington 177 

Palestine 258 

Park  Street 52 

Parma 257 

Patmos 160 

Peckham 172 

Pelham 170 

Penfield 87 

Pentonville 176 

Peterborough 117 

Pilesgrove 66 

Pilton 221 

Pisgah 265 

Plainfield 215 

Pleyel'sHymn...  225 

Plympton 147 

Pomfret 85 

Portsmouth 40 

Portugal 29 

Portuguese  Hymn  239 


GENERAL    INDEX. 


Prentiss 217 

Princeton 95 

Proctor 55 

Putnam 57 

Quito 50 

Ralston 39 

Roman, (major)...  214 
do.    (minor)...  214 

Rapture 195 

Rochester 121 

Rothwell 40 

Rotterdam 218 

Rutland 223 

Rye 159 

Sabaoth 28 

Sabbath 222 

Saco.. 149 

Salem 139 

Salisbury 251 

Sandwich 30 

Savannah 238 

Saxonville 131 

Scotland 270 

Seasons 34 

Semley 74 

Shaftobury 210 

Sharon 54 

Sheffield 70 

Shirland,  (major).  169 
do.       (minor).  169 

Shoel 36 

Sicilian  Hymn...  227 

Silver  Street 167 

Slade 75 

Smyrna 230 

Sonthfield 178 

South  Street, 252 

Sparta 84 

Spencer 120 

Spring 236 

•ingfield 60 

Moan's 75 

>rd 137 

's 130 


St  Austin's 149 

St  Bride's 179 

St.  David's 105 

Stephens 99 

Sterling 33 

St.  George's 71 

St.  Helen's 194 

St.  James' 102 

St.  John's 109 

St.  Martin's 128 

St.  Mary's 154 

St.  Matthew's 116 

St.  Michael's 247 

St.  Olaves 61 

Stonefield 37 

St.  Patrick's 53 

St.  Paul's 51 

St.  Peter's 30 

St.  Philip's 207 

St.  Thomas' 174 

Suffield 182 

Suffolk 233 

Summer 83 

Sunderland 86 

Surrey 49 

Sutton 164 

Swanwick 97 

Tabor 345 

Tallis' Chant 132 

Do.EveningHymn    69 

Tamworth 231 

Thatcher 175 

Thessalia 181 

Timsbury 48 

Tolland 103 

Trenton 72 

Triumph -306 

Truro 42 

Turin 219 

Tweed 141 

Upton 35 

Utica 168 

Uxbridge 62 

Vesper  Hymn,...  295 


Vienna 248 

Wachusett 156 

Wakefield 44 

Walney 123* 

Walpole ....  235 

Walsall 151 

Waltham 252 

Walworth 245 

Wanworth 236 

Ward 55 

Wareham 145 

Warner 60 

Warrington 63 

Warsaw 146 

Warwick 91 

Watchman 161 

Waters 67 

Watertown 208 

Waterville 46 

Wells 62 

Wenham 155 

Westborough 232 

Westbury 86 

Westford 96 

Westminster 177 

Westmoreland. . . .  134 

Weston 255 

Weymouth 212 

Wiltshire,  (major)     26 
do.       (minor)     26 

Winchelsea 41 

Winchester 31 

Windham 89 

Windsor 152 

Winter 107 

Woodbury 59 

Woodstown ......     78 

Worksop 151 

Worship 200 

Worthing 228 

Yarmouth 183 

York,  No.l 125 

do.  No.2 125 

Zion 188 


ANTHEMS,  SENTENCES, 
HYMNS,  &c. 

Again  the  day  returns.     Hymn 310 

All  hail  the  great,  &e.     Hymn 349 

Awake,  put  on  thy  strength.     Anthem....  282 
Before  Jehovah's  awful  throne.     Denmark.  266 

Behold  the  glories.     Parma 357 

Blessed  be  tlie  Lord.     Chorus 281 

Blessed  is  he  whose  hope.     Anthem 307 

Come,  ye  disconsolate.     Hymn 346 

Daughter  of  Zion.     Hymn 332 

From  all  that  dwell.     Denbigh ■.••.•••  272 

From  Greenland's  icy  mountains.    Mission- 
ary Hymn 263 

God  be  merciful  unto  us.     Anthem 326 

God  of  my  life.     Music 354 

Great  is  the  Lord.     Sentence 318 

Hallelujah  to  the,  &c.     Chorus 296 

Hark  I  the  Vesper  Hymn.     Vesper  Hymn.  395 

Head  of  the  Church-  triumphant 265 

Holy  Lord  God  of  sabaoth.     Sentence 300 

How  beauteous  are  their  feet.     Hymn 363 

How  heavy  is  the  night.     Hymn 317 

How  pleasant,  how  divinely  fair.     Gardner .  250 

In  verdant  pastures ...250 

I  was  glad.     Anthem 290 

I  will  arise.     Sentence 331 

Let  the  words  of  my  mouth.     Sentence...  324 

Lord,  dismiss  us.     Dismission 336 

Lord  of  all  power  and  might.     Collect 314 

Lord,  thou  hast  known.     Salisbury 251 

Lord,  when  my  thoughts.     Owens 249 

Mark  the  perfect  man.     Funeral  Sentence.  344 

Morn  of  Zion's  glory 264 

My  God,  the  steps.     Dungeness 256 

Now  night  with  silent  grandeur.     Weston.  255 

O  give  thanks.     Anthem 312 

One  thing  have  I  desired.     Recitative 301 

O  praise  God  in  his  holiness.     Aathem....  342 

O  sing  unto  the  Lord.     Anthem 304 

O  'twas  a  joyful  sound.     Hymn 341 

Peace,  troubled  soul.    Palestine 258 


Praise  God  forever.     Tabor ,  ....  345 

Praise  God  from  whom.     Doxology 338 

Praise  ye  the  Lord.     Chorus 292 

Safely  through  another  week.     Hymn 261 

Salvation  belongeth.     Chorus 288 

Softly  the  shade.     South  Street 252 

Sons  of  Zion.     Chorus 292 

That  I  may  dwell.     Anthem 301 

The  grace  of  our  Lord  Jesus  Christ.    Bene- 
diction   335 

The  Lord  is  great.     Hymn 348 

The  Lord  is  in  his  holy  temple.     Sentence..  350 

The  Lord  will  comfort  Zion.     Sentence . . .  330 

There  is  a  stream.     Milton 253 

The  rising  morn.     Vienna 248 

The  saffron  tints.     Camden 259 

The  voice  of  free  grace.     Scotland 270 

Unveil  thy  bosom.    Funeral  Hymn 322 

Vital  spark.     Dying  Christian 274 

Watchman  !  tell  us.     Missionary  or  Christ- 
mas Hymn 347 

We  praise  thee.     Te  Deum 323 

When  I  can  read.     Hymn 278 

While  life  prolongs.     Hymn 320 

While  with  ceaseless.     Benevento 260 

With  holy  fear.     Waltham 252 


CHANTS. 

Benedic  anima  mea 357 

Benedictus 35* 

Bonum  est  confiteri 35o 

Cantate  Domino 354 

Deus  misereatur 3o6 

Gloria,  Nos.  1,  2, 3 355 

Gloria,  Nos.  4,5 3o6 

Gloria  in  excelsis 3o3 

Gloria  Patri,  Nog.  1, 2 3o2 

Jubilate  Deo 352 

Single  Chant 356 

Venite,  exultemus  Domino 351 


METRICAL   INDEX. 


L.  M.  Major. 

Addison 63 

Alfreton 39 

All  Saints S3 

Angels  Hymn 28 

Antigua 65 

Appleton 33 

Arnheim 74 

Atlantic 52 

Autumn 83 

Bath 34 

Blendon 38 

Bowen 31 

Brentford 38 

Brewer 37 

Castle  Street 45 

Chapel  Street 46 

Charleston 41 

Chelsea 77 

Clinton 58 

Culworth 76 

Cumberland 35 

Danvers 36 

Dresden 79 

Duke  Street 44 

Dunstan 68 

Effingham 66 

Ellenthovpe 47 

Emsworth 50 

Enfield 71 

Framingham 68 

Georgetown — 73 

Germany 57 

Gilead 357 

Hague , 65 

Hamburg 69 

Hebron 54 

Hingham 85 

Islington 32 

Leyden 27 

Lowell 72 

Luton 42 

Lynn 64 

Marietta 63 

Mayhew 61 

Med  way 47 

Mendon 349 

Monmouth 39 

Monson 82 

Montgomery 76 

Morning  Hyinu 43 

Muii'Ch 81 

Nanlwich 56 

Natick 64 

,  Nazareth , . . .  58 

"New  Ipswich 51 

Vw  Market 43 

\r  Sabbath 73 

^y  Seventh  Psalm  48 

<jekl 59 

odred 25 


Park  Street £2 

Pilesgrove 66 

Pomfrel 85 

Portsmouth 40 

Portugal 29 

Proctor 55 

Putnam 57 

Quito...-. 50 

Ralston 29 

Ramah 214 

Rothwell 40 

Sabaoth 28 

Sandwich 30 

Seasons 34 

Semley 74 

Sharon  .' 54 

Sheffield 70 

Shoel 36 

Slade 75 

Sparta 84 

Springfield 60 

Sterling..   33 

Stonefield 37 

St.  Albans 75 

St.  George's 7] 

St.  Olaves 61 

St.  Patrick's 53 

St  Paul's 51 

St.  Peter's 30 

Summer 83 

Surrey 49 

Tallis'  Evening  Hymn  69 

Timsbury 48 

Trenton 72 

Truro 42 

Upton 35 

Uxbridge 62 

Wakefield 44 

Ward 55 

Warner 60 

Warrington 63 

Waters 67 

Waterville 46 

Wells 62 

Wiltshire 26 

Winchelsea 41 

Winchester,, 31 

Woodbury,,,, 59 

Woodstown .,,.....,.  78 


L.  M,  Minor 

Armley ,,  80 

Darwen , ,  87 

Denton ,  80 

Dresden 79 

Dunbarton ,  89 

Macedonia 84 

Maiden 78 

Middlebury 77 

Munich 81 

Penfield 87 


Hainan 214 

Sunderland 86 

Westbury 86 

Wiltshire 26 

Windham 89 

CM  Major. 

Abington 123 

Abridge 91 

Alborough 136 

Archdale 108 

Arlington 117 

Arundel. 138 

Ashley..., 124 

Baldwin 133 

Barliy 140 

Bedford.No.  1 Ill 

do.     No.  2 Ill 

Berwick 150 

Bethlehem 127 

Billings'  Jordon 143 

Blackburn 157 

Blandford 94 

Bolton 112 

Bowdoin.. 131 

Bradford 146 

Braintree 132 

Brattle  Street 93 

Bridgeport 98 

Broomsgrove.". 98 

Cambridge 101 

Canterbury 136 

Channing 115 

Cheltenham 122 

Chesterfield 141 

Christmas 90 

Clarendon 106 

Clifford ;.  104 

Colchester 130 

Conway 134 

Corinth 133 

Covington 96 

Dedham 138 

Deerfield 114 

Devizes 140 

Dorchester 113 

Dunchurch 99 

Dundee. 119 

Ely 121 

Eastport 110 

Eustis 112 

Farnsworth 109 

Ferry 118 

Franklin 128 

Gainsborough 142 

Great  Milton 126 

Greenfield 170 

Havanna 92 

Haven ]00 

Howards 135 

Irish 106 

Jordon 137 


Jordon,  by  Billings. . . .  143 

Judea 142 

Kendall 94 

Lancsboro' 114 

Litchfield 105 

Liverpool 92 

London 90 

Lutzen 120 

Manchester 144 

Mansfield 102 

Marlow 129 

Mear 125 

Medfield 119 

Medford 113 

Melody 127 

Miller 148 

Newton 100 

New  York 144 

Nottingham. ,_, 97 

Oakland 95 

Ormond 110 

Patmos 160 

Peterborough 117 

Princeton 95 

Rochester 121 

Rye 159 

Saco 149 

Salem 139 

Saxonville 131 

Spencer 120 

Stamford 137 

Stephens 99* 

St.Ann's 130 

St.  David's 105 

St.  James' 102 

St.  John's 109 

St.  Matthew's 116 

St.  Martins 128 

Swanwicfc 97 

Tallis' Chant 132 

Tolland 103 

Tweed 141 

Walney 123 

Wareham 145 

Warsaw ,.,*  146 

Warwick '91 

Westford.. 96 

Westmoreland ,  134 

Winter "... 107 

York,  No.  1 125 

do.  No.  2 125 

C,  M.  Minor. 

Bangor 155 

Bether , 158 

Blackburn 157 

Burford 152 

Cambridge 101 

Chester 156 

Collingham 159 

Cornish 147 

Eastport. 110 


Elgin 150 

Ferry 118 

Funeral  Thought 153 

Grafton 153 

Haarlem 157 

HarHand .jJ58 

JWwards ?135 

Lebanon 154 

Marlow 129 

Miller 148 

Plympton 147 

St.  Austin's 149 

St.  Mary's 154 

Wachusett 156 

Walsall 151 

Wenham 155 

Windsor 152 

Worksop 151 


S.  M.  Major. 

Bethany '.....  166 

Beveridge 168 

Beverly 162 

Bladenburg 165 

Calmar 172 

Clapton 171 

Dover 164 

Eastburn 171 

Fairfield 162 

Froome 163 

Hadley 173 

Haverhill 175 

Hudson....; 163 

Inverness 165 

Linstead 173 

Lisbon 184 

Mornington 176 

Mount  Ephraim 161 

Olmutz 174 

Paddington 177 

Peckham 172 

Pelham 170 

Pentonville 176 

Shirland 169 

Silver  Street 167 

Southfield 178 

St.  Thomas' 174 

Sutton 164 

Thatcher 175 

Thessalia 181 

Utica 168 

Watcltmnn  t 161 

Westminster 177 


S.  M.  Minor. 

Aylesbury, 180 

Bethany..' 166 

Uo.\ford....y 181 

Cflurorl 183 

Dartmouth 178 

Dunbar 180 


Little  Marlboro' 179 

Miletus 160 

Norwalk 184 

Shirland..... 169 

St.  Bride's 179 

Suffield 182 

Yarmouth 183 

L.  M.  6  lines. 

Belville 190 

Brighton..; 187 

Carthage 135 

Eaton 189 

Gloucester 186 

Milan 186 

Morning  Hymn 43 

Palestine 2583 

Zion 188 

L.  P.  M. 

Brooklyn 191 

Martin's  Lane 192 

Newcourt 193' 

St.  Helens 194 


C.  P.  M. 

Aithlone 197 

Columbia 198 

Hobart 199 

Kew..... 196 

Rapture 195 

S.  P.  M. 

Bethel 202 

Dalston 303 

Hawley 201 

Worship 209 

H.  M. 

Acton 205 

Bethesda 211 

Darnell's 213 

Haddam 203 

Harwich 213 

Murray 209 

Newbury  204 

Plainfield 215 

Shaftsbury 210 

St.  Philip's 207 

Triumph 206 

Watertown 208 

Weymouth 912 

~7's. 

Adullum 826 

Alcester 220 

Alsen 220 

Bath  Abbey 224 

Benson 226 

Edyfield 215 

Granby 233 

Hotlimn 216 


Lincoln •,..•.,...  225 

Naples 221 

Norwich...: 218 

Nuremburg 317 

Pilton 221 

Pleyel's  Hymn 225 

Prentiss 217 

Rotterdam 218 

Rutland 223 

Sabbath 222 

Turin 219 

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

Calvary 234 

Greenville 227 

Greece 229 

Helmsley 233 

Jerauld 231 

Messina 228 

Sicilian  Hymn. 337 

Smyrna 230 

Suffolk 233 

Tamworth 231 

Walpole 235 

Westborough 232 

Worthing 228 

8's. 

Goshen , 337 

Spring 336 

Wan  worth 236 


5's  &  6's. 
Devonshire 337 

10's. 

Savannah 338 

Montague 246. 

10's  &  ll's. 

Hamilton 240 

Montague 246 

Walworth 245 

Lyons 247 

St.  Michael's 247 

ii's. 

Portuguese  Hymn 239 

Hinton >...  241 

6's  &  4's. 

Bermondsey 242 

Italian  Hymn.... 243 

8, 3  &  6. 
Auburn 243 

6's  &  10>8 
Malta. 944 

7's  &  6's. 
Amsterdam., 248 


PJPPM  jer 


BOSTON  PUBLIC  LIBRARY 


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