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BEAUTIES OF HARMONY,
CONTAINING
^^^^
JS'EW ^JVD
IMPEOVED FLAX;
COMPOSITION.
INCLUDING,
MUSIC,
EJS'TIRELV JYEff
,
^r
TO TBE WHOLE
ADDED
AN APPENDIX,
CONTAINING EXPLANATIONS OP
IVtUSICAL
TERMS, CHARACTERS,
^*C.
BF FREEMAX LEWIS.
FOURTH EDITION.
PITTSBURGH:
PRlNtED And PUBUSHBD by CRAMER
fe
SPEAR, AT
DISTRICT OF PENNSYLVANIA,
tO
WU:
BE IT REMEMBERED, that on tlie eighteenth day of May, in the thirty -seventh year of the Independence of the United States of America, A. D. 1813, Freeman Lewis and Cramer, Spear ^ Eichbaum, of the said District," have deposited in this office, the title of a book, the right whereof they chiim as proprietors, in the words following, to wit:
of Music on a new and improved plan; inTogether of singing, an explanation of the rules and principles of composition. 7vilh an extensive collection of Sacred Music, consisting of plain tunes, fuges, anthems, &'c. some of which arc entirely nc7V. To the 7chole is added, an Appendix, containing explanations of musical terms,
the Ilmliinents
"
and
selected.
By Freeman Lewis."
In conformity to the act of the Congress of tlie United States, entitled " An act for the encouragement of learning, by securing tiie copies of maps, charts and books, to the authors and proprietors of such copies, during the times therein mentioned," and also an act entitled " An act supplementary to an act entitled ' An act for the encoBragement of learning, by securing the copies of maps, charts and books, to the authors and proprietors of such books, during the time therein mentioned,' and extending the benefits thereof to the arts of designing, engraTing and etching historical and other prints.'"
D,
CALDWELL,
Clerk of the District of Pennsylvania.
PEEFACE.
of following pages appear before the public, in consequence of the frequent inquiries which I have heard made, in difl'erent parts larger collecthe country, for a book which slioukl contain a more correct and full explanation of the rules and principles of vocal music, and a country. If this tion of such tunes as would be both pleasing and iiseful, than is to be found in those books heretofore circulated through this work does in any measure answer such demands, by 'furnishing our churches, societies, singing schools, and individual friends of sacred music, with any thing which they have heretofore sought for without finding, my design in publishing it will be in some measure answered ; it not,
THE
is
obvious."
have thrown my Gamut into a catechetical form ; this was because experience has convinced me, that it is the most A. portion of the Gamut in this method of conveying a knowledge of the Rudiments of Music to the mind of the learner. and proper speedy book is original; but the music is selected from various publications, both European and American, except a few pieces, which were never 1 have inserted a musical variety ; it would have been partial and ungenerous, to have confined the pages to a set printed, until in this work. knowing that scarcely any two will of compositions of one particular style, which might please my own ear, or that of any other individual make the same choice of pieces of music, though written by the same author. I hope every lover of music who sees the book, may find at least one page which will please their taste.
It will appear, that I
;
I have I have inserted a number of old tunes: 1 think them as good as when they were new ; and better than many which are yet new. I have inserted a inserted a number of new tunes; they have peculiarities and beauties which are not to be found in ancient composition. number of fuges and anthems, because, they do (when well performed) express the language to which they are applied, better than any plain tune can do. I have left out many pieces, which it is probable some persons will say ought to have been in the place of some which are in the book; but I had reasons for omitting them. I had collected a number of valuable pieces of music, which will not be found in the following pages, because the expense of the publication does not allow of increasing the size of the bouk without increasiMsAhe price also they may be ^^ hereafter published, if sufiicient encouragement is given.*
Notwithstanding great care has been taken to have the work correct, some errors may have escaped notice; but should any be discovered Without further remarks, 1 commit the bouk to the hands of a candid, they will be particularly attended to before another edition is printed. generous and enlightened public ; they do not expect a perfect work from the hands of man, and will therefore be the proper judges, whether this compilation merits attention or not.
F.
LEWIS.
^r>r-r'vy
PHIwAa.
PA.
WU7
'
[JSTDEX.
Tunai.
Fage.
ColeshiU ? ""a.
27 28
9
30 31
Cookham5
Covvper
Contentnie)|t
52
53 54
Ganges Gethsemane
Gloucester? 5
Greenfield
105
5354 Grove
55
56
Amity
Africa > Albany C
Creation
79 Lisbon 3 80 Majesty
81 Madridi'
Lenox
106
107 108 109
Cumberland Cumberland
Charleston }
Greenwich
New .?
Amsterdam Autumn
Allsaiiits
Handel's Hartford
Hymn
}
8283 Mear
84
85
Chockset
Hampton
Helmsley
Hinsdale 5
Hollis
St.
52 Colchester )
Allsaints Arise, an
New
Anthem
3233 3439
40
41
57 58
59
Humphreys 5
-
Doomsday
Delight
Dcatli's
Huntington
60
Hotham
Isle of
110
111
112
lis
114115
1 1
4243
43
Alarm
}
Heavenly Vision
61
Bunstan
Dalston
Wight ^
-
<|
44
45
Dover
62
Irish
117
Invitation
lis
119
120
121
Denmark
Detroit Eastford Easter Anthem Enlield -
63 CG
67
Jordan
46
47
Judgment
_
Munich
99
-
Namur
48
?
.
Exeter
73
Kingswood
Kittery
-
New
York >
Kiducia )
Communion
49
aO
51
Coronation $ Calvary
""omplaint
Fairfield 5
74
7677
Littleton
Newbury 3 New Hundred > 101 Newingham 3 102103 New Jerusalem 104 Newburgh
100
122
123 124
INDEX.
Newport
125) Paraphrase 126- -129 Pleyel's Hymn
142143
144
145
Saints'
Suffield
Repose
163
Union
>
181
Southwell
Sophronia
Sheffield
164165
166
New
Yorlc
Anthem
Ninety -third?
Ninety-fifth $
130
131
Newcourt >
182
183 184
185
Norway
Norwich
Rapture
Northfield >
5
}
132
Rainbow
Repentance Redemption Rockbridge } Rockingham $
Rochester } Russia 5
New
Silver Street
Waybridge
186
Sabbath
Scotland
172
173 174 175 176 177
Wilderness 5
Northampton 5
Symphon*
Thirty-Third Thirty-Fourth
-
Wareham
Winchester Winchester Winter ?
?
187
188
Kewmark
Ocean
Oporto
-
>
134
Old Hundred $
New J
Omega
Old Fiftieth
Paris
>
Peckham 5
?enitence ? utney j
Pittsburgh
135 136 Rocky Nook 137 Rose of Sharon 138 Savannah ? Sutton 139 Sutton New $
Salisbury
152 Thomaston
189 190
191
Windham
178
179
180
140
141
192193
194
162 Turin
Winwick
=6
THE IlVDIME:yTS
MUSICAL CHARACTERS,
&c.
Jitave.
Brace.
Cliff.
1st
ciiti:
Clift".
2d
G Cliff.
Limar Metre.
or
i
AUesro.
2 from 4
3 to 2
3 from 4
L.M.
Common
Metre.
AUa^io.
1 4
3 Irom 8
6 to 4.
6 from
8.
Single Bar.
^ Double Bar.
Point of Addition.
4
A
Close.
a
S.
M.
Short Metre.
h
A Flat,
b
^
A
Sharp.
ii
A Natural
A
Prisa.
W
Direct.
M.
Staccato.
Proper Metre.
P.
M.
slur.
A Repeat.
:s:
Ledger-line.
Trill,
Hold.
or
tr.
886,886,
Mi Faw
Sol
^-c.
La
Seinibreves.
Minims
Crotchets.
Quavers.
PC
Siemiquavers.
Demisemiquavers.
p:
P P
fE
e:
f ^
E E
E t
Pi:
i^
^ V E kH t ^ ba Ik ^ E
Rest.
S 1 =
PE n U b. t t s F: h-
Rest.
Rest.
Rest.
Rest.
Rest.
iC
S P
OF MUSIC,
A
Question
1.
&c.
7.
stave.
What
stave
is
a stove?
Q.
or the letter
Jldugio,
Answer.
is five
^^
A. That the following piece of music
the first
is
^=^
Q.
2.
What
is
in
Two
A. A Irace shows how many parts of music are performed togetlier.
Bas
Q.
3.
parts.
mood of common time, or a very slow movement, having one semibreve, or its tpiantity, two accents, four beats, (2) and four seconds of time to a measure.
What do you
I
understand by the
whicli
it is
cliff?
j7 *'
Tenc
cliff-? {^)
That the stave upon which it is placed belongs to thp tenor, or second part of niusic.
A.
:^ ^^
'3
azzmi
Counter.
^i.
A. That
it ;
by theC cliff? A. That the stave upon which it is placed belongs to the counter, or third pact of music.
Q.
5.
common
tity,
time
mood
its
of
se-
quan-
:.*-
two accents,
four
beats,
and three
ill
Q. 6.
''^'ff^
.
What do you
understand by the 2d
. .
.
A. That the stave upon which it is placed belongs to tiie treble, or highest part of music.
=
ami
Treble
HI'S
w th
two
is
The
1st
cliffis
is
by some
tion of this
work, it
some
ou the upper
stave.
is
(accented as
THE RUDIMEXTS
Q.
letter
9.
What
is
signitied
by Allegro, or the
Q.
1 1
What do
iaverted?
you understand by S to 2 f
^T
m
0-
A. That
mon
two
it represents the third mood of comtime, having a semibreve (or its quantity) accents, two beats, and two seconds of time
A. Tliat it signifies tlie first mood of triple time, having three iiiinims, or their quantity,
to a measure.
^^M
1
one (4) accent (commonly) three beats, three seconds of time to a measure.
^;
and
li^
Q. 12.
Q. 10.
_^"
What
tlo
four?
^'
^1
X*
il
4?
4-
II
^ ^
A. The fourth mood, of common <f me, having a minim, or its quantity, one accent, two beats, and a second and a half ol' time to a measure.
1
fc
A. The second vwod of triple time, having three crotchets, or tlieir cjuantity, three beats, one accent, and one and a half seconds of time to a measure.
"3!
d ^ i
\
n-T
\
full
(4) When the measure contains three minims or three equal parts, there is usually a accent on the first, and a halt" accent on the third part See Lessone for Tuning the
Voice.
OF MUSIC,
Q. 13.
i^c.
What
is signified
by 3 from
8 ?
&Et:=t
S
A. The third mood of
triple time, having
IS
ing six quavers, or their equivalent, two accents, two beats and one second of time to a measure. JSTote Some allow one and a half seconds Of time.
5S
[--f3
h:
isW^
Q. 16.
What
three quavers, or their quantity, three beats, one accent, and three-fourths of a second of time to a measure. JVote This mood is easier performed with one beat to each measure, down with the first and up for the second.
A. One
semibreve is equal in time to 2 minims
Q. 14.
What is
signified
by 6
to
m mmm
5 4
i
Eii=:g
A. The^rstmood of compoMJifi timejliaving six crotchets, or their equivalent, two accents, two beats, and tM;o secojirfs of time to a measure.
n?^
t
4 crotchets
^
W.-1
8 qUAfers
16 semiquavers,or 32 demisemiquavers,
Q.
15.
What is
signified
by 6 from 8:
inthesamelCtfitCSS': mood of
time.
ai
^-
three
Each one of the above staves is equal to a measure, in one of thcfirst moods of com-raon time, filled with its proper quantity.
10
Q. 17. AVliat called resfs ?
is
THE ItULIMEJ^TS
signified
hy the characters
silent
^ secnnds.
A. Each rest signifies or requires silence, or a cessation of tounil in the jiiace where it stands, during the same space of time that is required to perlbrm the note after which it is called, in the same mood of time.
the use of a s/no-Zp Jor? A. A single bar divides the stave into equal parts, or portions of time.
What is the use of a natural? A. A natural placed upon a line or space which has been flatted or sharped, restores the notes thereof to their primitive sound or deQ. 23.
gree.
l^iE^^
Q. 18.
What
is
Q. 24. What is the use of a direct? A. A direct is placed at the end of a stave, upon the same line or space where the first note will be found in the followin" stave.
Si lisHi
i.
Q. 19. Wliat is the use of a double bar? A. A double bar shos wliere a strain ends, vliicli is to be icpeated. Q. 20. What is the use of a close? A. A close shows where the tune ends. Q. 21. "What is i'ne use A. A fiat being placed sinks the degree thereof a Q. '2J. Wliat is tlie use
oi aflat? (.i) on a line or space, seiuitone lower, &,c. of a skarp? (6) A. A sliaip sot upon a line or space, raises the degree tlicreof a halftone.
Q. 25.
.^
iZt
A. A point is considered as adding to the note which it follows, half its usual length of time.
Q. 26.
What
is
signified
by & staeeato?
A. A staccato signifies that the notes over which it i.s placed, should be pronounced more
distinctly than the other notes in the tune.
(5) Accidental
or sliarpa, sUtiougli they alter the sound, do not cliange t!te name they aj"e placed, except the key note is removed, in uhich rr.oi e i)tMCed in each stave in the same measure. Accidental tlats or shar^^s are suali as are uot at tiie cUff. (6)
fl;*ts
v.liich
Q. 27.
What
is
A.
slur
OF MUSIC,
number
ble.
&c.
What
is
ii
--
one sylla-
-r
the use of a repeat? repeat shows that the tune must be A. again perforinecl or sung from the note before ^vhich it is placed, to the end of the next double bar or close. (7)
is
Q. 28.
What
i sail
is:
Q. 32.
A. A hold requires the note or word over which it is placed, to be sounded somewhat longer than its usual time without one (9)
a=3
IggS
rise rise
Q. 29.
What
Q. 33. What is signified by the figure 3 placed over or under three notes ?
is signified
by a prisa?
preceding word, or sentence, must be sung to the note or notes under which it is set.
It
A.
A. It signifies that tiiese three notes must be performed in the usual time of two of the same kind without such figure.
Q. 34. What is signified by the figures 1 2 at a double bar or close following a repeat A. They signify that the note or notes un.'
rise
Q. 30. What is the use of a ledger line? A. ledger line shows the degree of notes which are beyond the compass of the stave, either above or below. (8)
der
sun^ the first time, and those I must be under 2 the second time ; but when tied with a slur, both are tg be sung the second time.
Q. 35. What is signified by DaCapo, orD.C? A. It sliows from whence the performer must return back, and repeat the first strain.
(10)
(9) M.iny authors use this character without specifying what time it commands: therefore, as it has been discretional heretofore, let us, to avoid confusion, aay, continue 5-4lhs usual time. the sound I 4th lunger (10) D.i Capo signifies nuich the same as a repeat, or as the figures 1 2 at the end of none of whicli are placed, except some notes or words are to be twice played a strain
What is signified by a trill? A. A trill, or tr. signifies that the note over which it is placed should be lightly warbled,
Q- 31.
like a soft roll.
C.
i^H
repeated, should be performed about one-fourtti quitkei'tlie second time than the first ; and in sharp keyed tunes, somewhat louder. (8) Notes above the stave are called " notes in alt," -ixA those which are below are called " dotibles," as double D, double F, 8jc.
is
(7)
That part of
a piece
which
or sung.
i
Q. 36. How many souncts properly belong te one key note ? A. Seven; or jive tones and two semitones.
THE RUBIMEIN'TS
A B CDE F G
.^1
A.
E
F
first
or lowest line
-
F-
* -A-i-___.
I
-rr
,1
space
E
DB-
2 3 4
A
B
C
2d 2d 2d
J^Tote.
second line
-
space
line
7
Q. ST. sented ?
third
-
By what
6 5
space
D
C
D
E F
4
3
G-
line
E-
A. By the seven
first letters
of the alphabet.
2
1
A
G
space above
or in alt, &c.
Q. 38. How ar the lines and spaces of the bass stave represented, or distinguished by tlic
letters.
The
natural place.
See plate
1st.
A.
first
or lowest line
A
B C
first Sjjace
D E
3d
Q. 40. How do the letters stand upon the counter stave A. F stands on the first, or lowest line GG space : Esecond line B space
.''
A
C
D
B
_ 1 1 1
1
. -
space
space or upper line
third
1
1
line
C-
fourth line
-
D
A
2(1
space
fourth
fifth
2d
G A
fifth,
E F
line
A-
space
line.
G
F-
2dG
Q. 41.
rising or falling
Q. 39.
lines
How do tlie ieUers stand upon the and spaces of tiic tenor and treble? (11)
nrjil
i'c-pi-cstnl.c(l
the notes HflHied in singing as they move, either tlie stave ? A. 1. When the place of the me [see plate 1st] is found, then all the notes upon the next degree (unless the key changes, HiC.) whether line or space, are called fan- ; all upon the second, sol ; all
How are
upon
T.,\
'
/-
-il^^
TabJe Lorth*:
tlifret-f^TK-ii s
l>et''''e
en
Ker.
tkf.
'Keys
f^-
rtatKiy
^
"
i
h.
v*
I
Nr
4:^
i-^
Tht
wiinlrt
Sc ?le
fc
the
f
-^
>
^_
OF MUSIC,
upon the </iir(i, law, all upon ihe fourth, faw ; all upon the ^//A, sol; and all upon the sioeth, above me, law ; then upon the seventh, comes me again. 2. Below me is just the reverse, or twice laic, sol,
fait; &c.
l^c.
13
or
Q. 47. What is time in luusicA. It is a regular and true division of ihe music into proper and regular portions of notes and rests, words, accents, beats, &c. by cutting the whole piece into small measures, (15) containing equal quantities tliereof.
Diamond headed
Triangular notes
Circular notes
notes are
Me
Faw
Sol
is:
Square notes
Q. A. Q. A. Q.
42.
Law
.''
(13)
P P
a conchord in music } an agreement or union of seunds, or two or more sounds or intervals at such particular distiincc from each other (according to
Q. 48.
What is
A.
It is
their respective or relative number of vibrations) (16) as being struck at one time, will seem to unite together and be agreeable to the ear.
What
is
Music
43.
44.
;
is iiiMsic ? (14) that part of sound most pleasing to the ear. many kinds of music are there
Q. 49.
What
or
is
dischord in music
A.
other,
Two
more sounds or degrees, at such distance from each as being struck at one time, will be rough, grating and disa-
and instrumental. What is the difference between vocal music and instru-
mental music ? A. Vocal music is that which is composed for and performed by the voice ; but instrumental music is sucli as is composed for, or played upon some kind of instrument. Q. 45. What are the principal pro^jerties of music? A. Tune, time and conchord. Q. 46. What is tune A. A movement between acuteness and gravity, or high and low sounds.
.'
greeable to the ear. Q. 50. Wliich intervals or degrees arc called perfect chords? A. The unisons, fifths, and eighths. Q. 5 1. Which intervals or degrees are called imjjerfect (\7) chords? A. Thirds, sharp fourths, flat fiftlis, and sixths. Q. 52. Wiiich intervals are called dischords? A. Seconds, flat fourths, sevenths, ninths, &c.
portions (15) In most of the music books wliicli I have seen, it is improperly said, such are in a bar ;' at tlie same time ' a bar' is only a line of division, and in fact contains
nothing.
f^
When (13) The notes are pronounced asspelleil above, instead of fa, so, la, mi, &c Ihe learner has committed to memory tlic pi-eceding questions and answers, he may be attending to exercised upon the Lessons for I'uning the voice, and on some plain tunes the following as time will permit. (14) It may appear to some, that these questions should have been the first in the book i but I chose to put lliose fint whieh should be first neded by the learner.
;
distance between intervals is reckoned accordmg to then- difference m semievident that the air is the medium by wliich sounds are conveyed to the organ of hearing, and the acuteness or gravity of a sound depends entirely upon the number of vibrations conveyed. The greater thiiil is near a perfect chord. (17) See the table of chords ami dischords.
(16)
The
It is
tones.
14
THE RUDIMEXTS
may those degrees extend ? vocal music, (^whicli is the ordinary compass of the voice) or about 30 degrees for instrumental music. Q. 60. How many whole, and half tones are there in the scale of 22 degrees.' A. There are 16 whole tones and 6 half tones, or in all 38 semitones Q. 61. How are the 22 degrees written, to discover their places through the whole scale ? A. Upon eleven lines and their intermediate spaces; or Jive lines and four spaces for each part or octave (19) [See plate 1st.] Q. 62. How is music naturally divided ? A. Into melody and harmony.
Q. 59. A. To
far
22 for
Q. 53. Are (here any iliscliorils allowed in composition ? A. As one of the most difficult parts of composition, is that of introducing occasionally a ilischord, in such place, and manner, as to show more plainly and fully the power and beauti/ of music; therefore, there should be but few dischords allowed," and those few followed by perfect chords.
are the degrees, as 5d, 6th, 7th, &c. discovered key note, which call one, the next line or space fwo, then t/tree, &c. to the other key note, which will be the eighth from the key whence you proceeded.
54.
.'
How
How
A. Begin
at the
Q. 55.
What
is
signified by a
\vTien sharp,
sharp fourth, nflat fourth, &c. is a semitone higher than the same
A.
ear.
drum
or organ of the
Q. 57. By what is sound formed ? A. Any thing ( 8) which puts the air
1
in
cause a miirmur, or kind of sound. Q. 58. How are sounds to be disposed of, that they may become agreeable or musical ? A. By modulating or confining them to proper limits and degrees.
Q. 63. What is melody A. Melody is the agreeable effect which arises from 9in;/ sounds, or one part of music only. Q. 64. What is harmony A. Harmony is the pleasing union of several sounds at the same time, or several parts of music together. Q. 65. What are the several parts of music called when composed
.=" .*
together
.'
(18) When the air is put in raotinn l>y any poy.-er, it is supposed to move in every direction for liberty to rest, or cesse iVom moving, :is water will when any heavy body is cast into it ; and supposing the air to be composed ol'an infinite number ol'small particles,
A. The counter parts, or contrary parts. Q. 66. Are there any more than the/oz(r common or counter parts of music ? A. Yes, such as medeus, cantits and low counter; but they are all included in what is called the counterparts.
be acconling
in aptalion, the degrees of acutencss or gravity of the sound thereb> constituted, will to the number ofthose particles I'orceil into contact with any sohd body over which they pass in acertain space of time. Thus, ifa strina; strikes lOOO'of those particles in one seconil, we denominate the sound thereof twice as high or sliaip as when it strikes 300 in one SLcond.
then
(19)
The whole
it is
own key
note,
by
which
governed.
OF MUSIC,
Q. 67. What is medeus? A. A meileus is the treble stave, or part, performed an octave below its proper pitch, or the treble part sung by a maw's voice. Q. 68. \\\\a.t is cantus? A. Cantiis is the tenor stave, or part, performed an octave above its proper pitch, or the tenor jiart sung by a woman's voice. Q. 69. \\ hat is loiv counter? A. Low counter is the common counter stave performed an octave below its proper pitch. Q. 70. What is signified by an octave? A. Every key note, or every eighth note above or below any other,
is its octave. Q. 71. To
(Jc.
IS
long
A. The _/irst key, or lowest octave, to the ftflss stave ; the second to the tenor ; the third to the treble, or upper part ; the counter claims both second and third, but most commonly the third only. Q. 72. What voices are most suitable to each particular octave? A. The lowest voices of men to the bass; the /((g'/fcst voices of vien to the tenor; the voices of boi/s and the lowest voices of women to the counter ; and the highest voices o( women to the treble. Q. 73. What number of voices should there be upon each part, to make a just proportion of sounds, or good harmony f A. The number of voices proper for each part depends much upon the disposition of the tune, and the strengtii of the voices; but the common ratio is tltree bass, one tenor, one counter &x\<\ two treble ; and in the same proportion for any greater number. (20)
the use of a cliff? the same as key, or key note; it serves for opening to, and shov\iiig tiie particular pifcA of the part or stave which it stands upon, or to which octave such stave belongs ; also which letters and degrees belong to each line and space thereof. Q. 75. Which degrees of the general scale do the cliffs usually represent? (21) A. The F cliff represents the 7th or 4th line of Jass, 2" The first cliff 8 tenor. The C cliff 1 3 counter, The second cliff 15 2 treble. Q. 7&. What is the signification or use of a key note? A. A key note is the leading and governing tone of each octave; it commands and explains all the other notes : upon the key note the tune is usually pitched, and by it ruled in its movement. Q. 77. How many kinds of key notes are there? A. Two ; tUsJlai key and sharp key. (22) Q. 78. What are the principal distinctions between the flat and sharp keys ? A. 1st. The flat keyed tunes arc of a mournful air, and expressive of sorrow; but the sharp keyed tunes are cheerful, and expressive of joy, &c. 2d Some particular degrees above the fiat key note, contain a less number of semitones than the same degree above a sharp key note; (23) thus the 3d, Cth and 7th degrees above the flat key note tOitain a semitone less in distance from the key than the
Q. 74.
What
is
A.
(20)
iBony.
It
frequently
(Note
is so, tliat 5 bass, 3 teiior, 2 counter and 7, also 1st page of observations, and obs. 19.)
table 2(1, kc. (21) Sre plate 1st (22) The bass always ends on the key note, whether it be a flat or sharp key note being the pliice of the flat, ami C that of the shirj) key note, me be?ig althe letter wavsupon B. [See 88, -ilso plate 1st .and 2iid J 1st, table 1st. Sec plate (23)
;
1(5
THE nUMMEA^TS
called the master note ? always in the centre of the tune between the tw keys, being the only note or syllable which does not occur tu>ice in
flat
od, 6th and 7th above the sharp key do from their key. Sd. The key note is always called law, but the sharp key note is called
Q. 82.
Why
is
me
A. Because
it is
"Taw, &c. Q. 79. Have the two keys any other names to distinguish them except ' flat" and " sliarpr'' A. Yes ; the flat key is often called the low key, the mmor key, &,c. ; and the sharp key is called the high key, the majur key, &c. Q. 80. Upon which of the two keys are the best pieces of music
the
same octave.
composed ? A. Perhaps neither of the keys are in reality superior to the other there are botii good and bad pieces belonging to each of them, but it is likely there are more people fond of the Jlat keyed tunes than of
the sharp. (24)
me stand before transposition takes place ? A. Upon the Sd, 10th and 17th. See plate 1st and 2d. Q. 84. What is transposition/ A. Transposition is the removing or changing the place of the key note, for the purpose of confining the tune within the limits of the
scale.
Q. 85. A. By
the scale.
By what
flats
are the keys transposed ? and sharps placed at the clitf, or upon each stave across
Q. 81. What is the best rule to distinguish between a good and a bad piece of music ? A. The first thing in music which commands the attention, is tune; the second, time : and the third, conchord. (25) Although no piece of music can properly be called good or great, unless these particulars are completely commanded in the composition, yet we sometimes denominate a piece " good," or admire the tune, which is void of any tiling pleasing except a few curious turns of the air, according as it agrees with the ear at first; therefore, to distinguish good from bad pieces, let us say, that piece which best expresses the true meaning and intent of the words to which ii is set, is ihe best PIKOB.
Q. 86. How far does a flat or sharp remove the key or the me? (26) A. A flat drives B jne a 4th up or a 5th down, but a sharp draws B a 5th up or a 4th down ; the sharp key still keeping above, and the flat below. Q. 87. Why is a flat said to drive, and a sharp to draw B me, &c. ? A. Because flats are placed upon the same degree (line or space) wiiere me is. and removes it a 4th or a 5th from that to some other place, therefore they are said to drive B ; but sharps being placed upon some other degree, remove B a 4th or 5th from where it was (27) to tlie place where the last sharp was placed, therefore they are said to draw B me, &c. Q. 88. Are there no other degrees than A and C for the keys and
B
pieces set upon the sharp key, v^hich are very solemn and majeatic, anA aie perhaps superior to any which are very mournful or very cheerful ; of such is Melodia, and some others of this collection. (25) This may be seen io the difi'erence of clioice made by a tesmer and one well sldlU
('2i)
for
me which
will
do as well as these
<^
ia
music
Transposition is fully explained and mathematically proved on plate 2. (i?) Hence it is said that " flats tnke place where me was before added," and tke place where me is qitien added."
('26)
" sharp?
OF MUSIC,
A. The degrees inight have been represented by any other
cliar-
iJ'c.
17
acters, but there are no other than the natural place of those letters, before transposition, that ^vould do as well; and wlien transposition takes place, or is necessary, the keys or rather the ie may be placed
upon any otiier degree of its octave which may best suit the air of the tune; and as the me removes, its letter B is considered as moving with it (to preserve a uniform representation of the same note by tlie same letter) being preceded or followed by all the letters of the scale, so that A and C are still the places of the keys, though on other degrees of the general scale. (28) Q. 89. How far maj- transposition remove or cliange the place of B, or of the key notes ? removes, T by flats A. About an octave, or 14 semitones, being and 7 by sharps, or until all the degrees have been flatted or sharped. S(^>j plates 1st and 2d. Q. 90. What is the difference after three flats or three sharps (29) are placed, as it appears that B must then come again upon the same line or space where it has been once before ? A. The difference is a semitone ; therefore, if a piece of music is set a little too high on the scale, place so many flats as will bring me on the natural place of the same letter, line or space, (unless it was set there by flats before, in which case place so many sharps as will bring it a line or space lower) and it will move a semitone lower in every degree ; and the reverse, by placing sharps when it is too low.
might not ?; fHPS be composed with mc on the naQ. 91. tural place of B, between the first and second keys (31) without fiats or sharps, or revolving keys, and all tlie notes stand the same as in a natural tunc A. 1. Because, as the scale of music contains but 22 decrees, and the air of tlie tunes (especially the part first composed) being as one calls it " a flight of fancy," will exactly agree -with tlie frame or disposition of the author's mind while composing it; it will have a par.'
Why
ticular pitch of its own, upon which it will move more smooth and agreeable to the ear than it will upon any other degree upon which it ean be placed in the whole scale; therefore it must be set to sucli a It will there (and there only) bring the key to govern tlie degree. rest of the notes, and bring the parts to harmonize together nearer to
perfect symmetri/ than upon any other by which it is compared, whether it be higher or lower; the flats anil sharps being considered as characters, showing when and where transposition takes place. 2. The semitones always lying between law and faw, and 7iip and faw, (or immediately below the triangular or half note) the tune must be so placed, that the notes may be on such degrees as will command the semitones in their places without altering the pitch intended by the author, and so that a number ol voices, or voices and instru-
(30)
may harmonize together in every whole and halftone through the scale. (Se) Q. 92. How may it be known whether a piece of music is or is not set upon its jiroper pitch, or the key note rightly placed ?
ments,
the fii-st and ssMioail keys, the places of C and A before tranqiosilion, or on &c. degree*. keys, (S'2) A person may he oonrinced tliat all tunes eannot be set on the 1st or 2ni by singing or pla) ing a piece with 1 or S Hals or sharps to the same pitch .13 a natur;\^-, tUBe; i.e. 9, II, ^o. and uaising tile notes 83 tbef staatf.
(31)
The
9th, lllh,
(28) This is plainly seen on plate 2(1. (jy) There are seldom more than 4 fiats or sharps Used at the cliff at one time. {so) See plate 9A, with its explanations.
18
THE RUDIMEJ^TS
to a
A. By applying it to different degrees, or pitches in both notes and words, and if it is rightly set, it will move more smooth and agreeable to the ear. and the imperfect chords will seem to unite more like [.erfect chords, than upon any other pitch or degree where it is tried but if it is easier performed, or moves more agreeable upon any other pitch, it is icrnng set, and ought to be altered or removed to such
place as will carry it \\ith tlie best proportion. (33) Q. 93. How mav the true place of the key note be found (34) and tlie note, tf a tune be written in such a manner as to command the air and agree witii every interval thereof, when the air of the piece only is known A. 1st. Find (by Q. 91) the exact degree wliich suits the note. 2d. Observe how many semitones are contained in each particular interval, [see Q 78,"als plate 1st] or whether it is a flat or a sharp key. 3(1. Draw out the gauge of the pitch-pipe until it will give the exact sound of the key note before found, and it will sliow the letter whose natural place- on the scale must be the place of such key note. (35) 4th. Place so many ilats or sharp-; as will bring the me either above or below, as the key may require, after which the other notes are easily pl-.ced, being careful frequently to compare their sounds as you proceed with the air of the tune. Q. 94. What is the best rule for accenting the notes in singing? A. The three first moods of common time have Hsually two accents
.'
parts, as crotchets,
accent is on the first part or crotchet, the second on the third part, &c. ; the fourth mood of common time has a full accent on the first, and a half accent on the second part of the measure; the triple moods have a full accent on the first, and commonly a half accent on the third part of the measure ; the compound moods are accented on the first and fourth parts of the measure. The foregoing are the common rules for accenting, but they are often exceptionable therefore, the best general rule for accenting is, to place the accents on such note or notes as are applied to properly accented or emphaticThe music should comply with the meaning al woi'ds or syllables. of the U'ords, not the language to the stiff formality of sol-fawing. Q. 95. How many moods of time are there } A. There are but nine now in common use, viz.. four of common time; three of triple time ; am] two of compound time ; so denominated and disposed, on account of the several rules of accenting poetry, to which they are applied. Q. 96. What is the signification of the figures which are placed to the moeds of time } A. The lower figure (37) shows how many parts the seroibreve is divided into, and the upper figure hew many of those parts fill a
&c. the
measure
Q. 97.
in that particular
A.
By
mood of time. the best method of keeping time while singing.' a regular vertical motion of the right hand. (38)
What
is
(33) See Question SOtli, kc. I short of practice and experience will convince a person liow (34) P.ih:iiK nothing rnucheasitr anil better a tune is performed upon a right, llian upon a wrong pilch, though Uul a semitone higher or lower than the other. one must be flatted or the other ( j5) It the Rai'.^e sUtiids hetween two letters, the sharped, aceoiilig to plate al, to bring the kej- upon tlie exact semitone.
_
;
The second accents are weak, and scarcely discernible in quick time. (37) Thus it may be seen tliat the first mood t>f uiple time contains three minims or three halves of a semibreve the first of compound time, six crotchets, or six-foui ths of a semibi-eve, &c. &c. and a (38) The hand should fall at the beginning of every measure in vocal music small motion is sufficient for any one, except a teacher or leader.
(.16)
; ;
OF MUSIC,
The following
table exhibits the length of a string
e^c.
19
suspending a ball or pendulum, which will vibrate in the time allowed to each mood of time.
TABLE.
Adagio
^
J2
Largo
22 and one-tenth
do.
do.
Allegro
39 and two-tenths
9 and eight-tenths
for one-half
do.
do. do.
2 from 4
3
to
do. do.
do.
for a
39 and two-tenths
3 from 4
3
22 and one-twelfth
50 and two-tenths
do. do.
do. do.
from 8
to
whole
6 from 8
a wliole
The above
Perhaps
it
first
learning a tune, to have the pendulum somewhat longer than above stated.
20
Q. 98.
THE RIVIMEXTS,
WUat
is
1.
^c.
the ilifference between sjneope and syncopation ? something contracted or suddenly leniovcd, &c. In music it is when a note is found set out of its usual order, and tequiring the accent to be upon it, as though it was in the usual place of the accent; as common time measures having half their proper quantity in tlie middle oftiie measure, as a minim in the middle, between two crotchets, or a pointed minim and one crotchet, the crotchet being first. In such case, there is one accent only to a measure, on such minim. 2. Syncopation is a note or sound continued by a point, or other notes on tlie same degree, tied by a slur; sometimes continued through the bar into tlie next measure, in which case, such note or notes are named as if there was but one, and the sound continued in time until the slur (if any) breaks, swelling a little at the usual place of the accent.
A.
Sjncopc
signifies
2d.
3d.
4th.
5th.
mMmmw^MmmmsiMmmMi^^mMi
Eg. 6th.
rth.
8th.
iiiiiiiii?lisiiiiglSiSiiilSS
EXA3IPLES IN SYNCOPATION,
Eg.
1st.
I I
I 1
fid.
_!
SliiiHsi^ifeliiiiSlili
character shows the usual place of the accent in sucli cases. iniglit be mure examples given, but it is probable these, with the explanations above iNutes ot syncopation are by some called " driving notes,"
i
The
There
give,)), will
be
suffi.cicnt.
GEXEBAL OBSERFATIOXS,
Obs. I. CaiL should be taken Liiat all the parts (when singing together) begin upon It' ihey are too hi.:^Ii, uifiU-ukv iu the perforniance. and perliaps their i>roper pilch. it too loSv, dutness and languor. If the pai-ts are dischords, will he the eonsequence ; not united b_v their corresponding dei;rees, Ihe whole piece may he run into confusion and jargon before it ends, and perhaps the wlmlc occasioned by an error in the pilch of one or more of tlie parts, of only one semitone. 2. Eacli one should sing so soft, as not to drown the teachei-'s voice ; and each part so If the teacher's voice cannot soft, as will permit llie otlter parts lo be distinctly heard.
|
^c.
21
10. Tlie common method of beating liie two lirst moods of common time is as follows: for the first beat, bring ilown the end of the fingers to whatever is used for heating upon ; for the second, bring doi\n the heel of tlie hand ; for the third, raise the hand a few inches ; and for tlie fourth, raise the hand up nearly as high as the thoulder, in
be heard it cannot be imitated ; and if the singei-s of any one part are so loud that they eantiot liear the otiier \iarts, because of their own noise, the parts are surely not rightly proportioned, and ought to he altered. 3. The bass should be sounded full and bold, the tenor i-egular and distinct, the counter Clear and plain, and the treble soft and mild, but not n^int. The teitor and treble raay consider the Gt man flute, tite sound of wliich they may endeavor to imitate, if they wish to improve the voice. 4. The high notes, (juick notes and slvtrreil notes of each part, should be performed softer than the low notes, long notes, and single iiotes of the same parts. 5. Learners should sing all p.irts somewhat softer than their leaders do, as it tends to cultivate the voice, and gives an opportunity of following in a piece with which they are not well acquaintetl but a good voice may soon be much injured by singing too loud. 6. All the notes inchided by one slur, should h..- sung at one breath, if possible. 7. All notes (except some in syncopation) should be fairly articulated, and ii; applying the words, great care should be taken tliat they be properly pronounced, and not torn to pieces between the teeth. Let the mouth be freely opeiu-d and the sound come U'om the lungs, (39) and not be entirely foi nied where they should he only distinguished, viz. on the end of the tongue. The supei-iority of vocal to instrumental music is, that while one oidy pleases the ear, the other infoi ms the underetanding. 8. When notes of the tenor fall below those of the bass in sound, the tenor should he sounded full and strong, and the bass soft. 9. There are hut few long notes in any tune, hut what might he swelled with pi-opriecy. The swell is one of the greatest ornaments to vocal music, if rightly performed. All long notes of the bass should he swelled, if the other partsare singing short or (piick notes at tlie same time. The swell should he struck plain upon the first part of the note, increase to the middle, and thqi decrease or die away like the sound of a bell.
:
readiness for tlie ne\t measure. For the triple time mood, let the two first be the same as the two first of common time and for the third, raise the hand a little higher than for the third beat of common time, when it will he in readiness for the next measure. Kor the third and fourth moods of common time, anil the two moods of compound time, there is just one motion down and one up for each mea.sure, with this difference; lor the common time moods, there is no resting for ihe hand ; hut in compound time, the resting is double the length of the motion, ii'ce page 25. 11. Learners should beat by a iiendulum,or by counting seconds, until they can beat regular time, before they attempt to beat and sing both at once ; because it perplexes them to heat, name, and lime tlie notes all at once, until they have acijuired a knowledge of each by itself. 1-3. AVhile first learning a tune, it may be sung somewliat slower than the mood of time requires, until the notes can be named, aud truly sounded witliout looking on the book. It is bettei1.3. Some teachers are in the habit of singing too long with their pupils. to sing but G 01- 8 tunes at one lime, and inform the learners concerning the nature and and conperformed sliould he which they manner in disposition of the iiieces, and the than to skim over 40 or 50 in one evening, and tinue at them until they are umlerstood at the end of a fjuai ter of schooling jierhaps few besides the teacher know a fiat keyed what part of the anthems. Sec. require emphasis or piece from a sliarp keved one how to give the i.ilch of any tune which they have been learning, unless some person informs them. It is easy to naniL- the notes of a piece, but it requires attention and prac; ; ; ;
(39) The orq-an of a mmi's Toice for the hin'ffsj is inform soniewhat Hhf a tube, about one foitrtli of an inch-in iliameter, and possesses poti/ev sv^cient to divide a note or tone of nimic into 100 equal pam.
(40) Jl cold or coiijfh, all kinds of sfiiriluous Utjuors, violent exercise, bile upon the stomach, lunjf fastinij-, the veins overcharged -with impure blood, &c. (jfc. are defrequent use of structive to the voice of one -who is much in tlie practice of singing. spirituous liquors -.oil/ speedih/ rain the best voice. elixer such as cider, drink, purified some acid .5 frer/iiem use of vitriol of (41) with imtsi; vinegar, &c'. if used sparingly, are strengthening to the lungs,
23
16. Leai-ners
GEXEBM
;
:
OBSERKiTIOXS,
6?c.
are apt to give the first note, where a fuge begins nearly double the It ought to have ; sounding a crotchet almost as long as a minim, in any other part of the tune which puts the parts in confusion, by losing time wht'i-eas fuges ought to be moveil oft' lively, the time decreasing (or the notes sung (luickei) and the sound increasing as the parts fall in. (4i) 1 7. When notes occur one direcljy above the other (called choosing notes) and there are sf veral singers to the part where they are, let two sing the lower note while one does the upper note, and in the same proportion for any other number. 18. Flat keyed tunes should be sung softer than sharp keved ones, and may be proportioned with a lighter bass (43) but for sharp keyed tunes, let the bass be full and
time
learner a more complete knowledge of the tune, than can be had by confining it always to the same set of words. (45) 24. Young singers should not join in concert, until each can sing their own part correctly.
strong. (44)
Thirds should not be (rilled or turned, lest they become si-conds or dischords (though some authors do not confine their compositions to these rules) nor fifths and eighths move together ascending or descending, lest the pans seem but one.
lU.
-^
I"
2r
^^ ^
^"'l
t''^
second accent
is
in
common
in fjuick
some
21. Leamei-s should not be confined too long to " the part which suits their voice best," but should try occasionally the different parts, as it will tend greatly to improve the voice, and give the person a knowledge of the connection of the counterparts or of harmony as well as melody. 2-2. Learners should understand the tunes well by note, before they attempt to sing them to verses of poetry. 23. If different verses are applied to a piece of music while learning, it will give the
25. There should not be any noise indulged while singing (e.xcept the music) as if destroys entirely the beauty of harmony, and renders the performance (especially to learners) very difficult; and if it is designedly promoted, is nothing less than a proof of disrespect in the singers, to the exercise, to themselves who occasion it, and to the Author of our existence. 26. When the key is transposed, there are flats or sharps placed upon each stave ; and when the mood of time changes, the requisite character is placed on the stave. 27. 15, E and are nalurally sharp sounds, and are therefore first flatted, and as F, C and are naturally flat soimds, they are the first sharprd. 28. The appogiatiira is placed in some tunes it may be used with propriety by a goo-l voice, hut neither it nor the trill should be attempted bv any one, U''til they can perform the tune well by plain notes, (as this adds nothing to the time ) Indeed no one can add much to the beauty of a piece by using what are cidled '* graces," unless they be in a manner natural to their voice. 29. There are other characters sometimes used by some authors, as a shake, a relish, &c. but I have reasons for omitting them in this place. .SO. All * affu'Ctation" should be b:inished. It is disgusting in the performance of sacred music, and contrary to that solemnity which should accompany an exercise so near akin to that which will through all eternity engage the attention of those who walk in ** climes of bliss." 3t. Jehovah, who implanted in our natures the noble faculty of vocal performance, is jealous ofthe use to which we apply our talents in that particular, lest we exercise them in a way which does not tend to glorify His name.
And likevfise
to
tendency
piece."
remove
t/ie
by upphnnir different tunes to t/te sajyie -worch. tviU have a great embarrassment created by considering every short time a " Mt
C^c.
33
++
+
.
+ o
+1+1 r>o^^+'+'+'+'+'+'+'+''i
11
liill^ilil^iiliiliiiSiiiiiiiiiiS^li^
2.
+ + l+l....
1
+I-+I
t:
+1
+_l
l....i.v.
+1
iiiigiS^
3 continued.
igsi^m^iii:iisiiio
+
1
i^iiiiii^iiiiiiiEgiiiiii^iiiiiJii
_+
-0I
:EEEF=F:]
+1
+1
liiiiyiiiiiiila^iiililiij^lS!
The
bass
may
siog the same stave one octave below the tenor, or two below the treble.
24
+
3C3::
+ tt- -^-^
i3=
.-dt
i-tSiill^
+ +
continued.
itliliPiiiiiiili^Sii^ii^Miii^iis
+
+
,
iaiiiii|igjggf^frf
fm#1^p^iiig:g|i^^^
+ + + +
1+1
1+
I+I+ 1+ i+t
4-+
~^^
+_ +
++ +++^^
iSiF^^
INTEKVALS.
Note.
'
25
secontrtsper
zE=:a:z:iprZKlfEaa:3iJ
d d
measui-
u u
d d u u
d d
oe
tp
o
q
CO
to
2. 3
S--^
(J
u u
d d
ti
d d u u
to
c*
d u
K*
=1.
;
Q.
^ D
=
"S
a
3
>
4.
1
1-2
s
3
s-
?i
1?
e o
r
ft
d
5.
o
Semitones
1
a
2
3
a
6.
I
a
d
li
ii
1-2
^iSigiii
Intei'valsor
r-*7.
i^du
S-i
ddu
u d
r
ddu
= 3
u
2d.
is
3d.
4th.
degrees.
This
may be
d 3
d
^^^jl^:ip33|333J^
12
16,
1. semibrffve rest is considerA'ote. ed as equal to a siteiU measure in any mood of time. 2. Rests for 4, 8, tia.
I'
d r r
rr
^"mlr."-
&e.
gggjSfeggJg
drrorr drru.
rr
2(5
TKAXSrOSITIOJ\',
Plate 2.
K L AI is considered as the face of a cylinder, or roller, upon"\vliich is shown every tone and semitone by a black line. Tfie show the number of flats or sharps required to bring the keys to the degrees of the scale, where they are set belew (the letters showing the order in which they succeed each other) and k H represent the sharp and flat keys of each octave, both before and after transposiThe letters at the two ends of the scale are in their natural place against their proper degree, before transposed. The circle is contion. sidered as the end of the cylinder, and both as turning together (with all their graduations, around one common centre, between 18 and 19) The letter B (see Q. 88, 89, &.c ) shows the degree upon which me will stand, according to either to the ri^ht or left, 7 changes if required. the number of flats or sharps placed above or below, anil agreeing with those over the other part of the scale, for each octave. The face of the cylinder presenting only 22 degrees, or 38 semitones at one time, but is graduated to 50 semitones, 14 of which being still on the opposite side The column which crosses the centre of the circle may be considered as a (Irom the face) of the cylinder are only changes or removes. showing the 50 semitones or 30 degrees. moiiothord, or some other instrument, by which the degrees or intervals are proved I find the tune is sharp E^. 1. Suppose I would know the exact semitone on which the key note of the tenor of Old Hundred stands keyed on A by 3 sharps. Now under three sharps, the sharp key of the tenor, or second octave, is against the 9th degree on the left, and the letter A I find ^ow upon a line, which I follow to the centre column of the circle, and I find it comes immediately under 15, the place on the and in the same manner I find the key note of the bass to range with 3, and me of the treble to range with 26. chord where it must be struck Eg. 2. I find, that before transposition, the me stands against 3, 10 and 17 in the left hand column, which agrees with 5. 17 and 29 in the centre ; and under one sharp the range with 7 1-2. 14 1-2 and 21 1-2 on the left, or with 12, 24 and 36 in the centre, which proves that each note of the scale is raised 7 semitones, equal to a 5th or 5 degrees, by placing one sharp. Eg. 3. 1 find in the tune called Symphony, that hi? is on D bv 3 flats; and in the tune called Enfield, me is on D by 4 sharps; now by following each of these to the centre, it will be found that me by 3 ffats (Sympbonj') ranges witii 8. for the bass; and me with 4 sharps (Enfield) langes with 9 therefore, me and every other note under 4 sharps, must be struck a semitone higher than the notes of the sam.e name, on the ijame line or space, under 3 fiats. Eg. 4. I would find the difterence between the changed keys in page 35. Thus, the first key is on D with 2 sharps, and changes to A by 3 sharps: now, by following these two to the centre, it will be seen that A ranges witli 15 and D with 20; which shews that the key is 5 semitones lower by the change ; and that the first note of the bass (Jaw) is of the same sound as sol in second space of the tenor before the changins: of the key: but as the order of naming the notes is also changed as to their respective lines and spaces, it will be seen that the notes on E, F, A. B, and C, are of the same sound as they were before the change, though of different names; and that the notes on G (mej are a semitone higher than thev were before the change, being altered in name also irova fmv to me. Thus any note in the whole scale may be led to the centre, and compared with any other. It may also be observed, that by this scale, the proper places for the keys and stops on any instrument whatever, may be regulated to their exact semitone. Farther explanations are un-figures at the top
.'
uece^saryj as a
little
VJ^IT lOW.
AMERICA
S.
M.
Watts')
Psalms, 103.
wetmore.
37
isgiisgipgi
Our days
are as the grass
pgi^i
morning flew'r
|j ;^^^g|l
If
spigiiig^
field
It
Or
like the
withers in an hoar
^^^^^iiliiJI?3
If
iizsrc
p-p-^'
m
It
witheis
It withers
one
AMJXBA
T=-@
like
L.
M.
Walts''
Psalms, 90.
MORGAN.
r^iii^iliiS^iPiS^lieiiiiiM^l'
::::M:M
^^^^mmmm^mmw^mM^mm
ver-
Death
an o
- -
life's
dream
An
in
an hour
H
T/ie directions between the
ff'tuts'
--j^
tirtil
^V-B-
fl^
heme a reference
S^iiiiilS^ii]
to the
eEf;
is
::zzcz^a:
contctwi
place
-aliere the
verse
may
U: ft'
MIHEBST.
P.
M.
6's, 4's.
Braihj.
wm. billings.
iSiiiiiiftiiili
Ye
bouiuUess realms ofjoy
ISZSE
^IS^lt
Your Toiees
xfet
sc
raise
'SS.
_^_J._1.,
name
ye cherubira
^fcii
&
seraphim
,
to sing his praise
iisHigfiigiiglS
MIITY.
P.
A._
US
liill
s
reed.
1
M.
or 6's
8's.
ri=~
pi^i^SllfiiiaeiSill^ii^^l^^
i:5^-:=:e
:|zg:ee:fp:
=ttf=:t
blest
j|i^.^^gii|g
I
was
to
'
Come
^lii =gsgii^gg^^ Wh
[
let us
seek our
God
to day'
Yes with
a cheerful zeal
haste to Zion's
And
i^^iis
^^m
-r
I
-12-1-
iiilMiliilieffii^^iiili^l
JiVmCA
C.
M.
Warn'
It.
39,
Booh
l.
V. bilungs.
89
'pj^gg-^jg^
Now shall ray
inward
^
joys
&-&-
-i*-
19
ili^^feeSSii^S
e-
3^P-^ DTP'
arise
ss;
iggE^iiiiiiiiii
-
And
burst in-
to a song
my heart
And
pleasure tmics
my
tohgueSi
s^sms^^
3^"b(iM-M-5:
D
fa^:
^^3^ ^EE^
^=F
o--
^im^^Si^i
S. rM.
ALBJlJ^r.
7l^as'
Fsabns, 19.
edson.
IS
J--.
q_e.
li^lE^is
#-# p-e-
fe
H^lilli
Begins
bis glorious
way
all
His
And
'
His
-&t-&t
i^JW^^PigilMiiiiil^iiiSiiSiliisiliJ
""
*~
Hij
His
And
light
and
life
convey
And
30
J;
AMSTEBDMI.
tX___irLjl!Z:i_^ZI~i;~^~Izni~lT
l
P.
l
JIf.
or 7's,
r
6's.
\i
Kippon- s
T
11.
30 i.
It
1
d.
I-
heed.
i~T
l
r-
i-tH^
liliyililiillli^
Rise
qtzs.
trace
ZIZt3=X
- to-
my
iliiriiii
Tow'rd heav'n thy native place
soul
Thy
bet-
ter
portion
ry things
HSiei^iiliiie
i[ii^.iii-li|TiiSii^liill|l
If:
:^
mmm
seats prepar'd a- - bove
sHHi^lii
Sun and moon and
stars de- -
^HiHii^iiiiiiiBi
move
Rise
iiiingiiiiiggiigiyiPiiiiiiiiiiiii
cay
Time
my
soul
make
baste a-
way
To
iiliili^lii^iiiiiaiil^iiii^aili^i
JIUTUMJ^.
P.M.
8,7.1VordsascribeiHoBeathj.
fisher.
31
^Sfcp:: 4'
Biigiiiilli
See the leaves around ye
falling
liiiiii
ground
if^iPilil
In
a
Dry and
wither'rt to the
Thus to thoughtless
mortals calling
sad and
solemn sound
iiiiisjf=iililiiiil^iiiliiiiiiiiiililii
iiili^giigl!liliiiiieiliiiliililiilil
z\=z\=i
Sons of
Adam
o':ce
in
EJen
When
like
us
ye blighted
11
Hear
iMiPilil
'Tis
alas
the truth
we
tell
Z^
PlSiSiiliiiglil^Siii
iliiii^ir^iiiiiliEliiiiglilililiPliillt
^as
ALLSMJ^TS.
L.M.
TANSUR
1^^
-H==^FF^
From
^iriiiii^
alUliatcI we'll be-
zizo_s:
^-
t
it
^EflJJ
Let the Re- deemer's name be sung
Thro' ev'ry land by ev'ry tongue.
low
tlie skies
LettheCrea-
l^iiiiiii
IVaUslSH. Bl, B.
HAlili.
11=*:
.5/p.
:=sze
in:::
mmMm^^^M^^^!i.
ALLSAIJ^TS JS'EW.
L.M.
If:
p^SiiiSBiSl^g^ifii
ig^eiiiiiiliSSiiiiiii^iliiigiii
O if my Lord
would come and meet
My soul would
Fly
Nor feel
^iSSi^iiiaK^^ilSilSiiiifi
^_^^i^illSlpfe
51=^
4:
.Te.
JULSATXTS XEW.
Condudcil
33
^^SiiilSiiigiiiiiiilSSifei
Je-
SUB
While
^^
\\
i>'lf
Je-
- -
SUE
While
^l^ililgiilllPiSiifSimlliiiiJii
Jesus
ii^iigifei
9US cim
li
make a
as
E
If:
dowoy
pillows
^^^^^m^mimm
are
WhHe
While
While
Da
his
breast
lean
ray
head
and
Ureallie
ray
lite
out sweetly
theie
While
---a
m
11^
lean
my
l^gg^^ii^iiliE^SliiiiiMi
he.^d
And
And
bieytbe
I^HiSiiiiSia^i
And
breathe
^^_^^_|
my
Jite
lean
my
P^
*i-ilean ray
head
^m
heMd
And
breathe
And
^^-
'
And
bpeathe
:JS
3-i
Isa.
Chap. 50,
ver.
1.
scriptures.]]
a.
Williams
^siiiiiii^iiLfEi^ijigiii^iiPii^i^Eii
^^mmiM^M^&MmmmmmMm
:[]:
Shine
:!|:
Zion for
th)' light
is
come And
the glory
of
the
Sllll^iliri^llilliiiiSlgiiiriitlig.
isiisiiiiiiilHii^iiEig^igEiPiiigiiiiiigi
^^iEEEHfiiii?3i?fe:^
*tt:=lg3
sgiJiiiii^iiiiiiiigEiii
?ffezfc:a
igiSliiiiiiilgilliiigiiiiiil
LnnI
is
Mm
And
the
I'iscn
upon
thee
And
the g!o-
ry
&e
Ilililailliiililiii^i^l^i^iil^i^PI^
the glory he.
I-
iigiiii^iiiiiiiiiiiiPiiiiiftiirEiiii
Isa.
Chap. 50,
ver. 3.
jmiSE.
Continued.
35
inn: i^lil^Si-ililiiliiliiiiilgil^i
And
kino;s
:!|:
iiiiiiigiiiiiiiiiiiiPiiEf|Epiiiii^iii
Glory of the LottI &0.
And
come
to
thy light
^^iiiiiMiiiiir-iJiiifaiiiiiiriiiii
Anil kings
;|!:
fzgTipiz:^:
iiii^igig^igiiiiii^giiisiiiiiriiii^^
And
kings
:
ilUlillilliill^ilillilliiiiiPil
rising
And
the
Gentiles &c.
Sing
:|i:
:1|:
mai
^_^
And
>--8
-p*~^
-?
^iiiliiiiiiiiMlhlillllirlj|flii
36
Luke, Cliap.
2, ver.
10.
JRISE.
^^zX^x.wtX-
Continued.
XM
lip:^^
For behold
\ji\n^
)ou glud
liLllngs
(ilad
tidings
iSi^
^
lii^liHiiiSiiliilS^-ligliilS^Sl l^iig^ll^iligi^PiiliSSlS^iiSii
I
ful
carlli
Behold
kc.
Glad
tidings Gla-
tidings
:||:
Gla-
d tidings
Glad
tidings
:(,':
Glad
tarings
:1|:
^#<.-t
sliiiE^y^^=l=Eiop bLiioId
:1;:
rk
^^^S SieilK^
G lad
udlngs
Glad
tidings
:]:
:i|:
gla-
igiisiiiiiiiiigiiigipggi^ii^iii^i
of gie;.t
joy
Which
5lill
be to
all
[leople
GImI
tidings
:J:
Glad
tid-
lllEi=liiiiii|llilMia^i^iiiiig:^|ISiS
Glc.
--d
:!|:
Gla---
iliiii^liilliiiSlgiiiiifilite^ii
G\d
ti<lings
ARISE.
Continueil.
37
ff^#
^1^
<1
i:-. tidings
.11. ;||:
..
of great joy
^-
Id
i^i^
d
tidings
A
:]:
Glad
Gia-
...-.-
of
great
joy
AVhich
shall
be to
:^^iPi^i^lii^iSiiiiil-lilL^Ji^
of gi-eat joy
-
eSeH
ings
Gla
tidin:
Sii^
^ii^ii
all
g^^i^Tip
(
liSs-
li
people
^^:iliiiiiiiiirilli
people
To
all
all
^ggi';li|g
lEH t
1^
For
unto
you
is
bora
this
day
in
the
city
of
Dav;d David
iiillililir^iliillgi^3Siiil
'S
Luke. Chap.
2. ver. 14.
dRFSE.
Continued.
^--^7-r-ar--1ig
v/
::r:
f := +:
S aviou r
H^HgilH
:'i:
:|
^^Kwr
a S aTioui- a
U ho
is
Ci n
st
the Lord
Glo- ry
be
to
God on
IH^H:
a
=^^|EiEgElH|!
h-j-i
l^aH^i^^^iiiiiiiirfigiii
-f-J
SavioHr a
peace
Hiigfiiiiii^j
hi^h
Ji3EEl=
And
good
will
For
unto us a child
is
bom
And
on earlh
peace
peace
tow*rd
men
For
^^EilFlii^^^i^j^g^^^^lii^li=
And on eanU
-mnmr
-n_^_a
psace
And
r-e-n
peace
*=a
.-li:
;!l:
Isaiah 9
6.
ARISE.
Concluded.
39
VV'onileiful
iiliillliSilliiiiiiiiiiiiligill^^
unto US
<cc.
un-
to
us
Son
is
given
and
his
nunie
sh:ili
be
called
God
'
Wonderful
IL=
iBiiliigiiill^^iifciiiaiiliiii
zziaz
peace
(f-i:*
"ieiiililllil^^iiiliiliMi^igBi
Amen
Hallchij:Ji
Atnen Arni-n
Ha
Amen
:l|:
\.
men
-I]-
i^BSiHgiiiliiiillil^lill^iil glMgiliSSIil&fiiiiliiilllli]!
40
AUSTRM.
S.
M.
MITCHELL.
^lE
^:3t^
the kind return
rtwfg
And
these the thanks
Itifc
!^^
Whence
flo- -
Is this
we owe
Thiu
-^
Sr^^^^^^SS lE -J4
Whence
^t
Thus
Tlius
^^g^igmiigiiiiji
Thus
to abuse e-
*^^****
'
.
| i
Q.
EC3ii:
-^-^4-^
^=
Whence
all
or blessings flow
^fe^^agHs^
Thus
l&^-
eite
^
.^-i
^-t
^ 11
fc.
Whence
Thus
^5ii^=te
Whence
flo*
-
:t
il EH^335S
8se.
Whence
Whence
i^^
igi
K=ta]
ei:t:
Whence
all
all
all
Hi
JiLSTEAD.
C.
M.
7Ffls'
7/.
LTjvica.
HOLDEN.
1
41
2
^^M
Shepherds
rejoice
lift
News
Salva-
0^.
tAnd
11^
News
-ff ^^
l-tt-H-
m
News
1
News
iS:c.
pza::
News
ilE
Salvation's born to dny
ij
up your eyes
5i5^^i^K3rS
News
?E*:
1
ISgi
-S
:dz:
News he
mm^ IS
i t7.
m
2
BEIDGEWITEB.
I.
:=k:
M.
:b:
,
Watts' Fsdlms,
-_-,
EDSON.
^-.^.^
From
all
.,
-. gg -^^gs|5
the skies
,,
9]fl-3fS^ ,i#^^ipffps m^
,
Let
arise
13:5:
i
B2?3;
:it
:m\
H=STPP:
il_)-4
=PI
^
Thro' Thro*
Let
i^iSi
-k-
1':^^
jy' 7n
k-
32=S xa:
^Si
42
BERLIX.
'-
L.
M.
iratts'
11.
Lyrica.
WM. BILLINGS.
^^^Se:
He dies
:{:
-z.z^zzI^
SElfei
* hear'nly
lover
3fM S-B
^:
S
Izg
e-^
mtz: -B
<?
?S
--M^ Ez:::
Hilillllii^iraiilHglife
^-f--
Eir->
T- tl
'^
- T^
m^^^^^
In
she co!d
ca-
the
dies
The
tidings strike a
my
poor
heart-strings
? :2Z5
giggggpgiiii
^i=^:ili^%^^igi^^iilg^i=lSiiii^^^lSi
Ebgiiii^^lialll^glilii^E^ils|s=li^li tlil=1giilSi^lll^sisi^l5E|s|is|^i^i
Come
saints
veras of
tl.e
srround
On
the dear
iiilSlllPJiiSP^gi^iiSiPSii^P
deep
lie.
lies
tear
or
two
;,r==:r2r^zl3zFIlHj3E3;Srii:SS~Jiz5EE^
BEELIJ^.
Concluded.
43
g^^^j-^iii
-ptr- k|^
,
iii=ililiS^i*Sri
richer
^ -fr
V tV
A
=^:
He
ihe<
a thoutand drops for you
ii^glgai^Eiiiiiiif^ipai
blood
thoiuand dropi of
thousand drops
:||:
of
riclier
blood
E^^iii^ggiiigiii^iliiiigii^iiii]i
T-tT-^->H:
a^iil^lSiiilgSliii
BROOKFIELD.
L.
i^iiS!
Watts' Psalms, 5
1.
M.
w. billings.
^^^:
E S
Shew
pity
o-e
Lord
Lord
Let
re-
- - -
penting re-
bel lite
free
May
not
sinner
trust in
thee
igSSeiiii3SSSiiiiiiiiM!illiiM
a-a
ii^fes
:=jrd
S^l^iPSgiSgSiiiiiilpii
e
44
BUJS'KER HILL,
Jin Ode.
li
5.
Words hy
JV. JV7e,
iia
Where
blood and carnage
;|:
clothethe ground
in
crimson
Sounding
^giiiis^ipi^
Why
should vain mortals tremble at the sight of death and destruction
Where
blood &c.
igiiiiiiiiipliigi
in
the
field
of battle where
ili^JSiiil
2-i-B-
BVCKIXGIIJiM.
C.
M.
williams.
"ilNfeisiiEpiliiiiiijigjl^g^^gil^;
E^^iSiiiPJlES^Ii
H^ll>
-a
Lord for
men
of
virtue
fail
Religion
loses
ground
The sons
of
ick- ed-
^^E=^m^^=^
c;..Q,
a_=-4s:
a-
And
trench- e-
riea
bound
iiiSzli^lilifife^i^S^I^
^-Q
Ij
:!tttz
n^m
r-E pTZ^
T5-pr ]- I- -1-
rcc
sii^lSi
BRISTOL.
L.
M.
TV(ttls'>
Psalms, 93.
swan.
45
P^^aSsi^l^Sl
To
Sweet
is
lij;ht
SS^Haii^giSiiliiSlliiM^.
the work
my God my
king
To
praise thy
name
And
talk
of
all
Sgigi^^^^i&jEPll-^ilglgg^
lgSiiiiiiilSsmilii
njJI--^^^^Bi
I
5k-
Mii
^W-
ggSlEiiii^ai^
may
j-k.
IrtiiiiSlii
my
rest
-k
No
O may ray
12
No
may
tune
WM
11
prF*Pk
i-^f
-p~pi
s:=F
O may my
liBJr.
C.
M.
WILLIAMS.
|piiliiiSi1iiJiiiiiiii&^=il^i!lgl=^i
When I
m
with pleasing wonder
p-i p p
my
frame sur- rey
m^^^
thy
sUnd
And
all
Lord
'tis
thy
work I own
hand
m
clay
nzdliz^zz:
33^
Mr. Law
calls this
m^.
" Easton."
BRUXSWIC.
-STK
C.
M.
Why
riches
grow
To
in- science
and pride
To
flow
With
ev'ry
lising
tide
^liilti^^^iiliiES^iiiSs^
SSiliilLHIigiiili^lHiiii^iSia!
BOUKBOX.
L.
M.
47
iiili||ii^^^^ipg.^1^|ii^l|iiil
::=:ffl
Look down
in r
^-P
pi- ty Loitl
KgMiiiSiii&ailiiiill?
that
P--rF-i
burden
me
My
wasting
life
Make
bare thine
arm
tliy
servant save
g^iliiS^islliilSiiSiiiSiir^l!
^
i:
ii^iiii#liiiiiiElii
COXCOBB.
S.
M.
HOLDEN.
m^^mmf
1 he
Mil of Zion yields
m^^^ ^^mm^m^mm
jT^.
_
_
-
a.
I.
^^
fields
Be-
fore
Or walk
IkTTWTr
T-I
-n-2
-1-,-
^lilglSfsifelEfeiiilieiliiiiifE^iiii
S^a
r-^^ F=^=F
t-h-i-H
fiisi
48
aiMBJlILGE.
a M.
5:^
Hippon's H. 173.
DH. RANDALli.
^^
Sif^i
i-|tO
Jesus I love thy glorious
music
to
my
car
it
out so loud
hear.
iJi
C/ifJVJ.
t^-
C.
W^flffs' i/. 3,
Boofc 3
SWAN.
ISHb
2^gp: ^
Why
should
:fez5iinipzj
ggi^g^gii^^.i^p^ig
Or
shake
at death's
^^^^mm
we mourn
departing friends
alarmi
To eall them to
hi
arm*
COMMU:S'IOX.
CM.
Book
3.
j.
robeutson.
49
1^
How
sweet
&
awful
is
the place
Here
cy'i-v
^:
COMOXATIOJ^.
C.
M.
lUppon's 11 177.
nOLDEN.
1
name
fall
rnj'al
diidem
of all
iiiii^iij: :aiff
'r
.^Mi^iBHiiiliSgi
^fife'^^S'iSJf
50
CJLVJRr.
C.
Watts''
H. Lijvica.
BipponS H. 550.
d.
reeu.
pili^]^ilii^ieiigEiPi
My tlio'ts iliat ofien mount ihe skies
Co search
the world lem-ath
ii^iS
Where
fei=^igliiliiliiiig^iiM^l^llii
m
m
in
:siii|gliS^ii^iSigi
Go
Go
Where
nature
all in
cere
ru- in
lie
Where
EEEfSiEg^^ig^llilE^^
E=brEEizEEEEi=Bt^i^zEEtrzEE3EHzzEEEES==E
And ow-
rl^l^l
tov reign
si^flgi^iiiii
ruin lies
->.
-1^
^^-kg
-
-r
her
death
m^iEPiiiiiiiiiii
^Siliii^iiiililiiiiiilililSl^lllS
Ami ow-
COMPLJIIJS'T.
CM.
paumhter.
51
gfMm^^^^^^^^^i=^=^^W^
-^--1
l^^l^lii-^igi
Spare us
m^immmm==m
at
Lord
a-
loud
we pray
sun
down
noon
~E^^
l:
5js:
iiiilli^lPiSi
^=
z^!t-^ :^=t=^::=-z?=^M-?
m
Thy years
iHiPi
-^
:=x=~tF= T-C
Tliy
)
''^^
tc-r-
nal
il.i)'
Aiiil
^iiiiiiiiiiiiiiiiiiiiiilgiill^liiiM ^ igi^iiiiiiiiE^iiiiiiiiiiiiiiii^iiiS
I
2^
Thy
||ii::|giiiiiii
must
ihy
cliil- -
drea
m
die
s-rm
so
soon
Thy
52
COLESIIILL.
C.
M,
kirby.
iiiiiiiriigiiiiSigiiiiiigiiMiii^
Lord
wliat
is
man poor
feeble
man
at
first
His
life
^-ain
Still
hast'ning to the
dust
EiiiiiPJ^iili|g^ill|lj^iiillili-iiii
l-Xj
H:
giPpgj^pjI^^iigiipjcEgEig
Coles/till is
lite
gpga^-g^^
'
COOKTJAM.
rf:
7's.
har. sacra.
3.
illiiiiliJIIIiiiiiiiiiiigllii^
'Tis a point
1
1
ng to
know
Oft
it
causes
anxious
thought
psiiiiis^^ig^
iiiiiiiil^iiiiilil^gliiiiiiSg^Ep
mi
COWPER.
L.
M.
Corvper's IL
holden.
53
^iiii^t^
:::fc3!!:p
Forgive the long that
falls
tr~
ffPpSggsjii
so low
:f:^:p:
WWMW-
WE
i^M^M
It
owe
means
Sec,
^feeisiriiiiiiEg^
:S:^:"^ mil
It
meaDS thy
praise
however poor
It
means &c.
Aa
-^^m^m
angel's song can
do no more
rq
mm
:ffDTS-|-B-
COJ^TE^TMEJ^T.
S.
M.
J.
COLE.
ssHiii
The Lord my Shepherd
is I
^ISgSjI^MEsI^
supply'd
ftitfl^l
i ii^igiigftSSiiiiilSfeiliiiii
shall be well
What
can
want
heside
1-S&.
Since he
is
mine and
am
his
What
can
want
beside
cii^^iiS^J^SiiiiilSiiiiig
What can
I
want beside
What
&c.
51.
CO^'TE^^TME.yT.
Continued.
CREATIOX.
C.
M.
Rippon^s
11.
33.
iiolden.
If:
lE=lEiyEfe
^\|l:^t
All
All
[EiiiiiSiiiliat What
-Ik-
iSHiiigiii^ililiiii
Lord when
my
raptui-*(l
thoughts survey
ifiliilili^igt!
Since he
is
ko.
All
'iiiieiiiii&jrii^
And
1
F^;
5t=F
am
tec
Wh:U can
&c.
All
i^ii;^i
Ten
thousand
F^
w^
tiiHi^iiiiiiiiiii
to teach
tliy.
^HHfelSSfel
Thy radiant
footsteps ahine
praise
And
Lid
my
Sool adore
Whene
e'er I turn
my
gazing eyes
z:t__D-fc=:
.Ullliliiii
^iiilPiiiiiiil^f
rise
And
speak
th^'
hand divine
CWMBEKMJ^I).
rf#rSs^i5E: -=
-6e
L.
M.
Waits^
:s:
II.
4,
Book
2, rei: D.
an.
i*xv,i:\.
55
In^z
%
-b-&s
^s-^-F^^^^s
mz
ii^i^iii^Fji
Yes I'm secure beneath thy blood
tm
aim
22Z
E=iE|r.
And Ufay
foes
sliall
lose their
^Seffl^i^iii^i^SSiil
Hosannah
my
dying
God
And my
best hfinors to
liis
^IS^E
Note.
~~zizq
rethis
Kzczsz-ipzzrgzitpnsrrzzF:?:
be
to
ztozz:zzrEz:zzrzzzzz[:zszii::z:z:z
^i^^ziztE
:^!Eg^Et^SeiEiSgEEEt: Bi/ repeating one part, tune may sung 6 times 8 XUMBEBL^JS'I) ^EW. P. M.
Bippon, 500^
iiiigliliiiilPiiagliifililiiliiSlii
Come
thou fount of evVy blessing
Tune my
Streams
ot
cc:ising
lr)ud,.'st i.rr,i:e
iSiiSsiliisa]
56
CHIJILESTOX.
C.
M.
frothingham.
teifgSiiiiiigirililiillli^Mi^SM
With earnest
longings
of
the
mini
My
God
to thee I
look
hart to End
And
l^siiiiiilfl!
S-B-yy-r
pT
C.
-p-p
iiSiiiiie^iii
Psalms, 139, rer.
6.
CHOCKSET.
M.
mitcheix.
^pSiiiiliiSli
:SjETTkyizix~
Lord where
shall guilty souls retire
g^SlSii
In In
In
iSilgSiiyiiiiiiiii^liiSiiifei^JB
ForgoUen and unknown
^
COLCHESTER.
C.
M.
mats' Vsalms,
5.
VVILLIA.MS.
5/
p^iffl iSBi^l^lgigiil
iz:^iqpg=p:f:az:pq:aipy=czpz:p=ppzp:;:=D^z:|:B=pf-^3Zi-.q:zi]:
^TfTCS-gigS
My voice ascending high
To
thee will
I
di- rect
n r
-i
:tzd:az:
i-
UJNl
Lord
in
my pray'r
To
thee
lift
up
mine
eye
:*t==^
:2
33-^
t
*<:
ip TTirt
-U -i^-^^ira lUT^zp:
SC.
ffiz?
.1
:p
11
^ii=>
H
rf:
-ii:
il|iil=^l^^iyE^=iEgi?Ef
DEVISES
M.
Watts' Fsalms,
9.
J.
TUCKER.
Pfe^S
^^m
With my whole
fi
I'll
p^
my song
=-&
fcifc
0s-
I
Thy wonders I'll proclaim
i
of righ t and wrong
^
Wilt put
heart
raise
my
foes to
sh^e^
i^giiQiife ^g^Ei^ M
zzz:
;?&i:a-ji^:
I^Ll
fee
-vv
ggs
T-zzzi:
^e;
iy^H^-^sgPil
.58
BAVIBS LIMEXTATIO.W.
wm. billings.
.'ukI
moveii
He went
to
liia
cliaiiiber his
my
son
piiilE^PJ^E^gPlg^iiP^pEgaPslsiPsiEsPI^
iii^giiiS^ii^^^giiiiSiiiiiiS
Arid
as
he
went
ht
wept
and
said
''liiiiliiPilliS^iir^iiiig^iiiSiPililll
O my
son
would
For
thee
Ab-sa-lom
my
sun
tny
son
Would
_|j.
iSiiilili^i^i^iiii^^iiilP^iiiilpil
DIJXLAP'S CREEK.
C.
M.
Hymn
62,
Book
2, ver. 4.
Ascribed
to
s.
mTarlynd.
59
'^^mif^mi^m^mmMm^^MiMMm
-P-P-,
iiii^Siiii^
Think
iiilSli^liiiiia
God
Shall rend the skies and burn
tlic
my
day
When
this in
censed
seas
And
fling his
wrath abroad
^s^i^iiliiiiiiilSliiiiiiiiiPiiiiii^^
ii^^i
Ti'ii-i
Ume
is eke~^liere
called
'?.-
i^iii
DOOMSDAY.
S.
#
M.
The
:^i==-
UlliliglPJi
VrOOD.
It
IlarVs Hymns.
^pg^iiliiiiiiil^iliiiiiigiSlfelil
^
Q_ft-
H^iii-iiil
BeUoM
with awful
JF
il!
s3
tEzSfEEFEE=EfeEtfe3E^EE
The
archangel
""
pomp
The judge
prepares to come
And wakes
iSiliiilJl^iliiiiiiSi Iziiflr^lz'
dreadful trump
And wakes
the een'ral
doom
iiliil*
^ts
^^1~EE
tr-lt
60
LELIGHT.
F.
M.
O's 4's.
COAN.
^S:
liiliiliiiggilliieeigsl
v-w
Thou
iSSagi
No
burning heats by Jay
p^-w
Shall take
Nor
my
health
away
If
Thou
iiiiliiiiiiaii^iil
p^i=
W^W
Thou
WFiH-
e
?^
head by
^feiSlElgES
fqjm^zf^z^zzzzz
-^
A*'
thou
^m.
my shade To guard my
^m\
--fct^zSj
iPiiigiiil^^il^i^i^i
Tlimi art he.
iigiPiliiiiiiiigSlfe
:eI^P|3^
E^3Ei^|==i=pHgggp_^ipgg^
nigt.t or noo*
^l^lgMl
DEATHS ALARM.
C.
M.
Watls^
JI. 8,
Book
3, ver. 4.
WEST.
1
6
2
ffigglPSi
To
snatch our lives a-
way
2
iggmiigiiiiggiiai
to snatch
iffliHiiSiifflsigli!
^^e
Pi
DUJ^STIJ^.
L.
M.
irntts'
Psalms, 73.
-if-'-'
fei^iSS
;::s:=::-rj:
:b=-
Wii
Till
moons
See
mmmm
Till
DU. MADAN.
iHH
i^Siiffliil^lSMiiiii
Jesiu
alukll
f^
iiiiJiiii
wax and wane no more
Till
reign
Does
run
Till
moons
shall
moons
&(C.
^^
1S19-
r-ft:
g^gHUggiliigge
63
DJLSTO.V.
P.
M.
6's 8's.
williams.
liilgiiSg:iliiillp"SiiiSffiii^ iiS^liiiSiiiiil^Siiiiii^liiilii
IS?
The Lord Jehovah
reigns
maintains
Arraj'd
in robes of light
And
Tzs:
Miii
S.
DOVEPi.
f-
M.
WILLIAMS.
^"^i^^^^j^^^
^
I
f^^^zlzli^^
S-T-S-T
liH^Uli
Great is the Lord our
tr.
Siiiiiiigiiiiiilil
great
P-T
n-D_
God
And
be
tr.
his a-
bode
lightful
seat
iiii-SiEi^iiiiBi IliiiiiiiiliglililMiMigilgilMiiigMiiii
Mr.
Cole has called this piece "
=a
Hiiiiiliii
Durham."
SEAMARK.
L.
DR. M'ADAN.
M.
G3
pli^^giiii^li^iiilisieiSiii
Before Je-
Ye
nations
bow with
sacred joy
Know
Ihi^tthe
Lord
is
God
a-
lone
He
He
destroy
H^HiliPiliiS
ffi^
If
hi
i^d -d- -f H
-^=H-
H -p J
\-
M-4- J-3f
f^gis^ggiillfeS
can ere-
;^t-
;liz.^d
fc:
iiiliSiii
wiien like wand'iing sheep
iHii^Sn^ggiar^litei]
He
ate and
He
de- stroy
Made us
of clay andform'd us
men And
we
stray 'd
He
=EiiSiipligpiSipiSiiigiiil .g^J^iliiiiigtSiSiigliiliiii
64.
JDEXMARK.
Continued.
Duet.
EE5SS
il^iS
We
his
,^i^MiSlii#liiiiliSiiiii^iSiii
Jiass viol.
'^^Ef^^gEgiagllg
and
all
il
fc.
iitliii]
we
rear
shall
What
shall
=i^
eare
Our
and
all
our
mortal
frame
What
lasting
honors
lasting
honors
we
rear
Almighty maker
W=i:
JDEJ^MAEK.
Continued.
65
:rSii=:i:
Almighty inukcr
^iiilSiii^iliiiiiliiie
We'll crowd thy gates with thankful
songs
High
IS
to thy
f^F=^
-4shall
name
we
rear
iillPiiiiliiiiiii#iLii
t-o^
^SggSigg^EliSiiiiiiiiiilga
voice- - s raise
And
earth
:||:
with her
Shall
fill
Shall
fill
thy courts
J:c.
Shall
156
DEXMARK
I
Concluded.
iiiiiiHaiilliiiiiiiggSgi^iglif
fill
Shall Sll
ihj-
Wide
:!|:
as the world
is
thy
command
Vast
firm as
must
iiiiiMiiiiiiiiiiiii^P^S^
SiiiriSiiligilil^^llS^iiigie
SiiiiiliiiiiiiiSiiSSiSiiril
Rtuud
When
rolling
move
WhearoUiiig &c.
WilCD
loIl-
- log
iSBiS^SpiiaSEBS^^ii^liij
11=
The Air o/-' Denmark," " HELMbLEv,""HOTHAM," and other pieces af Madan's composition, fin treble X'oiees, and may be so performed, or even by tenor aud treble together, duly proportioned.
^Ste^iSfeiSi^ll^ll^^l^iil^
_
three parts J
were umttenjor
the
BETHOrr.
L.
M
Now
war.
tvEXs.
07
nij'
In
wort
to pleasant o divine
is
mine abode
And when my
iiSliiSOiliiiaiifflisSSliiilFJ
SIS"^ilSl^iBieiPiSill
EASTFOBD.
L.
zrrs:
-kt:
M.
Tsalms
68.
Tate
& BvMu.
french.
rf^^^J ;ns
e^^fei^H^illSSiigsi
^zi:s:zs;:i
:Si=i
When
iiiiiilili^lMl^iiiiiiiillii
bless'd
maroliing
to
titjr
abode
ing
mul-
- - titude
survev'd
The pompous
state of Ihee
our God
In
roy-
68
EASTFORB.
Concluded.
iigi^?illSigli
1
-
Swoet jiijQiujj ~'"^^^ sing^ug Ltvites t^n.iit.1.^ n-(i led the viic
van 1*111
Between uuui xjciwecii both troops ti-oojjs a virgin vii-gin train nam
Si^gg
With
Toice
p1
majeny
ann^'J
I>ou(l
&
tim-
SLiMiiiifiiiiias^iSg^^iM
f=~^T
aTji:!
te
U-t
Efc*ri^^x
it:
--- 2
-r-
ffil
1
siliiiiliil
brel (.harm
I'ne
F-f-p-rf-|V-r^T-P>Tl^
P^I--U-L-i-!
bless the
i^Siii
The God
of Israel's praise record
eor r
In
Lord
All
who
tt-
i^PJ^^Jg^gf^g^^fpTi^fl^sg^
EASTER AXTHEM.
s=s=;
^^o.
Mh.
voi. biixtngs.
69
*t
Halle- - lu-jah
"fiiiiiiiiili
The Loni
is
kc
Halle-
lu- jnli
:&-
tM^^-:^
The Lord is
ri-
sen
^^Sgi^^SiiSiil^l
in-
deed
^l^lifelSSl'^il^^^iliiiiiili
If:
Now
ia
ts;^tzZti[zp:HJ:^.3id:tJi_=-:zrE
Mow is
Christ risen he.
^I^^i
Christ risen from the dead and
become the
first fruits
of
them
^SlS^^ifeS:
.i^Sl^-^i^^^^S^gS^lSS
tiati slept
?o
KiSrm AKrnEM.
And
Continued.
And
Halle
:,:
.. And
did
j:j
l. he
_. rile
._ Hear
/^ O ye
nations
_.
a^siiiisiEi
l^rrT-.--- T-^^
T ~I~T
-tr And
i^l^i^Sigig
And
it
i~i
iz
And
^ ir^
did
T
And
-1-
he
rise
3g3fiBgiiiii^
^'^
Fortissimo
Me
rose he rose
Ht bursT&o.
Lear it
O ye dead
Be burst
He
bm-st
^HiOiiiigigi
He
burst
gfS^Eig^giii
li^ip^^afe^iiiiiiiiiiisiri
EASTER AJ^THEM.
Concluded.
71
5PISPsPgg|g=^5P^^gii|igii|iiii|PPgPP
liiiiliiiili^lSfeiiiiligiiliiilil
Then
Then
first
And
seiz'd e-
ler- nal
:||:
rose
--k-T
^:
JHo tier ate
Man
all
immortal
hail
Heaven
all lavish
of strange
gifts to
man
Thine &.
iiiigH iHil
ns^n^y^i^ni^n^isgiiisa iiSi^SiiiSi^asa^Si^a
Thine
all
bliss
72
EXFIELD.
-!<
C.
CHANDLER.
i^^i^il^^
Before the
rosj'
jg^^fejailg^P^JB
Awake my
oft
iiSiiii^iig^iiiii^lifeSliii:
dawn
of day
To
lUce
Awake
Awake and
let
thy
E
E
laasgig^gB
^iii^^^i^S
=^=^=F H=r3
'^^=f
:lz=pl
isi
'^^iii^lpii:
Sowing
sti'ains
^^H^^H^il^^!
The
sil-
gp^El^ggg^^gg^^gi^^ll^^E^^^
Glide
lliro'
the midnight
aii-
While
high
amidst her
silent
orb
clear
1
i^iimiSiiiiaiinp
IliiJigi
ijglii^ii^^^pPii^il^Bl
''^^i
'~
gg^^^^Hiiigiigiyilaiiii
Damnation
EXETEB.
a M.
Hymn
2,
Book
2.
73
&
the dead
guilty soul
Upon
a dying bed
PI
'
^ '""
~Trr
I
1
rm
-m
^pp^|^^r||g|||!jg||||2p| wn
1
ri
"
iiiSiliiaSSiSiSiiiiiiiil^iiiiii
^^iS^^^
tliore
5iz=E=t;:zt:
g|^^i^^|J^:|JErEJp
the
fei^iii^Biiiiiii^^iPiiiiiJ^^^Ji
She makes a long de
lay
'Till like
Deatli
sweeps
wreteh
a-
way
^
i=gz3pztzi:
=*==
Death
sweep-
k^-
xi-z3d
1 ~MIt
fe^
:ii~za~
74.
FIDVCM.
C.
Hymn
03,
Book
2.
J.
ROGEUTSON.
;iJiiiiiiiiiiiii^iiiiliiiigiiiiiSiii
Hai k from the tombs a
ilolcfnl
soimd
" Ye
living
the ground
>I ine e.iis uttenil tht cry lure you must shortly
"
lie
The
In spite of all your tow'rs tall the wise the reverend hesd
Must lie
as low as ours
WitK
mm^m^^^m^^^m^^^^m^
rev'rence let
tlie eait.ts
aiipear
tlie
Lord
His
liiyli
commands
And tremble
at his w,or<l
xr-
T3-
l^^iSim'Sl^liiEiigli
iiiiiiliiiSiiSiiil'giiisiiSiiijgiagB^
V.
M.
or
8, 0.
Walts'
ii.
Lyncu.
cuane.
75
te;Ach inj'
song
^Vhose yielding
iiearts
glglrti^Kis
To whom my
sweetest joys belong
!^i&ff
-+-I-
p-i
iillilMr
^osoften
all
-o
And who
then- cares
.^^l^lWii^iiSiigii^^feSfii]'iiiilli
FUJS^ERAL THOUGHT.
r'T^~D~
C.
M.
Hymn
63, Boo/e 2.
J.
SMITH.
-w-^
Uaik from
sSMine
ears attend the
cry
" Ye
living
men come
Be"
76
FVXERM. J^rniEM.
Kev. Chap.
BILLINGS.
1
^=1135::
^z?Sir2di
^^i^i^ie
Saying unto
I t.eard
.1
me
Write
Write
i^ii^
1
who
die in the
Lord
liliiiiilii^g^i^l^igSS^MIi^
iii^iPpiiiiiillilK^iSi^i^g^
^ll^iElils
Yea
saitli
mmmmim^^^^mimm -^^^m^^^m^^m^^^
the spirit
t?SgE?E3^BS
For they
rost
Ezcis:::
For they
rest
For they
rest
For they
rest
i[3^iiii^lil^ie?liiii^SiMi^^^lia
FUJ^ERIL AJ^THEM.
Condmkd.
77
^^^^^^mm^m
from their labors and their woi'ks which do follow
follow
:]
f==p=i5^sj
:J:
which do
fpl-
low
them
^lillSHBi
GAJ^GES.
8, 8, 6. 8, 8, 6.
TFflffs' If. Lijrica.
Ps^
OF?;
Why should
SS^iS
=-p
m.
Hil
E331
^EK^S
our joji transform to pain
called
w
I-
Why
gentle
-tr-i-'^--iiT-i--]-r^
EUewhtre
J'hilotopher.'
S^
S^i
Hymen't
tilken chain
i^iS^nMii
J,
n that binds Millions of hands should leave their minds Atsucli a loose from love
78
r-
GETUSEMA.YE.
P.
M.
8, 7.
Vv'OOD,
^^m^^mnmsmwmmmmmmmm
Great high prieU
v.c
9-
"Weeping angels
-::t:dz=!!Zi^
Id the
^rden
groaning drooping
To the
iiigi^iigiiiiiiiyiiiiE|iiggg3iEiiEii
w:f.
IPiiilii^liiigp^iilMiiliiiiiiils
I
atood confounded
To
behold
ilieir
shall
'twas
all for
us
When we &
:iiiiiiiiiliiiiiMiigiiPiigS^ili!
GLOUCESTEH.
L.
M.
11 y inn
1.1,
Hook
2.
MILGUOVE.
1).
7'.)
C.
iliiiiSliiii^ii^^imiy^llilll^liiiilS
Far from iny
tlio'ts v:i'm
w orld begone
Let
my
re-
li- -
Fuin wotilJ
ni^ cj es mj-
Saviour see
wait a
i isit
Lord
fioni lliee
~=3.
i^-m.
By
'^1--
^:::^=f
it
way
be suii^ to 6 times 8.
GROVE,
P.
M.
miTON
eoLLr.cTiojj,
How
pleasant is
how
fair
The dwellings
To
thine abode
my
heart aspires
With warm
desires to see
my God
'^m
^ifeps
l^zz:
^BHigiSllil^iiiiteilS
P~
IS
8U
GREENFIELD.
F.
M.
6 times 8.
EDSON.
our refuge
in (listless
i>rcsent help
when dangers
press
con-
fide
ilMlliiii^giilifciiiiji^^i^illii
^iiiiii:^iiiiiiiiii^i^iiiiiiiiiiPi^i^
Tho' earth were from
lier centre tossed
And
:^Sgi|pgp i=il=p
Though
jj
iiiiillrilli^iiS^M lifililglilii^iiiiiieiligiiiil^giiil
^=^'=P==p:
Torn
zmtEM.
iil^l^m^^iil
QTom
itc.
\^^^.
roountaim
in
^=is^^
o-
iitazi
the
caan
lost
Tom
pieceoiciJ by the
roar- ing
lide
iiHB^^
GREENWICH.
L.
M.
rifli/s'
Fsahns, 73.
1>.
UEED.
5=3:::!
81
'^s|yggi|*r*|gigP|g=iiyi|lgi * iliiiiliieiigiiiiES
^m^^m
_p-*-.
Lord V hat a
thouglitlesa
:pt:
wretch was
To moum
and
murmur and
re-
pine
To
shme
igliSiiHSiiP
si^i-i-
iim^iip
L
^'-^
iilsisSiiiiteiiii?=^
'^^S^M
^^^1^
But
SSiiPiiiiiiiiiiiSil
Thy sanctuary
taught
end
me
so
On
them stand
And
below
fc^gj^^ly^^l^^j^^^ig
m.
^^.
t-B--
Etzr?d:?=a#Jt,
-M
-a-
iliiii
szrrx:
;7ftz^iEz:^i:i fczpgzji^ljjrliij-
Ob
83
IMJS'JJELS HI MX.
G. F.
HANDEL,
r=?4:=i--^
l^lsiSS^ii^Sirg
How
wond'rous
lils
m^m
And he laid down
his life to
giace
how amazing
his !ove
ifiiiiliiiiEiliiilggiiSg^giiSg
A\hei) Jesus our Saviour carae
down
fi
ora above
spilt
liiiiiliiilillgiiliigggiSlliiiiaii
atone for our guilt
He hung
all
might be free
if
a=S^|iillSSiiiiiPigiiil@
Thatjust'ce divine might be well sat'sfied
And now he
in
Heav'n
sits
Ulig
iiiiitiliiiig-iiilSiiiliiil
if oil
him
ifu!i
&c.
HJIXDEL'S
JirMJS',
Concluded.
83
^-
And
in
For
sinners &c.
ligjggPp^ffgiiiiiiiiiiiiiiiigli
Then
let us forever
S=3
^^
name
whentosaveos
For
sinners he b!eJ
when they
Ancl he bore
bore
t5
*a:
fcfe
iE^^o?!fS;
bore &c.
pzJJigjfizjrjfS^pfe^:
t^^^--^-
SiiiiiiliBH
to save us lie dy'd
i^^gS^ii^fei^^jgiSiiiiiiilH
bore
:||:
bore
all
our guilt
to saTe u
he dy'd
dy'd
ij:
:|I:
to save us
he dy'd
dj'd
-^
kore
-i^
Wheo
When to
Sic.
beilj'd
he dy d
dy'd
84
HARTFOKB.
L.
M.
CABPENTER.
fiiliiiiggiiiiiiiSili^iliiiiSli iiiilliilliiiii^liiiifeJiililfefei-1
Thus
si)acions earth
is all
the Loiil's
And men
anJ
birds
He
the seas
And
gave
it
lil^JigiliiiiigSiigi^^igS^lli
But
00 high
Who shall
And
dwell
so
near
his
Maker
God
UAMPrOX.
8's.
LEACH.
85
"
of
Israel
and mine
^_^
^..^
3-p---
For do-
ser
I pine
And
long to
re-side
where thou
art
That
pas- ture
I languisli to find
"^^Vliere
all
iisippEii.=s5sgiiii^Eiiii|giiiiii^^
^SE^EsiE^;
herd
o-
-t=-
m^
:
:ciz2^
iiilP
day
==F
bey
'^
l^paz I"
on
thy
^^"p TpTJZii
re- - clinM
1^
And
streen'd from
nzzz
'^^^^^^^m^m
Are
fed
bosom
the
heat
of
the
fei=t
zinna:
^H
-M
86
JIELMSLET.
T.
M.
hippon, 373.
MADAN.
Lfl
^
Hallelujah
:([:
tl:
Welcome
:||:
bleeding
Lamb
mS: i-^
rf:
sue
saints
t^
N
I
-L\
^
. fi-
and angels
ed shine
IPi^ii^agli
C.
3^J_
Ul^SBJiLE.
M.
Fsalm
16. ver. 3.
holyokb.
^gl^l^^gl^E^J^sSgJMi
Thy
co'jrts
iHHr
Thou
wilt reveal the paths of life
And
raise
me
gm^^igi^giiii^iiiii
to thy
throne
Thy
iHHiSiiii&liS
Thy
^-
lis:
Thy
pre
sence &c.
ggiPliiffF
^^
4ffiroiroQp^;
i~7's::
JWLLIS.
M.
2.
87
^pgteiffiiii^ii
My soul come meditate
the day
^^
PrP^rF
EF
B
U-^-l
glg^^pjji
When
thou
And
think
how near
it
sUnds
.i^Hliig^igiilg ea=HiE
When tljou
lan'is
ST.
HUMPHREYS.
C.
M.
Psalm
98.
'i^ggSHrfl^lgligi^giiiSiMim^ m
i^H
fcT^^ad
^=s
iiiiiiii-=iiigEg|ii
employ
Let men
their songs
While
& plains
Mmm^^^MBMw
88
HUJVTIXGTOX.
L.
M.
T
MOEGAN.
-Xdreadful end
r-
[^lEggP''
Lord
wretch was
iiiSHiiliffiiii^Si
I
_^=^
liiiiliiiiil^iiii^liiMliiiii^^li
H'liat a llio'tless
repine
To see
In pride
But
liiirliiliilPiiil:
rfHTT
But
But
gJliiiiiggigiiaimiiiiMslite^
p^^;
'^^
^^
:l
ifiU
l-I.
I
-^
llii
But
But
:
On
slip'ry
rocks
see
them
stand
And
fiery billows
below
their dreadl\>l
lie
as
me
se
-nr
But
-P^mm^^But
tliy
sanctuary tau't
Bm
ZOIZ
zz^m.
Bffil
P'OE^
szrs
es
HOTKiM.
7's.
RippoH, 3 O.J
MAD AN.
89
^iiMiiliiiSiiiiii
Jeausloverof my soul
Let
me
to thy
bosom
fly
stHl
is
nigh
Hide
me O my
Saviour hide
^iSiSgiiiiiiiiiSiiiigili^Sg
m=^
M
If:
iSi
-^
storm of
life
wzm.
;^
)c
::?:
iepiSilll.iiia^iiil
Safe in- to thy
'Till the
is
past
haven
guide
re- ceive
re--ceive
re--ceive
my soul at
last
M
^^
il^giiiglilgSiiiiiiiiilH
-@
-#
El^
K-
iiiSiiiiiPii
ii^iH
90
Kev. Chap.
7, ver. 9.
JIEAVEJS^LY VISIOJS'.
p--
ev. eiiap.
i5,
ver. 11.
frlkcu.
psii^iiisiiiiii
I
beheld kc.
i^EiiigiliHi^
Thousands
Stc.
Tliousands &c.
iiililiiliiliiS^_ii^il-liiiiliiiiili^|
A
threat
could
number
Thoasands &c.
Thoiis &c.
)~H|iieEI:
1
gzc it^t
lo
bohcli]
and
iiiiH
Thousands and
1
ot'ihousantls
zt'
Eiiiiiil
Thoiisaiida kc.
Tbotis:inds &c.
!:i=il^i=llliiiiii&ri?siliiiiiiiiii^i^i
Thousands kc.
'I'housands
kc
Rn
times thousanOs
Hevclafioiij
Chap.
7? ver. 9,
I'housand kc.
Scood
br
Sii^^li
Tfousa^^ls kf.
tr
kr-Tlfcr-k-k-|k-
giilii^lllilii^iliiii liiiiiiii^il
Thousands kc.
And
in their
hands
Ami
they
Tiiousands
ike.
IPillii^ili^illfillliiglillliriil
Stood
before
the
Lamb
Rev. Cliap.
4, ver. 8.
HEArE^'LF
FZSIOJV.
Continued.
i^zP:=--r-^zi
91
PSSiis
cease not day or night say- ing
Holy
Which
was and
is
and
is
to
come
WliicU
ii^zH^ilK^iiili
pzp:
s-^-
lilsiEgiiiilgii
iilil
'-^-^Tff:
^^ ^^iiiiili 4;^
Eevelation, Chap, 8, ver, 13.
pz^
E ilii ^ms^
i^feig^iBiii-S^ii^iiS"^^iili
^szfczliEZiazid
was
iMiH^^^ii
And
I heard
^-pt
Sec.
mighty angel
fij-
ing
in
the
midst
of
s-r-
ISHiSll^^iiSiii^iPiSli^^ liPMllli^SiliPiii^iitiiii
03
Chap.
8, ver. 13.
UKiVEJ\*Lr riSWJS\
Contimitd.
beav'n
Wo
:|1:
is
:=y^ElE^ill^i^^iiSiSii^iiSiiiii^liiS
iKZZzEzrrr:
-t-F^-x
'^.
EE^r
;ilgiiiiiliia
6, ver. 1.1.
Revelation, Chap.
&r-^^^^T
yet to sound
tEtt
The
jieat
-L
men ami
nobles
rich
men and
poor
bond and
free
g-.i-
ther-
ed themselves
to-ge- ther
and
ilsgJiii|iE;g||
An'.l
gggg;Piggjg|ilfig|iSP
;,zc:zJz_^5_zlfz!z3fdlz:tztz:r-Z3iZ:3.Pz::cffz^-'
when the
iast
'z;:zpzztz^JpztztSz^^-'--i-F-H~z^-;
tvumpf
t
souridt-d
ii^Sgiiiil
Rev. Chap.
6, ver.
16
17.
UEAVEXLY
-
riSIOX.
Concluded.
f),i
^iMH^E^IiiSaill
:
-Si-b:-Tk-
IB
li^iiiiiiiiiii
that sitteth on the throne
il:
s g^lg"^l^^|^^3i Siiiil^ilftS^iSi^lliiiigiiliP
5;---
m
wrath
cry'd
-.i:
to the rocks
and mountains to
fall
up- on
the face of
Him
of his
ISZTC
Bevelation, Cliap.
6, ver. 17-
^E^kilfe^^fe^
:
is
^giigl^^ii
And
flho shall be able
to
4-
,E
p:
-h
who
shall
come
stand
And
he
a- - tie
to
stand
-ss:
-I
wizizpz:3ii__u
3^
:_in
3E
Ili^^liE^il^^^
-ij
9-*
ISLE OF WIGHT.
C.
M.
-p
Psahn
39.
TANSUR.
iaHSi^iii^
A
span
13
3_
_ 3
HiHilirsgiiJ
m
ia-jj_
that
we
can boast
An
incli
or
two of time
Ma
Ij
but vao-
i-
ty and dust
In
all his
ftowV nd prime
E^HiiSSi^^ggggi^gSi-^^^
IRISH.
C.
npizpittiTTi
M.
williams.
Behold
Son of
God A-
- rise
tri-
umphant
And
bode
:&=! L-^:
l^^^^l^
sz:
gggiliEiiiii
i-^irzE
^MSilSilliifafcBgil^^gtfeCT
I^riTATIOJ^.^
L.
M.
Hymn
7 S, Book
i,
last verse.
kimbaix.
95
1^^-"^
iiililigigiilitegiiiiiiiSlilill^
:t=:
Come my beloved
haste
away
Over the
hills
where
sjMCes
grow
iis^iiiigiiiiiipipl^iiipiigi
52
if
^m: E
Fly
m
Fly
-3
ver the
hills
&c.
Over kc.
^iiiiiiiiiL^iiSiil^^l^li:
&c
SglS^^
Fly
like
Sec.
Over
&tc.
iizsztzg
.lE^E^El^iiiiiiiiis^iiisE^^
*
I I^^-it
Taken
mm
96
The Jirt,: part of
this treble
JORD.iXi
omitted in some bouls.
C.
M.
2.
>VM. BILIilNGS.
^ill^il^El^Eigi^te ^laiigEggi-^ipj
There
is
lii
p-p-
imisiil
And
i-A-r-U.
i&fpain
a land of
pure de-
light
Where
saints
immortal reign
pleasures baaish
XT-'
asfe
m^mm^
-pSo
^m^^^^^m
p-F^*-l W^'-'P=^ '^A
1^(9-
(^liiiii-Sigiil
ir=?
^^lllill^^ni^Hl
3=illllilililliiiii
Sweet
fields
^-
old
Stand dress'd
in living
green
to the
Jews
Canaan stood
^CTirogg
While Jordan
roU'd
n--i3:-l
saH
between
Si^lSiiiglii^liliiiiii^ilSSiJi
lliliiilSiiS^iiiiiiii^Sig'ipi
JUJDGMEJS'T.
C.
M.
N.
SIIUMWAY,
97
1
The
Loiil the
Judge before
his
tluone
Bids
all
the earth
draw nigh
And
Thron'd on a
clou.l
l^iliSiSiiiiiii^Sjiiiii^liEgSil
The
nations near the rising sun
liritjlit
way
Tbunder
^^mimmM^^iwmMm^Mm^^
ThuriLier
rti under
iMilil^iliiiliillsiiie^iiiii^
Thonder
Thnndei-^
___,
_j
_i
._
|!>.K.
^^
__ _ _
rhunder
Thunder
Thunder
thunder
-sLhhn.
Fhunder
Lead
ys
JUBILEE,
ffiiE
v.
M.
6's
t^-
8's.
Bippon, 57.
BIJOWNSON.
The
gladly
solemn sound
i-F]^i
The
yeai" of jubilee
is
come
Uelum ye ransomM
sinners
Blow &c.
Let
all
the nations
know
To e.iitli's
remotest bouud
home
\^^m
laXDERUOOK.
rKV-(
nzjsr.z
ft
ail P.
tr.
CM.
2.
dr. arnoi-d.
iiiliiliiSfgiliiiaiilliPiliil?
I sing mj- Saviour's
wond'rcus deuth
He
conquered lien he
fell
And shook
paaiiililii=:iiliiiiisg^piii^a
The
treble
voices.
KIXGSBRmGE.
L.
M.
U9
^^^^iil
Lord
tliou hsst scai-eh'd
li^^m
&
flesh with
all
=^9their
and seen
me
tliro'
My
heart
power*
iM^iim'gSi^S^iiiii^gig
l[~^
s2l35p: ~z:fez:=:
,5p:
SeS
ifi
->>l
m m lEill^lMUMfil g?"
lt3L^^-.
nzzqrzlizzzri-
KIJ^GSWOOB.
ISMt
7's.
iJi/)jJOJi,
240.
j.
peck.
^^s
Children of the
gff^=
ISi^^
hcav'nly
!^
P^
1&-S-
^-&
>
pi-
iiii^i
Gkiious
in his
king
As you journey
sweetly sing
-.-S
b.-.-AT-^
zH: II =::rf:rztz
il^:
&iiiSii^iili^ff:lii&liiilli
('
100
KlTTEliY.
C.
M.
BIL1.IXGS.
iHiigiigii^iliiiii^iii^iililliEligi^i
'
Thy
Our
iiSMlilfJIIiiillili^iliSliiiSii
Our Father who
hi lieaven art
All hallow'd be
tliy
name
tliy will
be done
1 hroughout
this eartlily
frame
Siiiiiiliiliilii^l^iSlilii-SiSii
_y
-y^
js
H-|
^^-f-
rn~
Our
li'i^iliii^illiillPiiiiilili^iSiiiilili :iliiililiiliiiiliiii|igliiiiEgiiiiiill
Tliv
EEr^fE^EiEiEiSStztii^liz:
r"~^r7~'~r;TT r~~
fliilli^PJiiiiiiiiiiiEllipilpl
M
i
^j
^
'
F
r~W
P-
1~
ipr^^^-ii:
LJMBERTO^.
S.
M.
WaUs'
I'salms, 53.
N.
SHUMWAY.
1
10
2
Since
Since
iliiilSigllilliliii^
The Lord my
shepherd
is
^p
What
shall I waiit beside
t^^i:^
I
I shall
be well supply'd
Since he
is
mine and
am
his
Since
Since
^:
Since
What
LEBAJS'OJS'.
C.
M.
Hymn
63,
Book
2.
BILLIKGS.
piiiilli^ililiiililiitiiiiiiiiii|iliS
Haik from the
tcnits a dolcl'ul sound
Mine
cry
" Ye
living
men
shortly
Ue"
[sSgiiiiiBiiip^JiiiiPiiftiill!
lU!
LOJ'EK^S LAME^TATIOJ^.
A,
C.
M.
Hymn
107,
Book 2
:&
*-
ijg^iiigiliiisiigiiiiigii
That awfuUlay
will surely
in
test
come
When I
solemn
:it:
Thou
iS:
Siiiiigiliii^iiiiiili
Sl^
lliiTgiilSig^Mfe^iiis^llll^l
myjoysTliousov'ieignofmyheart
How
The
Would so torment my
ear
Hi?lH^lisrElilllilli^ilfiiiigii^gi
LOVERS' LdMEJ^TATIOJS'.
C'ondmled.
103
^^l^llli^illl^iS
What
to
iigSiiiiiilii^lilliS^iiiillMiyililii]
'T would tear
my
soul asunder
And
To
linger in
eternal
pain
i^eI^
sisiiiMimiSiiiiii]
1
iiirJiiil^giggiigSiaCiiiiiiil^irJ!
Yet death forever
fly
wretched
state
of deep despair
And
fix
my doleful
station
where
must not
taste
1
his
lovo
if^i^iiiigiiiiiiiiiiiiiE|iiiii^iiitE3p
ii^ii^iipiiiii^^^-|^gigiiigi^g
10-t
UTTLETOJW
1\
M.
or
8, 7, 4.
Bippon, 5/5.
WILI.IAMS,
'pifiEigiligiliiiiil^liii?^I^J_^i^Eiili
Lo
lie
cometli
jjf^
countless trampcts
bloody
sign
'Midst ten
thousand
snints
and
angels
See
the
^rr^lzttfc
^v:->#-7T
liiiiiilii^ilii
l~fc:~^""I~E"fe
h-i
H:
ZS3E
I
ndEJEi:^
SliiiliiiPjiliiiSS
^ililElgEliiiiii^liliiliiiiiiSiiiilli
'
^i^i^illiiliiililiiMillillfeilllll
era-
- ci-
li-
rd
slilne
H^lle-
lujah
Welcome
bleeding
Lamb
CI
^^
.3J
t.-L.
:__3Zi_d_4:zd_qzi~ _d_i__._ffi_iz_._qrxzzzzzii~
i~T
zzzizsz st
.l
53EljElEiigjEfeyEllE=sii^EiESEliJlE
;i
ill|iEliiiiiii|giiii|^|i|E|ii^i||iEil|i
LITTLE MARLBORO.
S.
M.
Psalm
90.
WILLIAMS.
105
fpis^gii^ii^il^Eliliiil^giiiE^fe
:3E
i-4:
i-t-
m
Lord what a
feeble
gi^igiiililliiiiiiiiiiliif
piece
Is
this
our
mortal
frame
Our
life
how poor a
trifle 'tis
That
name
;^feii^ii^iiiiiii3iii=iiiiilili!i^
ii:
liliiiiiliiiiigEiiiii^iiiiiiiiiiiiiliii
Mr. Law
calls this
" Coventry."
o
:^1
LIBERTY HALL.
C.
M.
Hymn
'j,
Book
3.
CHAPIU.
..U-i-
n^
my
-(9T=rP-|9
O-Q-T =
lEz^riJ
such a
EEgiEae
And
did
ill
as I
Saviour bleed
my
sov'reign die
Would he
sacred
head
For
worm
iiggli^Bligiiiiliiiiii^iiiiigEiiiiii
mm^^^^Mm^^m^m^^mmi
106
LEJS'OX.
P.
M.
6's, 4's.
Bippov, 37.
EDSON.
1
The
li^i^'Si-?
sIe^I
The The
year
l^iigStei^iSilii^iiliigiiiiiiisIs
The
year of jubilee
Is
sinnei's
home
LIS BOX.
S.
M.
Hymn
14,
Book
2.
reed.
iiriiiiii^iisii^i^liii^iiiiiiej:i^s
AVelcome sw eet day of
rest
Mw^0^mm^=^mmmm^^^^^^
That saw the Lord
arise
Welcome
And
these Tjoicing
eyes
1
lii=^"
HgSiiilii^^iSgii^^^^iai
Welcome
to
ttiis
^iili^iiffii-3^il^&iSSiiii:41
And these
MAJESTY.
-^
72:^
C.
M.
Sternhold i^ Hopkins.
BILLINGS.
f07
fifeiii^^gilliP-iiiti&K'i
r.v^m above ntu^i-A from
'
.*
N-..
Tlic The
dai'kdark-
-ocss ness
of
the
skv sky
h
And
un-
r\
+!,. #1 Ti ::i=^^:fr3=J
,
derneath
his
feet
he
cast
.l2iS^iiB^^^illiiiiiiiii#ii-^
n .._-__
^.* E-S
mm
P0I
-.['
tZlL
gg
f^feF
On eherubs k ob
^gi
And on
Came
flying all
abroad
tSBte
z:$=
il.^glifeiiiSil
And on
k^
108
MADUID.
P.
M.
or lO's
ll's
WM. BILLINGS.
l^iiiii|iSPiii
15S
Come
sinneis attend
& make
no delay
Good news
of salvation
come now
&
rece'iTe
P>TP'
you to-day
B^
nobler
.-^?:^
-6s
iH|gi|i|igi|iig|i^giiiigilig^ggigi^
MEdR.
fr#=
a M.
Psalm
96.
WILLIAMS' COL.
ii^iiiiii|EiiEii?^^yil^3iigli|3glgl3li !jpgpj^p^^-p;|^^^|:fcpE|S^^f=pPp|g3^|;^3:^-^
Sing to the
Lord
distant lands
Ye
tribes of
ev'ry tongue
A new fc
song
W^^i:rzzz3^J^zr:pz-'g^z?E?E5E=EE^-
-3Z^
JClseifhere called
^^PIIiESiiSEElE^p
" MUd^esexy
MELOLM.
s:
P.
M.
01-
10
s.
Psalm
50.
aiEKlCK.
109
-^3^lilifelSli
:s
0^=-^
ilPsiigilliS^lsil
src
m-wTm
^ii::^
W^^=i^
ii^i
forth
^^TqZII
ilgiiliiiiiii
From
east to west the sov'reijjn orders spread
The Lord
hU summons
^nsigSPegiS^iSiSiiiiii
[ifeEE^^lSi^^^=^^^ii?iHi^ii@ii^
*:
piggP^P^Pg|^PPPS||||^|g||g||ji
* :fe^
z^zi:
dead
HP
Thro'
""El
^iPiiiiilia=iS
His vengeance sleeps no more behold the day
iilM^
No more shall
atheists
mock
his long
delay
^ps
0r-P
i^Egg^glgsi^iill^^i^iSiliiii^ii
110
^'2'.
.^MRTIXS.
C.
31
Hymn
i,
Book
TAN St R.
pi^p^|ii=gEg^5
Be- hold the
glories
-&-=-azSi
Amidst
his Father's throne
of the
Lamb
^^^^Iggg
far his
name
And
unknown
iiSl^gilliiiiiii^Sil'Sia*
.iiiiliiii^li^iiii^illKi^fei ^
Mr.l,arjcaUslhis"J^orfo!h.*~"
'=^=P-
'
'
'
__^_^^^^^^^^^-
^-
'^^'
Psalm
149.
handel.
pi^iiigiiiii.^S^^iiii:
O
assSiHiSiiiSgiigi
praise
j
t the
Lord Prepare your glad voice His praise in the great assembly to sing In their great Creator let
all
heirs of salvation
be glad
in their kin;
.1/r.
--^-4-^
J.
_J ..J^i^
i.,
X_
i-.Ij-!
-i-f-J
-H4-4-J-
"-
MILFORD.
C.
M.
stevenson.
ill
il
M=s^
SzS:
If angels
i^^gi
^^gJi^^^gplPPPggglsgiMi
sung
a
Savior's
birth
Oa that
auspicious
morn
We
^7-
r-
t-
=_
r~
I
1-^
w
j^
Sa-vior's
:]:
On
^\ e
*S
BBtart-
'
Wc We
urpll well
mav may
We
1-|-
irt
-r-
rr-
2
^^l^r^z^
Now
Now
Now
Now
iiii^ii
-k-k-
-^
Now
he again
is
bora
Now
Now
3Z3:
HEF
E?
^k
:^
^i^^iigiiiiiliBi
Now
Now
eI^E
Now
Now
112
MIDDLETOX
OLD.
P.M.
7's.
Baltimore
coll.
of Hymns.
buli..
that
saw
him
rise
Ravisli'd
fiom our
wishful
eyes
Piiiii^ilip^ig^ipjiiHri:gi^ii
ReaS'
liieiiligill^iiiiiP=lii4liiiiii^
iili .giiiiiiiiiiEiiliiiiigl^iiiiii
I
--T^d^
1
f^.
Lift
radiant
scene
Take
the
king of
glory
heaven
1
r-Si
iiiiiiiiiiiiiiiiiiiii
?35=E
gill
MIDBLETOX
if'
JS'EJV.
L.
M.
Rippon,
i-iS.
j.
lane.
US
ms
':s-s:zz:
hi:"
wot..
l^gE^g
\Vbcn
I the
Where
once
my
Saviour deign'd to
lie
prophets say
And
all
^iiii^^iimiMiyiilii!iSiiiiiiiil ^t nn ii^miiiiiiiiii ^
|K~*r
31 zl=q=l53zG:izp_i
iJJ\".
C.
MILES
M.
liippon, 177.
W. SHRUBSOLE.
dem
of
m
all
name
fall
crown him
hwd
of
all
li^^giliilfciiiiiiiiSliiilSJgil^i
114
MOUJVT PLEASANT.
C.
M.
i.
UEOLFH.
iiiiiiliiiEiiliriiii^iiliiiiiiiiii
There
is
1^1
And
a house ret
niatle
wkh hands
And
here
my
'Till
God
shall bid
it
fly
Eternal and on
biirh
liilliiipiiiiiiligiii^iiiSiiiiiiiii
And
here
Aral
And
'
mmwm^mM^^^^^m^^^
And
here
^^^
:!i:
Fll
-ttuSi-
liiiiiliiiiiiiiiiiliiigMllgiiiiliii
'Till 'Till
Fly
;y:
:j;:
1,:
ll^i^ieiiiiiiSiiiiii&ii^iiiiii
'Till
And
here
:||:
^l-
-l-
MOVJ\'T PLK9SAJS*T.
Concluded.
trn:
115
If
A:
:|!:
.:r-v
'Till
^;=F#
Till
,J3_^.
liiiiiiiiiiiiiiii
B$fe Efpgpg^igp^liiggg
{^-
^
And
here
my kc
m
'
k-t
MOV^T EPHRMM.
#
S.
ig^iiii^gi^l
Rippon, 234.
MIT.GUOVE.
M.
p!i.iliii^liiiiiiS^fefei^&-i
_i
ill
III.
liilii^iiiiliiiisiii^^iiSiiiiiii! .....
^^^B
S m iiiiS:Slliii^^'^?lii^iiSiiiS
:aS3:
^fr. J.a-w calls this " lielhlekem.'
saints
Down
lows take
1 _._J
Loud
._
.1.
_/>!
"._*
^'Bid ii''_
I
i_ .*-
_ -
wake
Xl>jlj
116
mo:kmovtil
c.
m.
llynm
3,
Booh
2.
pgl^PPi^g=^iigil5lii^gSgg^^^ii
iiil^EliiSii
Why
should
~-h
shake
at
we mourn
de-
Or
death's ahirns
^iiili
To
call
ihcm
to
P-
^g
mmw
euM them
to call
g^tigf^EillPl
to
his
zlzP*:
arms
FE=EE!:
them
ililiiiiiiiiliriiiSrIS
To
call
them
;||:
to his
arms
Tis
giiiiirgiiiilliigLiiiiii^jSiiiep
MO^TGOMETIY.
C.
M.
iValts''
Fsaliiis, (33.
MORGAN.
117
|Ci:^Ci:i-p;z:
IMIl-
iiiH^liiig
i
So So
iiiiiliiiffif^ei
Early
my God
without delay
I haste to
seek
My
way
ffi;
MmM
Long
^i.i.
Siliil^iilSifiieiiMI
^rf^
-Si
thy face
i^iigmgi^^ii
Long
3CI
^m\
.Z.^\ Hz:
So pilgrims &c. So
pil,
on ihe scorching
i
l-,.i-
Long
SiiilH 1 s^ilgigiiiii
EES5
Long
&I.C.
,^gSiili;ii-iiaigi^S^i#liililii
sand Beneath a burning sky
l-,ong for
annt
oi
di(;
118
If:
MORXIXG
JITMX.
L.
M.
WILLIAMS.
piSi^z^s^^i^^i^^^Sl^^gi^i
A\v:,ke
sm ^ffli^iSiSiSiiiiiiiiS Sp^^fS=zEE3^
my
soul a-
Awake my drowsy
tacuUies
Awake
f^gjS
z=St==p=t=fz
i^^
womb
of nipht
g[iSii^liifS"iiiiiiriiiil
mohetok.
l.
KNAPP.
Ss^Sees
O may
tliy
B'
?=T^P-r
ffl -^ ^
e-re-^T-PT-Q
z:
pity
T-O-Sre-pT=
To
S\T~^~g~T^'S:T^l~
to be forgot
move
^^
^Sl^^^SiiiiilglilEiliiEi^E^ggi
llzirg
MONTREAL.
L.
M.
W. EVENS.
19
Gotl
is
gone
up
our
Lord
&
king
With
shouts ofjoy
&
trumpet sound
siiag
And
song rcbounti
iPJiiSiigiiiiigiiiiiiiiiiiliS
iSliiiii^ililiil
MUNICH.
Sl6W.
L.
M.
Rippon, 73.
GERMAN.
:ei5C ^2r:rrizipiti-4:J[i;rltrlzl4ztzir!^i=rripr:ir~aizzzirzii:ip-ci:f:-L_j_:
Tis
finish'.!
IPSiSiSJ
The
-s^ saieq
won
so
tlie
Saviour cri'd
And meekly
bow'd
his
t^^^^m^^^^miMmm^mMm
aiiiiliilSlii&lllSlStSiftliili
120
Death with
his
MORrUEUS.
^
C\M.
w.
WEST.
warrant
in his
hand
We must 8ie.
w-
We
must
Itetorn
Return
We
mast
ff^E^
:22
X.iMUB.
CM.
Psalmi.
pirliiiliiii^iSii^i^lilllli^iililiSi
---
Bless \l
is
r?T ^-^T-:^ir-/;-T-^
T^-^~r^-i-^
Where
sinners love to
^_t=^Q_i^..
11
the raan wlio shuns the [lUce
+^
^
And
MW
hates the scoBer't seat
meet
MTio
wicked wajs
i^s|gji;ii^Si^Li-ji|gp3^g5Pp&^
'^^z^s=^-T XX
gJIggFFI^g^iigi^li ^
:=F __-.
--J
3szi:
T^-e--
WS^
'.>^
:N'EW
TORK CM.
Psalm
4.
DU. ARNE.
131
^^i^iif!
liliiJ
Lord thou
wilt
s:rs~rs (S-T^rF=@when
I
I
pray
rSifer
P^t^---R^-^'
thine.
isTTs:
fear
mgisi
all
^-'^irzijs:I
hear'me
am
for- e- ver
be.
fore
thee
the day
Nor would
dare to
sin
r^JS^:
zSi
pft
i
Efi
a aiaaiii
iigfegfe'ligiiiiS^^S
_s^
C^-
.j^
^:?:_,^5:i-
iiHiiii^iiiiiii
Mr.
Cote calls tide " Hilton."
ipiiiiipii^iii
C.
NEWBURY.
I
M.
Fsalin
5.
WILLIAMS.
P^liilligg^SiQ^lpiiEiii^SJSIiiS
S
Lord
in
5T-f-TFpT^3
the morning thou
slialt
iiii^ggiS.^iiiiilil^iiteiiii
hear
My
To
thee
pray'r
To
tliee
lilt
up mine eye
iiiMS^iiirSigiiiiiiiiPliil? li^E^Sii^m^^Siiililiigii
.YEJV llijyDKED.
L.
M.
i.
Not
to
-:4--i4e-^T==^?"
5+=-P+2_I_4._-^=_=. e-
P
condemn lie
sons of
men
No
liiere
i:iil!^llESmiSil^l^iliilil^|i^li^iiii
XEfVIXGIMM.
r:
S.JL
WM. BILLINGS.
:l=iliiiiigE|E|E^Si^Ej^^^l^Ei^l^^i
Deatli
^V!lat liorrors in
it
dwell
The second
death
is
here im
pliM
Which
hell
i^bi;
JS*Efr
JERUSALEM.
C.
M.
WalW
Hymns,
21.
Book
1.
ver.
2i.
INGALLS.
133
The
M^^-i s^;
From
"
iii^fiiiiiiaiiiii^i^iii^iii
the thiid heav'n where
God
resides
That
holy
happy
place
The
tii^iiii=tiirs
f: B^=ft
^-4-
3crp:
i::
p--v-,The
iliEii^l=ElEE^Pil
:gzi?:
I^I^E^I^JEJ^iN^^EgEg^li^E!
-j-
iil!
grace
J^
ESi
=S=V=i[
Eg
The
ISi^
w.
I^ZZfeZI
S=5:
With
shining
mm
A-
dornM
t:^
K-
151
XEJVBVRGH.
^^
S.M.
Ye
Fsuhn
148.
MUNSeN.
'^^n
9
1-1
s
name abroad
1
Let
e\'rj'
crsature
jcjia
To
God
be-
gin g
And
sound his
m
2
Ve
Ye
^~
^iMUliEl-llSiiPJiSi
fffi = T**l^
0-P
5izl=^=^rfi^ Iz-r
mim S&=T
with paler rays
Ye
^m
J_ 2_
starry lights
ye twlnkUng
flanaes
And moon
^mffiisssii
T
Y'e starry Sic.
-^
,iir
The
sun
willi
HHiiiiiii^g^^^^^^S^i^iSgii P^
golden
b'
m^mmm^^^^m^
ana
'^
.NEWPORT.
?==i
L,M.
JJymn
il,
Book
2.
D.
UEED.
125
Away
ye
tempters of
tlie
mind
And empty
as tlie whistling
wind
\our
k--
i^^^^l^Siilglii^lSii
IEEE ggiiiiiigi
And while
I
listeii'd to
'Sliliiii
streams were Seating
ZWZZIW-
Down
your song
mm^m:
-1'^^-
p-t-p-
zp
ffilg-iiBfflPi^l
136
rr:
J\'EJV
FORK .mTlIEM.
Soft.
Worils
Slow.
hij
Fope.
Increase.
Pi"5iiiiisiiiil=gi
F^:^:
\
ital
::e:csz:Esr^ci
'^m
ling'ring
flying
spaik
of
heav'nly flnnie
Quit
cjuit
this
mortal fiaroe
Trembling hoping
bliss
of
|i5iiiiiS^i^liiiiiiiiiiiii^iiiii]
^^iilMiilii^iiigilgii^i^^lgllil
Increase,
P.
F.
P.
sit^i^^^sEy=isiSi^s
iiiiiLtsiiiiiiPjsiiiiiiiffE-ir^ii^iiii
I
ing:
And
let
cie
languish
into
life
Hark
Hark they
whis- per
an- gels
say
they
_Q
^"^
^.^
^"~~
Hark they
whis- per
an- gels
say
they
flit
piece
is in
JS'EW
YORK
.iJ^TUEM.
eoniinncd.
isr
lliiiteii^iglhiiiiiSiiiiilii-g^i
I I
>
^llliiiittilll^l^liliJiii&ii^iiil
whispei'
an- gels
say
Hark
they whisper
an- gels
say
Sister
spirit
come
a- -
way
Sister
spiiit
come
a- - wiiy
What
is
this
ab-
F.
lnoicr^5t\
^iiiiiiiiiiiiggiisiigiiiiiigiiii3ii3j
I I
I
:fEZ*:rh-~-2
me my
soul
me
quite
Steals
my
my
sight
Drowns
my spirit draws my
brealh
Tell
me my
soul
can
this
be
death
Tell
can
128
p.
JN'Erf^
TOBK
A.1^THEM.
Continued.
Increase.
Vivace.
^5^
-M-
tliis
be death
The
world reeedesitdisappeus
lleav'n opens to
my
eves
ring
mount
I fly
liiilBiSiiliiiil
grave where
i|iiiiiirliiEiiiiggiiiiisj^ii^^
;&1igil!?&!^iiii3i^i!gliSiii^S^S
i:ti3:
4j
:^l^ip|^iriig^lSHiiiiiiiigg]
O
grave
istliyvictoiy
death wUcre
is
thy sting
Lend
:^:
Ry
....^m'^,^t^^^^^^
O grave
^c.
O death tie.
^cs:
^mm
I
f;^
ftj
mount
J^Eir
rORK ANTHEM.
Coitdmh-d.
129
grave &e.
ig^iHitt
R
If:
^^m SiS^
O death
$:=}:
ry thy vieto- ry
Lend
:l|:
O death
mount
I fly
l^giiPBliiBgiil
L
Slow.
very slow.
^^|g^i^^Epf^flF^^:a:;|s^:pg|^|pg;|lit
J^
jnount
I
mn^i^i^ii
fly
-^-T-fe^z:
o grave where
Is
tliy ticlo-
O death
1
death
ZK-szsizirf-~0
^giUir^^lMliillillPP
i30
.riXKTl-TIURlJ.
S.
M.
Hymn
84,
Book
2.
I-.
CHAriN.
pilMiirg^iiirEpiilp^fiiffllSiiigll lilM^iiiiSsiilil^liiiirEi^JiS^igliS
Come
all
harmonious tongues
Your
noblest
music bring
ev- er-
liist-
ing
God
And
Christ tbe
man we
sing
[Mii^siilllil^il^li-Sllirii?!!!
Jieiiilliii^liiiiliiiiliiMliiMeiiiiiiliB!
X[;N'ETY-FIFTIL
C.
M.
Jlymn
65,
Book
2.
coi/roN.
'iilggiiSlgiiiiiiiliiiiiiilii^lSiliia iiiggi!iiiiiiiiir^i^itlliiiiigiisj
\Vhcn
I
can rcatl
mv title
clear
To
mai
eyes
ligriiiPjE^iiiiiiiiEi^Egiiiiiii
I bid
,'
iiiiiiiipiiiigii
Ibid
1
:z5T-^
iPilMiiS
J^EWCOURT.
P.M.
PMhn
17, vet:
-i.
uond.
13
|iiiiiP#iiiiiilJgiiiiiilil^^iil^i^
The Loid
hatli
eyes
to
The Lord
sup-
ports the
sink- ing
mind
He
sends
the
lub'ring
con-
science
peace
^iigiiiiilliiiiiSl^lgilgiilil
He
helps the
::szjj_
stranger
in
dis-- tress
The w Wow
-
and
the
fa*
ther-
less
And
sweet
re-
lease
iliiil-i
When
the fierce north wind witli his aiiy forces
-fesr-k-|f
PI
Ji
iilSliiil^i
Ode.
JVOUrOr.
;^it
SapMc
r
Watts' H. Lyrica.
p=^P-T&
Eg
rrqr
t3
Ueai's
And
Skevihere
iigl^^iilifiiiSiiife^^iii^lliiS
ci\V.-:d"
Judgment."
i32
XOlVrUFIELl).
M.
Watts'
Hymns
-21,
Hook
i, vei-. 6.
IN GALLS.
^piiiSSfililgl^lPJiiM^iteliiiiS^
How
long dear Sayioiu-
O how
loiig;
ShuU
this bright
hour delay
And
bring the
w^lcoroe
dy
imStmmm^MmM^^^
f-'ly Sec,
giiiiil
And
bring 6cc.
tiiiS^iiiilSfilfllSPiiM^ilili^i
Fly &c.
XOUWICII.
S.
M.
JVatis'
H. Lyrica.
Kippon, 88.
hibbard.
I
pi^iSiiiirEliffilill^Jii^lgii^g^;S
1
rl*-=^*-
My
sor-
rows
like a flood
Irapnt'u'nt ofrfstraint
Into thy
botom
O my Gtd
Pour out
fcc.
*^
'-
Into
'''~'*~-
;iiiii^iiiiliiieiiiiliSliSiiiliil^^
JSi'EIV
:3i
SIBBATH.
L. .M.
frails'
Fsulms, 103.
133
J-H
^s^"^:'+i>Sii55
;^SiE?EfeEfE^
::4=i
:5z^j
B-3-
-Ki
g^
'P-
^^^^^S^i^^^iiiiiiiiii^
TheLonl how wond'rous
are his wajs
How
how
Ke
takes his
merej
fiir
his
throne
i-pd:-**^
i=:?2=rtfc5:
^tr.
1.(170 falls tliii
PI
J^'ORTIMMFTOX.
S.
" Caruvi-"
M.
Hymn
30.
Book
2.
MANX.
^^il^^^ffi
Come we
that love the
W9^
iSiiliSgimS^ii^iii^iffiSiiiB
Lord
And
let
in a
But
r.M.iy [May
^i^^Si^i^^
And thusaurrouml
=S'^=>v-r
the throne
^^Sffcfl
^.
134
.\En\M,mK.
CM.
Hymn
3^,
Book
2.
BULL.
fpi^^isiElsjliilsEliiyilipiiSiiilEiii^^Eiii^^^
^^m^MMmM^Mmi^^i^^MmWMwmi
Come
holy
spirit
licav'nij-
dove
lu these cold
kearts of
our's
zs^-
'^E=i
:^?si lzz=^
i illi^i^iiiliiii^lSl iilSiiillgliiliiilil-lipliai
-^-^
^4-,
OLD HUXBJiED.
L.
M.
MARTIN LUTHER
01"
DR.
DOWLAND.
pji^iiiiiiiiSiiii^MiiSllli^iiliil
ggglgg^:
With one consent
let
iiiigigi^ii
Glad homage pay with awful
iniith
allthe earth
To God
And
^^ii^iiSliiiiiiliig
Fvrinerlt; called
"
Savm/.'
OCEAJ^.
C.
M.
Fsalm
107.
SWAN.
13&
rPPi^s^iig^ifflliiS^^^iilgigiE^ii^ 9mm
i^ig^iiiiigi^^iii^iiiriiiiiiiiiiiiiii
Thv works
of glcry niighly
Ixiiil
'1
The
Who
At thy command
And
iiilSiliiSliigSiiiigiii^^
EE:
ses^b
At
i^iiiEiiiiiiiiigi^jigiiigii^gi|3i
r=^;=;=^-i-^E^^ggg|^^ggg^J|||g3li|g^i^^
I
iiitepiipiif:i=^i=^j^pil^ipipii^flifli ^Biiiis^i^=ii^=^igliisiiii^S^iH
swell
And
swell
The men
astonish'd
mount the
skies
And
sink in
ga-
ping graves
iiHiii ......
ihe tBw'i'ius wa-
61,.
"^r
iigllS^^^ii^iiil!
136
erOViTO.
gr.:y-izaLZZji:
L.
M.
,1
rortiiguese UijMn.
S.
WEBB,
|:iS: liEg|3^:|
AVhcn
I
iui'-
^-^E^g^grppsjg^^^^pcroa
vey
the
wond'rous
On
which the
Prince, of
Glory
il'd
My
rich-
gain
S ^ T-S
1^=::
il^iiiiiaiiiii^gg^JBi
count
but
loss
^ii
And
pour
*on-
tempt
en
a)l
irry
pride
And pour
Jte.
iP:il^ll^Jlll=^li^^lilil^i
Hv me
caVrd " .Ideste
Fiilelit.'
OMEGA
^fr'
P.
M.
or 8, 7,
Bippon, 575.
WM. JONES.
137
TXZt 3
i^giii-lfflpi=^a^ilgiiPS^
Lo he Cometh
countless trumpets
*
s
m^^mw
Blow
:!|.
Blow
-H:
saints
P-be-
saints
and
ajigels
See
P^ii^
and
angels see the
m
1^^-r
:B=i
-p-^
-^-
^l^i^lgliii^iiiiilLli
I'i^iLiiJiiiilgimi.^
Hallelujah
Welcome
iliil^iliiilipj^i^lESipgS-liiilii-l! k P^i^iil^liligliiiiiiiiliiliiiliiiiMf
^
-17
--
^-
- _
;!|:
::
bleed- -- in;
I.amb
the
cruci-
- fi- -
ed
JiiS
OLD FIFTIETU.
F.
ov iO^s
t^
irs.
Fsalm
50.
blanks.
SiEiiigi|?liiSEg|i:
The
Gixi of Glory
li^s^l
zh
'^-awakes the north
semis his
summons
foi
th
From
^^AR
T::
i?jE^i^g^si!iigigl
iiigiig3iiEfel
;silillliEfilsis[iiigiiEiiiiii^liliiliiei
Thro* tlhlant wot Ms and regions of the
mMmf^m^mm^m^^iwi^^im
deail
The trumpet
Lift
up
MiiiiiiiSiiii^iiilii^iiiii^iP
PARIS,
L.
M.
BILLINGS.
139
giglia^iilllgir^^liiil
i--f-P-p-T-This spacious eanli
mi
tlieii- dwelling place for their
iiiiiSSiiii
And men k worms &
beasts
-tr-^--t-T-h-->-TT"r-gT<?'->TH-g
And
gave
is all
the Lord's
birds
it
^tesl
iiiisa^liiiir^gilPilSiiiiliiiiil
3I1_
FECKHMI.
S.
M.
J.
SMITH.
f^^igiiiSip^igiiiSiiiEgigiii|iii
^^s^^m^m^w^fw^mm
Behld
the morning sun
^li
Re-
way
all
the
nations
ran
And
light
and
life
convej-
iglpig^iiiiiiPj:^iiii|fiiiBi
ir
-
rp ^
TP^i!
33=:
-6r^=F
iq:
Siiipiiigiiie
140
ve;n'itejs''cb.
a m.
-e-f-
T.
SMITH.
pETfTjgigligE
eS^^EsilEE -^=p
To
thcc
Bbtl^S
.a
S^^^
O God my
iigii^
cries ascend
=_
=Si
sf
haste to
my relief
And
with
ac-
cus-
totn'd
pi- ty
hear
The
ac- cents
my
grief
ii^Eliiili-^^^^^^g^^i^^liiiai
^&^^!gE?a=; rptrg+d
^^^
How fi-jil
our
life
=d-zF:
33:
S2
zzruazz
L.
=^
;iii^
WILUAMS.
FLTXET.
M.
^4S=:5lEE^
iiiPiliil*!^;
Remember Lord
our nici tal Elate
J
+AVhere
is
-B-E
the
K=^l^^Sii
that draws his breath
hew
man
,^.^E5gz.E-:|gg:
liiiiiiiiiE^iiiiiiig^^iEiiii^^ii^
PITTSBURGH.
C.
M.
141
plM^aii^M^fEgBSi^gElgiiil'ggi^
^-te^
^SEBEEtESSSEE
Awake
ye
saints
^H^^-Eiiiiili^Ji
your king
to
praise
Your sweetest
passions
raise
Your
pious
pleasure
Your
li.
L..
SB
*BEi^^
tzizjiz:
0^-0
%
s^~$rizrrt:
(&
-V
ik
S3=^-
11
^
pious &C0.
mi
ti
K
k
k.
a..
..*
HI mm
with the praise
Increasing he.
at:
m11^ m
W-m
In- crtaaing
Ck.
^^rf^
._
-e-
pi
jgai:
_.ii
iiriii^l-^pil-l
14g
FARAPHBJSE.
L.
M.
Watts> Psalms,
ar.
y=>
From
all
that dwell
be-
Let the
%:
m^ ^^
1
'
S
Ore-
a-
tor's
praise arise
i^i=t:=fs
rtei^
i^rff^k
ifc
ji g ^r ^T ^ >rn"[ rK>j 3
>
giS^SMIp^l^^i^l^ilii
iiliiS^^^iiliiil^S^iSS
er's
Slow.
name be sung
ev'-
ry tongue
Thro* Sec
E-
let^ nal
are thy
raer- cies
Lord
E-
ter-
FARAPHRdSE.
Lively.
Concluded,
143
s'iiS^pEiilEiil^iSii
qz-pzlz:
ze-
53;l5?gSEfe
ii^i^i^iiiii^i^^Si
Dill
lyg-sSii
Tliy praise shall sound Tliy praise shall
Eternal
Eternal
trusli
at-
tends
thy.
word
-'^=^^-T--.
'
Ife
^isn^iiiii
mzm.
F-T-1
K
:3_z:
'^m
(o
W~~M
Epp^i
'^^^^m.
Eound
azrs:
shall
m
rise
Siil^
'Till
ti=,l=i3=i=t-:
set
m
more
from
shore
shore
Till
suis
set
and
no
more
suns
Kpi=^. 3Ee
im:
ktt
!^
=fc:
mm
shall
and
rise
no
CE-ZC
:3EJE=:
liirJ
144
Ver)" slow.
L.
M.
PLEiEL.
li^iSsl^liitiiiiiiS^^^^iSiEiiiiiaSISi^
iiSigiiiiiiiliiiiiigiiiiSiglliil
So fades the
lovely blooming flow'r
Frail smiling solace of an hour
So soon our
transient comforts
fly
And
i^iiil^iiigliig^lpiiili^feilgil
.g^iggggiS^IBigfati^igig^iia!
.iho called " Comlolence."
PEXTOXriLLE.
P-#^
S.
M.
LINDLEY.
lEpnimgnii^^i 1 :i^^liii^L^iiiil^=i^gi^pEia
\-^m^
to
^y_J.
JJ_
To
sen
race
In
mercy
Lord
in- - - cline
And cause
1
m^mmm^m.
*Mv. L.av} calls this
*'
fc::
Cohtmbla.^
m^
1
On
/^I-
all
thy saints
shine
1 kr4=Tr-r
tr-
T2IU.
ZSZJJ-
POUTUGAt.
i.
M.
mats' Fsulms,
68.
145
^iii^sp^eis
Lord when thou
didrt ascend
on high
Ten
thousand angels
fill'd
the sky
iiliisi^ssiiilii^3 l^i^i^iiii^^ip^^igg^^ifi-miPPiiPiiPii
sl^fH
RESOLUTIOX.
C.
M.
II
OLDEN.
With
With
And
i^iS^ii^i^^^gStgiiiiiliiii
Great king of Zion Lord of all
We
face
With
grief
past
'
pard'ning grace
With
With
rilhr^
NoTB.
^ig^liiiieigii^^ielliliiil
The
treble
of Tortrigal
is
ear. By
W.
E.
>:^
146
liAPTUEE.
8, 7. 8, y.
Methodist Htjinns.
OSWALD.
('^t^-h
Love
(li- -
-^vine
all
liiiiilliii^lPBiiilii^liiii
loves excelling
Joy of heav'n to
earth
come down
ii^gfiEigiipigiip^Eiipi^Sipii
Fix
OB
us
tliy
humble
dwelling
All
lliy faithful
mercies
erown
Jesus
thou art
all
compas-
sion
Pure
lilEEEEEl^llEeEiiilSl
(^^i^^
un-
^=S:
PB^^IseIISIe
iiiiPiiiiiiiaiSiiiisiiiillil
love
tliou
bound- ed
art
^"i- ait
us
with
thy sal.
vation
En-
ter
ev'ry
trembling
heart
m^mwMm^m^^^^
,^lEeEElEgEyiE!il^El^bk=b
Hii^P
l^
iuppa
BAI:N'B0W.
C.
M.
IVatts^
Fsahns, 65.
SWAN.
147
m
^
:he^
XT
^t^^-^^
a
TZja
m:
^-l-|9
iggfe=iiiil3liilg
The
sea
grows calm
at
thy
command
And
ii
'Tis by thy
-P
l-#
fei^
1-
e^K
God
k.
i-i'
of eternal pow'r
^ mm
The
sea ea
The
=^=F
-
~ir~s-
Tcn:
or
Hl3i=H^iM
^||pig;|p;pEig|p
And
----#
J3=?:
-i
_C-
(-
i^l^:
And
^m
tHig^rEi
3iZS
5 ^3:
-If
Et3St33t
^=s:
L^-;
;iiiBi
sirs:
m g^gilSi^iiill
148
BEPE^TAJS'CE.
C.
M.
Hymn
106,
Boek
2.
feck.
'Twaa
1^31=^
O
if
B^s S
my
soul
i^ilMb'
for
was formM
wo How would
vent
my
sigh*
Re[>enUnce should
From
both
my streaming eyes
imm^^^m^m
i^iiiiES=Sii
liii^jEigili^iEi^S
*Twa8
for
my
sins
my
dearest Lo=
And
groan 'd
i-SSiSi
For thee
I-^--^^--
^liiigigEigpigggjgigggggigigjg
iiiiiglisilgil^iiiiigSSiiig^
n:
iHl^liiiiiKiliie
-
Elf=EE?EEic3ie=^?=&"
life
-id
Hung ou
tlie
lursed tree
And
gi'oan^I
away a dy-
For
tliee
my
REDEMPTION.
P.
M.
l^W^m-\
:!.p:1
mLiLlKGS.
149
gg^ligiliigi
iSEgSig
his iron sceptre waits
w^m
Th' etemsl speaks
all
WE yr^w
heav'n attends
m.
See
nBBiiiiiiiiii
natiiie
tremble
at
tlieii-
feet
Heath with
riiiiiWISiffiiliii
While justice aims the blow
Hell one's
1
liei'
^rzj3Z5s:s:5
^-N'
Icm:
liiil^SliSiiiliMi
in
^^iiigSfiSMi^^gii^ii^a
adamantine gates and triaraphs
-j
1.
their
wo
:||:
And triumphs
in their
wo
kd,
:s:q
wo
L JTE"
mj^:
icxxi: r
F-'F^
I-
^50
BdCKBEtDGE.
L.
M.
Watts^
IB,
Book
2.
A.
eHAPIN.
im
L| :t=tJ
Far from
my
Let
my
Fain would
my
wait a
vi-
sit
si^
iiiim^lgiS^ililig^
EOCKI^GHJIM.
C.
g^^
43,
M.
Hymn
Book
%.
a.
chapin.
iiiiirEiiiiPiii^^^gi^i
My God
what endle^pleasnres dwell
pzizazaq
ami'-
Above
at thy right
hand
ble
Where
all
thy
graces
stand
LiliiigliEEiggiiigS
S'i^^: IZfi
llzzifz^
--b~^ ^f^Pifc:
iszEr:
HS^l
X X
ROCHESTER.
C.
M.
Walls''
Psalms,
5.
WILLIAMS.
151
'^m^^mm^^mr^^^i^mmfi
Lord
in
My voiee
aseending
high
To
thee will I
direct
my
pray'r
To thee lift
up mine eye
aii^iiilill^iiiiilM^i^i^gili^
RlSSLi.
L.
M.
3.
D.
REED.
prcT^zriiJ.
ipztp
men
of high degree
The
^-*N Laid
Light
Light
Siiiggiii^iiiPiiii^iiiigiiEiiiii
Laiil in a
Light
v a pxS
of
empty
air
15S
IWCKY XOOK.
C.
M.
Hymn
41, liook
i.
WM. BILLINGS.
^^l
j^
E
These
.ft'
gtovious rainds
ms
how
VNr
iii^l!
Whence
aU their white arraf
-v-^How
in i^ip
How
r\,.c=;=v
M^ i^^^^MUWW:
* liiiiiiiii]
^How came
tkey to
the
How
iHiasiit=B~
hap-
pj
hap- pf
How
Sii^ii
5=t:
igmiilSli
of
ever* lasting
m
7^:
-
m^m
IB!
-
d;iy
How
;|
Sp=g^|i^pgi E
Iwp-
iSgpgpiPlEg
ttit^
-PT
tfn-w
they to
the
happy
neat*
9{
e- - ver-
last- -
ing
day
ROSE OF SHAROJ^.
Solomon's Song,
t.
>VM. BIM.INGS.
133
3&
gi^
I
am
lil-
ly of the valley
ilMiii^iiiiii^i
I
ara ice.
il
^!t^
lisilgliii-l^Eiiiie
ffiS ^4+
u
;^iiil^fii^^^ii
^mnni^i;
^^liiill-=ii
A
the
lilly
among
the thorns ao
is
my
love
a-
mong
the daughter!
As
a- -
mong
wood
11
y^^lEfS^^S
^^SM^i^^^mii
^e zzi^EzeI
I
154
ROSE OF SUAROX.
Continued.
ill^l^giil^
so
is
my
beloved
among (.he
sons
so
is
&,c.
Mm^^mi^Mm
I
liiilEiPPlig^S^iMlliiiiiiaigiii
sat
down under
his sViadow
sat
down
i^i^iii^i^iiiiiiiiiiiiiSiii
and
his
fruit
was
sweet to
my
taste
IHiiliilililliigEgiiiiiiii^iiiiilir^
and
his
lie biought
me
to the
-^-^Sidz^z:
and
aDcl
ime^ig^iii
giiisi
ROSE OF SHAROJ^.
rT:
Continued.
155
iSliii-^igili
slay
me
wali Hagons
imillil^iSiiiiiii^l
banqueting house
he brought
me
ffZffzp:
his
banner
i=^ilgMi^ ta
his i ba banner vet*
l^^lili^lEisiyi^^
comfort
me
with
me
vas iove
:^^
^m
for
I
^'-\ J ^
am
m-
-z^~:f
igi!ii^:iiiiPitel
of love
I
=*
apples for
I
fflimiiiii^e:
am
sick
am
sick
for
charge ye
sa-
1cm
B^SP^SSiiiiii^liS
iij^Elli^igli
mmmm^^
i56
ROSE OF SHAROX.
Continued.
r=iii^^li^lig^S
by the rocs
aoil
^
nor a-
t-
i
wake
awake
ray love
fet
fields
that
that
that
iSi^^iM^Sil
a:
that ye stir not
up
tttt
Pigl^^
=i=iiilitfeiiiPi^^igisSiiieiigSI
If:
iiiiiSaiili^liiii:
The
voict:
of
my
beloved
a^HSliS
skipping
mz^
till
he
ple:tEe
be- hold
i^liSH
leaping upon
skipping up*
mHil^iiii] biiitEMEEygi^lgilSi^feii^^g
siiii^l^^
skipping
ROSE OF SIMROX.
Conlinued.
157
n-^
Efp^S^^I^^Pi^^E
aod saM un- to
me
liigSSli
y love
^H
on the hilU
1:
4-'
my
fair
a-
way ay
Foi For
iiiliiiilill^l^ll^^il^
iiMliiB^lia^l=^^ii"^S^i==^^^^
-*lo the winter
ia
past the
rsiin is
EE
4*-
rzi^z^
^^i^l^^^igp^"PiiMsii Sif^l^i^l^i
over and gone
For
lo
the rain
the
-"sh^
>J.:
gl==j^igiiig^fEgil^^giiB^
158
ROSE OF SHAROX
Concluded.
^ri.
-e
ilS
-r-^
the
^EB &=i
F-^
=s=^= ipjLpz:^^.
m
p^
i
-^
the winter
is
lo
iilizllS
past the
rain
is
4-
For
^mm^^^
rr=;
iPHEE^Ii
^^Si
-T-&s-^
K-
^^a
^
o- - ver
_u
~r
and
gone
fe
gasHil
WM. BILLINGS.
*:
p.
ifi^i^S^Si
M.
8's.
sjv.9:s'Min.
pi^M^lsiiE
i
U
lovely appearance of death
t^rr*
sg
a dead
No sight
upon earth
is
so
fair
Can with
body
compare
'mi^m.
Not
all
SUTTOX.
S.
M.
Watts' Psalms,
2.
Ii59
ipik^i?3
Maker and
~
.
fi
l^llig
fczi
Szi.-;^
T^PLord
m
zz
;r:r^rp=: --a
iiSilil^iii^!
-
I
Of
henv'n and earth and seas
liEil-^Pilliliiii^t
Thy
provii-
sov'reign
word
And
answers
thy
de- orees
IHe
b:-^'
-g-t--
iig^i-siEiifiiiiiPJiiiiii^t
C.
SVTTOX XEW.
I
M.
Trs' Fsalms, 69
GOFF.
liliiPiiEl^l^isl^lsiEsiilii
sink
*||FEg;Fi]feEBi
gigHgHlg
Save
K-^-^
Break
in
12
roll
J
me O God
upon ray
soul
fli^M
Like
Like
g^S
160
If:
SJiLISJWIir.
r.
-t-
M.
or 7's, 6's.
BROWNSON.
ffl
iia.:
IM^iiES^ii^^ill^^^i^
my salvation
hear
^iilii^liii^5Siigggliiili!i^ggi
God
of
And
help
me
to believe
Simply do
Thy
blessing to receive
am
But
iiii^n^iHi^i
m^^^^^
tliy
pgggggj ^^i^
ffzt
si^
blood
iisS
spilt
iiigiiiiiiigi-i^^iiiliiiiiiiriiiei
to
words
for refage
flee
Friend of
tinners spoUess
Lamb
Thy
was
for
me
liiril^^iiiiiiiliiiiffiilfJiliaiPl
2EiE:
I &iiliiiiiiiaii^iiiil
Bt3r
i::
:^M
M:N'B0IIT0JS'.
L.M.
UymniJl^Book
\.
161
iiimili^liiiiiiiSPiiiii^lllillii^i
Now
in
the heat of
youthful blood
Re-
mem-
ber
our Crc-
a- tor Gocl
Be-
"
"^
-'=='
R,.rr,,,
iE^5^5gg|E|j||^i^ii^iiai^iggiiigiiiii
lit;-
ibfe
on
pjigiiiiigiliiiiiiiiiiiiiiii^iiiiiii
aiSlSliiiil^iiiiiiiiii^liiiaiir^
Before he.
^^^ilE^iigi_^ll|i
HHlilfff
Imi
jM
say
my joys
are
^TH*e
^S^iiiiilijSgii^^^
165
If:
SEE! UE
lilSES.
7's.
Bippon, 142.
;Sz:
Belknap. 17,
H0LDE3N.
Angels
roll
the rock a-
v ay
Death
tiiiditv
prey
See
lie
rises
iVom the
tonib
Glowing
\\ithiriQ-
iiPiiiiliiiiiiiiiiliiiiliiSiiliSlii sgi^ii^iiiiEiiiiii^^iiiiiiiiiiiiigiii
E^E^EpgEJpfe^Ep^ELZ|zEZ" Ziz^| zFzt3E^^^
njort;il
bloom
See
lie
rises
Scv-
i|=l^|=ii^Ji|E|ifefe3ii
-fc
I
-k
=iiiiiiiliiiiiiii^i^iiiiii^^iii^iiE;^
SATXTS' BEPOSE.
L. .M.
HALL.
163
^^^:FiESSzfczEzz;flS=irt.EJitEafE=S3E:ri&K
Dentil
is
to
us
sweet repose
The
And
build our
iiiSi^ieiiiiiiliiiiiJISiiig:iiilg^i^ iiiiiiiiigilgiiiiisiiiiiiigiiiiiiigii
Then said
1
O to
Then
-A-A-
-~~n
~-^
^
Let
-'
"'ll
_
sa
"P
'I*
'^'
KThen
ctEEErJzEr
ipiricz
iilli
iiiSilSiliiSiigaiiiiiiSiiilg Igiliiisiiigililgiiiilitete
mount away
ii
And
leave this clog of heax-j- chiy Let wings of time more swiftly fly sojrte, and oalled " Civil .iimtsement."
'
higli
i6l:
SOUTHWELL.
P.
or ,
6.
CARPENTER.
P3illlii-|giiiiiei E
iMmmmmm
'Tis
ftiHsl.M
srrfe
eUTsiilliiili i^iill^iiiiigi
lite
Redeemer
said
And
meekly
fsiiiiEMiliMii^iiiiiiipiii
^z||=^EIrE:rt^-s^JiiiL=:&:i ^IfzSEp^fE^EF
tEE
^:;?^:
ii^i^liiiili^il
-e-
:^
-P-
^zZpZeEl^H^flr^iEpE;
4=E^t
pE^PEiiSiii^gliElil
is
iiiiiiiijiiiiiiEiiigiiiii|E|ggiiigi3ii
bos J
liioiliii.g
ln.a>t
^^llilc
we
Cunic slum
LoiJ
Corcplcte for
sinful
lEgElia^iEliiiiiiiigiPilli^iii^iilii
-^=^
p[^iiijiiiiiiiiiii^g|E|iiiiiiii^^iii
aOVTllWELL.
i<
Convhiihd.
165
1-
=t==?:t
Hii^i
Complete
:||:
Cun]))li;iB
Com-
plete
---z: :nxj^:
Com
^^
'
Complete
Comiiktc
t-m.
Complete
tor
:F,i
-Com
ClJi'i1>1 1>1
te
:||:
for
;Eiii^iiiJii^iiiiiiiiiEiiiiiiiipiiUf
Complete
Com-
'
jilete
.||.
,11.
Co!i'i>!ete lor
sj!\-
hil
man
llzrr=rfc
i^lliiPiii^iliiil=iiifeiill^*
166
SUFFIELV.
C.
M.
Wtdls-'
rsalms. 39.
KING.
ps^iiiiii^ESiiiliiSiitaliiliiM
Teach
me the measure of my
days
'I'liou
would sur-
vey
life's
nurrow
space
fiail
I
1
am
2
iipiiimiiyiii as
z:'::;;zxrD:
trrziriK
E^EFEP|EiEip|EEP|^E|EE^
IIX_'2_ISZ
r.
iiiiililliiliiilBil
M.
or lO
SOrmWXLL
(!=-
S.
rVords by Watts.
KING.
^i?MfeiiiiigiiiilSiii^ilSiiiiS^i
Fnrb.-ai-
my
fiiends forbear
And
ask no
more Where
all
my
ihcei
ful jo^ s
are fled
AVhy
will
ye make
me
t -Ik
my nrraentsVer
^5iiiiSiiiiigi5i;i^ll|3ffl^^
:i
liiliiiiiiigii^iiliJEiiigiSii^iiaiSiiat
SlIEFFIELL.
-7v:
M.
ifir
iiiiil^ililiiiiiiiil?i;iiMlil
Let evVy heart prepare liin room Lit
Sec. 100:11
And he
i\'n
and
nriturc sing
HSiaiSiili^iiiiiiiiiiiiiiisiMllii
Joy
to ihe
is
come
Let
Joy to
Jit-
Ijet
Let
iPJ^ifeii^miglii
E
:tA
t'
Lot
fSrs:
3E5H
c e
lii=igiliiililil!
Rt-pent Uie soiinilingjoy
nh
.'
S'v'.oui* feigns
While
tleWls
aiijl
and plains
Repeat
&c
5glii:#1#iiiggl^jilSlteliii!ii=iiSiy-g^^^
Rpe;tt
R.'peat
iliSl^iiiil^iiiiii^liilE
Repeat
Repeat
168
SILVER STREET
S.
M.
JVatts'
Psalms, 95.
J.
SMlTIt.
^iini"riliilliiESg?^
^k^:
i^m^i^
The
uni-
miiii^
Come
sound his praise abroad
E=:Si:ei^-i=5=F:
Andliymnsof
glory
sing
--B-
=E
iglgiliil^g^lll
is
Je- hovah
versnl
king
ilHTiiiiiiiiiliSllS^iiii^^ii^
Lli-lilliiiilil^:^iiiiiiiiiSiil^l^
H:,ll. luj;<h
mmmwm^^m^^mm^^^[llilillliiiliiiliil
HaUelujah
:)|:
iHy=blEi|li==i=5
Prwise ve the
Lord
Praisi- ye the
Lord
-|*
"t
"k"
"V
-*"
^_
SHERBUBX.
CM
V~
JJ.
XIEEO.
109
J iE
'
Sonjs of immortal praise belong
He lias my
heart and he
my
tnngae
To spread
his
name abroad
-t
i~z|z
m^
To
X
If:
^2
z^dt
iiiiiiiliglliiiii3ii!ll
To
spre :icl
He
has
!i^
-r=
.k_k_i.
ii^imiilli liii
He
'
'
zdJr-^
^
-J^~+-
'--)
s.Tirtrr'^ lias my He
'
^to
-lo
i^
2^
23l-
g^
^SEEfe^S
ii^iliiipiH^iil
170
SPRIXG.
C.
M.
sends his
llie
sr.ow
The
fic-lds
no
long- er
mourn
He
Eiiii=!=ii"iiiEiiEig^y^l3
i-iiiiiil^y^ill
He
calls
il^lliligimiliiil^Siiiiiir^ii^iiii
If:
h\ri-
And
P-
Mmm
the
-warnier
g;des
to
:iPliili^feifeilhlil
blow
calls
And
bids
the
spring
re- - turn
r-^^p L^"*^' ^~
bio-
*
And
I lJ=t==i:
calls
U-
'^mmim^^mm^.
SPRl^'GFIELD.
P.
M.
7, 6.
BABCOCK.
17i
iiJigiiil^i^^iii^feii^iiSH iSpL^igliigSiiiiiigiligliiig
Jesus
ill
bikstl.e
bitter
cup
The wine
press treads
a- lone
By
his
ex- piling
groans
^liS=P1^
gpiilliiiiiliiliiiiil
Lo
the powers
of heaven
htf
shakes
Nature
in
convulsion
lies
The
earth's profoundeit
centre quakes
The
great Jeho\ ah
dies
li^JiiiiiiiiiigiiiiiiissiiHiiEg^^^
iSiiHISiii^^ffliiiitlSiiiliiiilj
173
SCOTLJiXB.
L.
M.
Ilijmn
A^S,
Book
i.
siium^vay.
IfiiliSiiii^iiSiEigi^Siigiiliii^Hiii
A u :ike
oui- souls
away our
tl-ars
tlio't
begone
Awake &
And
iSISlffil^l
Sw'.ft as the eag!e cuts the
-.nv
We'll mount
iliiiilMiiiSlii^iSiiii;^^!^: igiiSilgsiiiliieiiiiiliiiii^igiggi
.^-
^l|fr--|-f9i
VU
UIML
Oil WlliLS
aloft to thine
abode
Nor
lire ainii'st
On
wings
Nor
tire
HiieBitti^ztdzg^
0.1 wiii^sot' Io\U
O'liill
ulshhiill liy
On
wings
M
srF-n
liiiiiSiiiliiii
'W^Z
kkF^
Nor
SlMrHO:N'Y.
p.
ell.
or iO-s.
morgan.
173
'^"^fel^r^tt^
Tempests and
fiie
Hea^n
eai th
and hell
d.av,-
near
come
To
rr'=^
L'
fpggipjJpgfPipjggF^Siispifi^^^JilpE^lSig
But gather
first
my
saints the
judge
commands
Bring
vu tlieai y
s,u-
Siels
iVoiii.
tbcii-
distant
lands
i74
TIIIKTr.THIBI).
C.
M.
TUCKEY.
^plP^|gpfigppippgaipp|gi|ip^^^ggii|ppigg
Re-joiceye
righieous
ia the
Loid
to
yoa
Sing of
his
name
his
ways
his woixl
How
fcri*+tr
r==:
ifeiggiigsig^iiii
,___t * >
,
ligiE^Eeiiri
T?*
e ,
+
true
rtnp
Reveal
his
aaJ of grace
wond'roas name
1
-m-r 2
-ru
1-4
4=:
^gEjiiS?jE|||gjiii
Hii 'orka of oa- ture
n=e
ii.1iiiilliiSiiigfeiiii^iliiiiiiil
THIRTl-FOVRTII.
C.
M.
5?
Brady.
STEVENSON.
IT-J^
umiiiiiiiiliiiii-mi
1 hio'
all
HEgiiiiiiiil ^ pjglpig
The
pr^ists
life
In trouble
and
in
joy
The
praises
Tde
illi^3S^4iiliiiil
s? a
:fe=pzq
I'he
siiiiiiiiii^ii
jiraises
The
piiiises
SiSH^gipliligiii
The praises of mj
Godsliall
-^
siill
gS
My
heart
ploy
My
heart &c.
liimiii
EEEi^
Elseieliere
^tt: -\^-
|9-|C
Hii^ii
wlkd "
Crefl<>n."
iSi
=EE
sii
nns
176
r
TIIOMJSTOX.
C.
M.
Words hy Br.
Biles.
wm. billings.
iiiiiPiiipiPiiiiiiiiiiiiiiiiiiiiii
1
Great God how
frail a
thing
is
man
llow swift
his
minutes pass
His
span
I|e
like grass
^iSiiiiiiliil^iiJliiiii^liiiiisiill
^Et
.z
pi
Iz_5itz_i4i_^
t_-i
Z-irg.!
i-Zpi-a-^
-t-vrv--^^^-J
_azx
1
^ipagjiig^gjigiggi^iiaaapiggp^g
mm^i^mm^m^MM^mmmmm
And must my
minutes
thus decline
And must
sink to death
To
thee
my
spirit
I resign
Thou maker
of
my
frame
^liliiiliiiiiiililigiiiiiiiiiililil
I
^_p
^r-nr
T~r~l*"
l^l^g^Wigl
THOWBMILGE.
tr.
8,7.
liipi)on,295.
HANDEL.
tr.
177
pSiSSpiiiSE^flfeyHsilaijI^yil:-!^
Jesas
full
of
all
compassion
Hear thy
humble
suppliant's cry
tr.
See
^-s.-'
Y
fr.
P.
SS^I^igiE^iS^^^ipiilii^liEiiyisti^Sai^^ii^H
ISi^
Guilt! bat with heart relenting
!?=E=E='
Overwhel BiM
Sil?llisl?i~^iiiil=3liiiSiii
witJi helpless grief
Send
send
ne
quick relief
Send &e.
.^lilliPjfelilglijiiiiiiSiSillf^^
178
ST.
THOMAS.
S.
M.
Bymn
92, liooh
I.
WILLIAMS.
iiiiigiiiiii5Eiiiiiiiiiiiiiigiiiiiiii^
wisdom cry
a-
loud
And
The
Desi rves
it
no
re- gard
<
fezfeizsz-i:
,3/r.
Law
calls
tJiia
" Jlever/i/."
TnEXTV-FOVRTII.
t-----
C.
M.
Hymn
88,
Pwok
2.
A.
CHAPIN.
the joyful
sound
A sov'mgn balm
forev'ry
wound
A cordial for
our fears
Hi
-I
si
t-J i--i
iSHMi
iiliiiiiiiiliS^iil=iiai
TIllVMFIL
5, 5, 3, 5, 5, G, 3, G.
Itippon,
mO.
iiAmLTOls.
179
Begone unbelief
my
Saviour
is
near
And
for
my
appear
By
prayer
let
me wrestle
and he
vfiU
perform
With Christ in
Z22:ZIi
ffiSS P^'S^r^:ttr:
MliiiiilBifeii^lgllliiSllli^:^
jhv-t
mMMwmMMm^B
TRURO.
Cheeiful.
li^iigiri
williams' collection.
L.
M.
Hymn
47,
Book
S.
Now
to tlie
Awake my
soul
wake
mf
tongue
llosan- na
to
tli'
eter- nal
name
And
all
piilSiiiiiiiiiiiifiliiiiiiSliia^
liigiiliiiliilieiiiiiiigiiiigiiiiS^i
180
TRIXITV.
6, 6, 4, 6, 6, 6,
-i.
GIARDINI.
Come
Help us
tl;y
name
losing
Help
us to praise
Father
all
glorious
Overall victorious
Come and
reisn over us
Ancient of day.
[iiSiSliilsliiiiliilifailiiiliii
TURIX.
7's.
Forte.
P.
-ts
DR.
MADAN.
[3?:=J
iiiiHiaiiiiii
With
the sap
Son of God
Slill
supply
my
every want
Tree
of
I'.fc
my
pirit
fted
With
See.
With
S:c.
pislii&iilifeS^lli^Slliiig^^ftffl
iiiiiilliilSiliiiSliSiiiiS^^&
VmOJS*.
CM.
Hymn
G,
Book
2.
gim.et.
181
=i^liiifeligiiyyiiliiyipiii|E^E!||iiiiiiaf
=-^T!ii*?=fP
more my Once more my
soul tlie
i:s-
ing
day
Suliites
thy
wakiiis;
ejcs
Oiice
voice thy
ti-i-
bute pay
To
11
giii^ili_^llli^ililili^iifiii=iiiEi^
3:"s:g:::
e-
L\yiTLl
F. .M. or S's
^5
1 1's.
Mctlmllst
Coll.
Hymns
CHAFIN.
ti'll
me
no more
Of this
world's vnin
sloi-e
The
-JL.
I
|-;^r=k^_
trifles
with
me
is
now
o'er
Where Hue
joys
abound
-^=^-3
>4
.iiiiiiiigii
Etz^cE^^a,
To
divcll
-^^2
^:i:
I'm determined on
liB
happy ground
tliis
igiiiiiiiigiiiiiiiiiiiijg:iiiiiiiiiip
18S
riCTOltl.
c.
M.
J
D.
REED.
p-
- r
*-
P^E^^iliJ^liSI
Now shall my
'-^
E-H
::.t:;J^
sour.'^
i^^
pefo1
5^g^SE3J^SiE5E?i?E sizi:*p|j5:^*iii*g:|
H-+
igi^^giiigiigiii
A\'it1iu
head be
ft
d high
thy
t-
mp[t sound
iiligiiilillig^Slg^Eiilli^=lliilliii
-^- Above my
foes aiouiid \\
itiiin
ii
btXC
1-
ii|itEt
Fsrr:
sr^qcff:
sC. .M.
rttt:
Watts' Psalms, 89, rev.
4.
JIBGLXLl
BROWNSON.
iiitt|^*^[ii|igi^ii|i3l|^&^gii|ig|5=ilHai
iiiigi^igiiiiiiiia^iiiSiiiii
Thv
ords the ragiug winds control
And
deep
billoTS roll
'Ihe
roll-
gi_^gE_^j^j^^^ilSiil^ggi5iiigai p .iiiisiSi^iiliiilliliiiSiaSliii
The
rolly.i^
bi'Iow-i si
JltRXOX.
AflVtlnoso.
C.
M.
Rippon,
5:^3.
Unnght, 243.
t.
olmstead.
183
Ffer-ftT=;^
"'^"^
p^=lpzi
ia+"-
StliSiSiiSll
Flow o'er jour children
-..
.
'
loiirH^zz
E3-Ediiii
iai fleJ
.1.,-*
iigiiiiliiiiEiii^|ig|iiiiiiiiiiiiiiii
-^~~
"I
^'
'
'
....
Ye mourning
saints
dead-
Say not
...
in transi>"rts
nrdcspair
.-
''I
That
II
all
-. Lyourhopes are
dust
T_
In
\^tz^2 ^iS^^
izpzi:
t^ngtf2
i
:z=r: =!!::$
^^-L|-
~T gp^g|EpEpjEF-gj^g^ftgST:r"!;Tii5
-^
cle:iv
_k
A-__
n^ lo that
T
ilrirlini;;
Wlitii cleaving
P
A
liein'nlj'
^^^^iiiiiiiliiilgi lliliii^Ei^li
fond distress ye
lie
In
lie
Father
nigh
\^M
When
sPlifigiiigliiiiiiPliiiii^iipi
cleaving fee.
^^liiiiil^ili
Rise ke.
Rise &c.
i8-t
JVALFOLE.
C.
.U
llijmn lOG,
Book
2,
wo on.
m
O
if 111)-
soul
was form'd
for
wo
How wouM
vent
my
sighs
RepenUnee should
From b oth my
str eaming
eyes
^ii=l=iilligila|iiiiiliiiiliiilSiililili
Hung
ou the cursed tree
Ar^d groan'd
a-
way
a dying
life
For thee
my
For
tliee
my
glgfilgiiilgQlll^li^ii-^iili
.zE=gB^Jt=EPFi^iE~g^gE tpz^if^t
'Twas
for
==-T^jtTpze:
-#ll
my
sius
my dearsst Lord
^Ci
tff::^
szEtiii:
^^mm
WALSAL.
CM.
?rs'
i'sa//i(s,
119,
rH
4.
wilm.vms.
185
S^iHiiiiiliSi^liiii
How
shall the young;
S=is: To
And guard
their lives
from
sin
Thy woid
igillliii
keep the conscience clean
^iiiiiiiiisi^ii^giiiiiiiiiigiigiiii
i?v some called " Durham.^
z
rf:
WELLS.
^iEa
-rf*-|-
L.
.1
Jlijmn 88,
Book
\.
IIOLDRAYD.
sz?i:p;Z'
-o-il z^zetc
-I
m^
the time to serve the
zzzIzszDzJm:
^-m^'^wM^m^
And w liile the Lamp
holds out to
=S35f
efeiiiigiiiii^illiiiliiiriiiiliiiiiiiBi
Life
is
Lord
The
bum
iiilSigigiiliilliliii
>feTB.
H'aieai hat underffone some alteratienfrom the original for the purpose of making the treble
szizs
-idznzziij-
^:
musical.
186
WATBRILGE.
C.
M.
Fsulm
139. ver. 6
DR. MADAX,
Tj-l
4iXk[iS3=3
L^id irhere
~r/
'^
shall
5,ui;t.v
;
1-,
(-
J,
i!it
^
1
^f^-
sculs ret re
*"T~^~Tr
isg^ifel!?iig^i
^i^^ES^ ^K
e-f-e
laheav'n
1
rfo.Lusthrnre
Inhiii'n&c
h-
'-:r-rT
^^O-Gr
^-r
^i
23!
^^iii^s
L^_,_-^JUi
I,
:=E
-r
J_J
L,
L_J
i-..L-l
1-=5J
rriLDEILXESS.
L.
M.
Jfipnn :s.
Book
1.
1,EACU.
^^
g _
t=S3:
5S
^ATio
i;
iPiggiB!
s;ns
this fiir
one
in
dUt'ess
-il.!erDess
On
p-s-
iSHH^iliiiiilSl
WAREIIMI.
C.
M.
DR. AUNOI.D.
187
Soon
as
heard
my
Fa-
ther
say
" Ye
children
setk
ray
ginoi;"
My
heart
re-
pliM
with-
t^
H-'-^-B-
-E-j
a- T-
Ml^^iiii^lgg^=5=iteP^=l
^F
iiE^iiiPiiiiiiiiiiii^i
liHiiii^l
iiiiiiiiliiiiiiSiiiil^iiis^iiiSiiiS b T
Hi
lay
^^hz
my
Ss
^mmmmmmms^m
^'
v.
^^_^
-CO-
out
lie-
"
I'll
setk
Father's
face"
My
heart &c.
;-THv,^-
sF^'
=S5=P^:
ifl^l^^iPigtiliiiiliiliiMliiliilil
t/iis
=i=$nf!^zi: zdrizm;
EiiiiiiiiE^iPiiliiiiiiiiiiiigiiiipi
piece "
^Mill'jn.'
188
IFIXCHESTEJi.
L.
M.
WILLIAMS.
WE^mm
My refuge
is t!ie
--+T!
3 ^^ii^lili
e-pT=-F e-p
^
ii
fly
e
woods or moantains
m^m^^^ss^m m^^mm^^M
God
of love
Wljy
tlo
my
ft
"Fly
dove
To distant
f=-o-
m^:
e^-''f-G-'^
--z^:
Sq-J.S
-^iJir
Pv
r^^ii
irLYCIiESrER XEW.
Soft.
7s.
Lcud.
^pi!ii^liliiiiilHilP^iil!iiiSiSilliai
lisi^lPlisiieliliii^iii^liiigiilliliiiEl!^^
Who
is
Uiij lUat
conits fi-om
f?.r
Clad
in
gnitnct ts
din
'"
^'"^d
SUxing triiunphanttraTtller
Is
he man
oi- is lie
Cod
L^iiiiiiliil^piei^i^iiiliiiii^^Fi^i
:P:zqzjz|ci5:zzz:ft:^~iiij:zn:irz:^zzizszaztzcrscziiziffizrrirtii:it^dr:"
WIXTEH.
C.
TO.
IlEED.
1
189
2
^iSigil^Si^iliiii^^i^gEsliliEiiip
::iiliiilliiiiiiiiiiiiiliiiiiillM[li-li
Hislioaiy frost
liis
fleecy
snow
The
to (low
la
i-
uy
fctteis
bound
iSlsllig^ra^liiiliai^iliiliil^
liiiiiiiiiiiiliiEii-^iiiiiip-iiiii-i^yi
HoTC'J'/iis tune mutt
I":
bi;at
to
lite
leiigih oj
a nhuini ( ia allegro J
to
each.
Wm^BUAM.
L.
31
JIijiiui l;j8,
Book
2,
P.KEU,
-T
Pi
EEF?-FEEi3iE_^
Broiul
is ilio
mad
thiit
leads to death
And
iS^liiiiiiiiiiiiilgiipiiiililgiiiiEil
190
WESTO.YFAVEL.
C.
M.
Hymn
G5,
Bcok
'
1.
TriLLiAiis.
p__HKK^
^feai^ a--KH-^i-^fz3-^=E=tzi-ttz?Qzz
^^
li
-I
- i~itzir]
d"
^_
|.__-J
eiii^lliiiiiliiiliiiiiiH:
Come
let
SiEil-S-3
are
their
us
join
our
cliceiful
songs
With
anje'.s
round
the
throne
Ten
thousand
thousand
tongues
But
^j-""
iiisgiiEiiili^^!liii_3iiiS^iii
!3dz-
li=rjfc:
l^ii^jiigii^iiglililili^iSiiii
their
jovs
are
one
Ten
thousanrl
are
their tongues
But
all
:):
their
joys
are
one
liililliiilgiiii^iiiiiiiiiiSiia
ll:t=i
ls^;i|iEl#3i|ilii^ilii^Mililiiiilpi
WESTMIJS'STER.
C.
M.
N.
SUIHWAV.
191
ifffcsa^"='"
"Tr^
^L
^-|-
'
'"I
'
Thou
all
AVhom
A round
cfeS
-B-
SggffiS
Around
aiiEigiiniiiiiiii
And
Around
dre:id
iS^liiiii
Siilliieiiiiililiilgii
Around whose throne
thunders
roll
And lived
lightnings play
Aruuad
And
Hiliiliiili
Around
wliose
li^li^li^illSiiliriili^^ilii^^pU
y
I'l^y
And
And
h\eiX
193
nESTFOEB.
L.
M.
irijmn 15,
Book
3,
3!^
\
Far from
-trT
1
fe^
ifer^
I
U31
m
z^
See.
^i
my
thol's rain
world begone
iH^^Hi
T
T-i
li-
Fain would
my
eyes
'-
my
5:p:*^tpi
''^^F^^^^-i
^-T
-^
Saviour see
'
wait a
visit
Fain would
T -I_:i^
Jii&^axzff
P tPi
:s=C=i=4
p-"-l
lirzfc
i^gjHii^^
r
'^T5^jjgagpEigma-jp
!-I~--JE^Ei:
:tpzrzp:icii:rz*zdzzdzzzit;
^^
^fgsgi^ii
t=Bzx:
^l^^g^^^
sraz
My heart grows warm
v.
--i
^?^^
-y-F
^=F
^=iri-t:
S^^T
iih
i:;
kindles wiih a pure desire
4
a-
?^^
boVe
nr:
scul with heav'nly love
holy fire
And
And
feed
my
CJdlZi
^t^I|Z-p-P-.^l! i-XZTI_p_pZl-'_
'
I-
-^-raZtI-^_III-_;
;_
Z5-IZ_fI^C_^
JZ
WESTFORD.
CoucUided.
193
How
Never
<lid
angels
taste aliove
Re-
(leeiriinjt
Rraco
or
dy-
ing
love
ili^lSifeiii^llilE^i
WESTFOBD
J^EW.
6, 6, 6, 6,
&"
4, 4, 4, 4.
iiolyoke.
i^SliSiiiiSi^iliiil^liiSiiiliiJ
Loud
to the prince of
heav'n
Our
With
in
in
arms
g^
And
fill
hr-k-P
194
WILLLIMSTOWX.
L.
M.
BROWK.
pSisS^lg
4-i-
img^i^gfeE^^ig
fids
utt
tliy
misi
Show
I
'-F-PT!-=r'-TF=n^
11
Let a repenting rebel
live
pity
Lonl
Loi-d forgive
-- :zi:ijq
i^lEiligii+
it-cth
Are
i^iiiilriissist
May
not
May
in
ihee
]
r-Tr
r^
JKK
=^
Fp:=^
zff
iSSiiil
MAD AN.
F.
Jifii^ligiii
_
.-t
=IT
Are
not
WIXWICK.
'
5's
c^-
6s.
^^-^-^ *ZBI
IjiiiiiiSgiiii
za=3
i^^mi^s
APPENDIX.
IN
lications,
195
the following pages there will be many words found which are not now in common usej but are still to be found in some ancient pubwhich renders their insertion in this place necessary. Other words in common use, and not here inserted, will be found in our common English dictionaries. Many of the following terms are from the Italian ; and are explained, as they are applicable to the science of music, without regard to their connection with other branches of literature.
Alto, or Altus, high, counter. Alto-viola, a small violin.
a stress of the voice on a particular note or syllable. Accord, concord, agreement, union. Acrostick, a poem, the first letters of the lines of which form a name. ^cute, high, sharp, shrill. Magio, very slow, the character C. Mlibitium, as you will, as you choose. fiEolus, or .Moiian harp, a. string placed in the wind in such a manner as causes it to vibrate and send forth sweet sounds; a windowharp. Jlffethioso, tender, affecting, mournful, plain.Sccent,
tive.
Anima, vivace,
lively.
Bass-viol, a large, or bass-fiddle. Battuta, the motion which keeps time in music: Bianary, twofold, a measure of two equal beats. Biss, twice. Blank verse, poems without rhyme. Bombardo, an instrument like a large hautboy. C for eombinina; the sev Brace, a. .t.ii.c, a wiaiavici character -J ^ gral parts ol music.
I . 1 .^
i-
xi
straiir.
Arpegio, conchords succeeding each other. Arsis, or Thesis, the contrary parts of music Airietta, a short air, a short piece of music. crossing each other. Sir, the tenor part, the inclination of a piece Assay, steady, regular time. B. of music. Mlegro, lively, quick, the character 3. Bagpipe, a kind of wind instrument, made Mlegro-picu, quicker than allegro. with pipes and supplied with wind by means Mlegro-poco, slower than allegro. of leather bags like bellows. Alemain, or Mnmnda, a particular kind of tune, Band, a large number of musicians performing usually repeated in one part only. together on instruments of different kinds. Alexandrine, a kind of verse, having twelve Bar, a division line crossing the stave. syllables to each line. Bass, or Base,the lowest part or stave, the founAlt, high, above the stave. dation or ground of music, low, grave, solemn. Alto-octavo, an octave higher. Basso, the bass. AUo-repieno, cliorus by turns. Bassoon, a kind of wind instrument for bass.
Canticles, divine or pious poems, songs. Canto, a song, a short piece for treble.
19C
Cliave, a
clift'.
APPENDIX.
Compose, to make tunes or pieces of music. Bactyle, one long and two short syllables alCompositor, one who sets notes to tunes. ternately. Composition, music prepared for use. Demi, half. Compound time, coraraon and triple time com- Demisemiquaver, a short note, ^V of a semi-
niera music.
Chime, sounding like bells, conchord, an accompaniment. Chillies, a kind of instruments said to be made
of shells. Chord, a sound, a conchord, proportional vibrations.
bined, as 6, 12,
^-c.
or
SS
breve.
^-c.
Con, with, as con life, i. e with life. Cowcer/, many singers or instruments together. Concerto, many singers and instruments together.
in ra-
nearly.
Chorus,
all
Chroma, a
trill,
Chromatic, having many semitones. t'hurms, confused sounds, dischords. but not properly either. Clarion, a shrill sounding wind instrument. Cord, the string of an instrument. C'arioneite, a small clarion. Consonance, an intermediate conchord. Clavichord, an old kind of instrument, ha%-ing Counter, the third stave, the third part. 5 bridges, 50 stops and TO strings, a mansi- Counter parts, or Contrary parfs, the several chord. different parts, or all the parts included by Clnrio, a harpsichord. a brace, or used together. Counterfiige, a contrary fuge, the other part Cliff.<, or Clfffi, characters rcpresentin; particular sounds or decrees on the stares. beginning fust. Clone, a character composed of 2h double bars, Counter point, figures placed under the stave the end of a piece of music. shewing the conchord, &c. for the organ. Comma, a small part, as ith, itii, &c. of a tone. Cresendo, increasing in sound, becoming loudComesupra. repeat the same. er. Common time, duple time, equal divisions, as Crotchet, a note, the i of a semibreve. Ctjmhal. a kind of instrument. ^c. Cylhera, a kind of triangular instrument. 10, ^-c.
Conchord, a proportional number of vibrations, Diapason-diapente, a compound consonance^ an agreement or union of sounds. in ratio, as 3 to 9, &c. Concinous, between a conchord and dischord, Diapason-diatessaron, a compound conchord,
in ratio, as 8 is to 3.
to 2.
Diapona, a dischord.
Diesis, a semitone. Diatessaron, a fourth, the same as quarta. Diminuendo, diminishing in sound, &c. Direct, a character vf shewing the place of the following note. Dirge, a mournful son^. Disonance, dischord, disagreement. Dis, to part asunder. Ditune. an interval of two tones. Disdiapason, a double octave, a 15th. Dissonant, out of tune Distich, two lines of poetry.
&^&,
oi-S
4f
Common
U.
Da,
for or by.
tlie first
APPENDIX.
Dot, two, twice.
197
H.
Hallelujah, "praise ye,"' a song of praise. Harmony, a pleasing union of sounds. Harmonics, the doctrine of sounds. Harmonist, a writer of harmony, a musician. Harmonica, a kind of instrument, said to have been invented by Dr. Franklin. Hnrmonical, musical, agreeable to the rules of
Fantasia, according to fancy. Fin, the last note, sostinuto. Flageolet, a kind of small flute. Flute, a kind of wind instrument. thing to be acted. Dramatic, tragical, mournful, actionable in a Flat, a character b low, dull, mournful. harmony. Flourish, an overture to prepare a voice, 'or in- Harmonical-sounds, a certain proportional mournful, sorrowful manner. Duet, two parts only moving together. strument. number of variations of sounds or degrees. Forte, loud. Dulcimer, an instrument like-a harpsichord. Harmonious, pleasing, charming, melodious. Forte-piano,yi kind of instrument. E. Harp, a kind of triangular stringed instrument. Echo, a soft returning sound, a sound vibrating Folia, a particular kind of time. Harpsichord, a stringed instrument. back. Fortement, loud and strong. Hautboy, or Hoboy, a kind of wind instrument. Echombter, a scale for measuring the duration Fortissimo, very loud. Hexametre, having six lines to a verse. and ratio of sounds. Frets, stops on an instrument. Hemitone, a halftone a demitone. Echlogue, a song, a pastoral or rural poem. Fuge, or Fugha, the parts of music following Hocounter, counter-tenor or cantus. Ecliu^, soft, like an echo. each other in succession. Hodesis, the first or upper treble, where there Elegy, a funeral poem, a mournful piece. Furia, quick, violent. are two. Elysian, exceeding delightful, sweet and pleaG. Hold, a character /^ used by some authors to sant. Gamut, the scale or rudiments of music. stretch the time of some notes, a surprise. Eolick, verymajestica particular mood of time. Gavot, or, Gavotta, a lively kind of air in com- Hosannah, an exclamation of praise to God. Epic, heroic, actions related in poetry. mon time, sometimes repeated. Hymn, a sacred or divine song. Episode, a digression from the main subject of Gay, brisk, lively. HymeniaL a marria-^e song. a poem. Genus, a particular part or division of melody. Hymnernphon, a very extraordinary kind of inEpigram, a short pointed kind of poetry. Gigue, or Jig, a lively air in triple time. strument invented by Keffelsen at CopenhaEpilogue, a concluding piece. Grand, full, great, complete, pleasing. gen, 181S. Epiphonema, an exclamation, a conclusive Gratioso, agreeable, suitable I. sentence. Grave, slow, solemn, mournful, most slow. Iambic, every second syllable accented. Epithalamiwn, a nuptial song. Gravity, lowness, a low sound. Idyl, a short poem, an eclogue or pastoral Epicidium, an elegy, a funeral poem. poem. Guido, a direct. Epvde, a pindaric ode, a kind of stanza. Guitar, a kind of stringed instrument. Index, a direct.
and sweet, piano. Dolce, sweet, soft and gentle. Dnlcet, a kind of instrument. Douced, a kind of dulcimer. Doric mood, a slow and solemn movement. Drama, a tragical piece for the stage, somesoft
Doux,
198
Tnno, a
APPENDIX.
hymn
or song.
Messa, a particular kind of sacred music. Melodious, musical, pleasant, sweet. Intonation, giving the pitch or key of a tune. Miiiim, a note, one half of a semibreve. used, equal to 4 semibreves. Interval, the distance between two degrees or Long-metre, having 4 lines to each veree, of & Minima, a minim. sounds. syllables each. Minor, or Minor-mode, the flat key commandInlrada. a prelude or beginning piece. Lucto, a lute. ing, low, mournful, having fewer semitones Ionic, light and soft. Luctuous, mournful, sorrowful. than major Mood, or Mode, method, position of a piece of Lute, a kind of stringed instrument. Jacks, pieces of wood under the keys of in- Lutanist. one who plays on a lute. music, shewn by a character. struments. Lyrement, lightly, gently. Monody, a mournful piece, an elegy. Jar, a liarsh sound, adischord. Lyre, a kind of instrument, a harp. Monochord, an instrument commanding 48 deJargon, a confused mixture of chords and dis- Lyrist, one who plays on a harp or lyre. grees on one longcord, for proving intervals. chords, or dischords only. Lyrick, suitable for the lyre, poetry suitable to Moestrw, a guide, a direct. Jubilee, a time of rejoicing, a festival hymn. be sung with a harp. Moods, certain proportions of time, &c. IV. Lyrical, pertaining to the harp. Motets, short anthems. Keyf, pieces of silver, brass, ivory, &c. for Lydian-measure, or Lydian-mode, a mode of Modulate, to regulate sounds, to sing. placing the fingers on, to strike the semitime, or particular kind of movement, soft, Modulation, the regulating and connection of tones truly on an instrument. sweet and pleasant. sounds in a pleasing manner. Key-note, the principal or leading note of each M, Music, a succession of pleasing sounds one of
Linto, slow.
Iiiscanna, a rest instead of a concluding note.
octave.
L
La
or Law, the fourth syllable applied to the notes. Large, the name of the longest of all the notes used by the ancients, equal to 8 semibreves.
J^Iadrigal, a love song. Major, or Major-mode, the sharp key commanding, including the greater third, high, cheerful.
o4
N.
Major-chord, an interval or conchord, having JVeginoth, a kind of stringed instrument. more semitones than a minor chord of the Mcessario, continuing like thoro-bass.
A''omipla. in quick time, like jigs. JSTontropo, not too fast, not too slow, &c.
JVotes, 7 characters representing the degrees or sounds of music. The syllables applied thereto by the Italians are as follows, viz.
Mansicliord,a. kindof instrument,aclarichord. Maestoso, majestic, grand. Magiore, major, greater, higher.
Lima, the difference between major and minor. Mainpart, the principal part, the tenor. Lintement, the same as largo. Medley, a confused mixture of sounds. M-Libitium, as you will. Medeus.the treblean octave lower than natural.
ut or or
re
mi
fa
sol
la
si
12 14
G
5
A
6
B
7
APPENDIX.
The
syllables used
199
Presto, quick. Presllssimo, most quick, very lively. i'risa, a repeating character :ll: Pronto, quick, lively. Prolatlon, forming a trill or shake.
by
tfce
English are
sound. Phimicks, the doctrine of sounds. Obligate, very necessary. P/ionacumtick, having the power of turning or Ohoy, a hautboy. altering sounds. semiOctave, an eiglith degree, 6 tones and 2 Phyrgian, lotty. sprightly, warlike.
tones.
Favv Sol Law Faw Sol Law instead of these three last, Mr. Adgate uses Ba Do JNa, but his plan has not been finally adopted. O.
Mi
Pastoral, rural, a shepherd's song, something pertaining to shepherds PassaciUo, slow, the same as chacoou or charoon. Pettica or Pointee, exactness in time, true in
Ode, a poem. Opera, a musical entertainment. Organ, the largest of all musical instruments, any thing which emits a sound, as the voice. Orthestre, the place in a room or tlieatre where the choir of musicians sit to play. Ors;anist, one who plays on an organ. Organa, a small organ. Ornturio, a kind of drama set to music. Overture, a prelude or interlude, a beginning.
P.
&c. Pindarick or Pindaric, a kind of measure used by P. Pindar, a Greek poet. Plana, or Piano, soft and sweet, a kind of instrument. Pienuo, full, complete. Pentameter, five lines to each verse. Peab, sounds, as of bells. Pentachord, an instrument with 5 strings. Piaiinissimo, very soft.
Pice, strong. Pipe, a. wind instrument, a tube. Pitch, the proper degree for a tone or sound. I^tchpipe, a small instrument for proving sounds. Pique, to divide, to make distinctions. Plva, a hautboy. Pocii, a diminution more slow. Poem, or Portry, verses or rhymes, written
Proper-metre, according to some particular. tune or measure. Prologue, an introductory piece, something before the main subject. Psalm, a divine or sacred song. Paltry, a kind of harp. Purfie, an ornament on an instrument. Q. Quarta, a fourth degree, a dischord. (Quaver, a short note one-eighth of a semibreve. (luartetto, a composition in four parts.
.
(or rath-
Recitative, something resem,bling speaking or oratory. Reditta, a character, a repeat. Replica, or Replicato, the same as repeat. Rr>piireusion, often repeated. ffests, marks requiring silence.
fiacetavito, or
of a band.
Parody, a burlesque on something serious. Pavula, something formed, or to be formed into a song.
llepianno, chorus. liesurge, rise again. RHornal, a short piece for the instruments while the singers rest, a symphony. petatur, repeat the same again. Respond, or Resound, an answer, a reply, an
ParlL- alar-metre, a measure different from those in common use, not like long, common, or short metre. Pause, a rest, an interuission, silenc.
echo.
Prima, the
first
or principal part.
.?rtO
APPENDIX.
in
souml olihe
last svllahle in
7?^//jm,,h:irniotiious nieasHres
JitquimUy
rest, a
Treble, threefold, the third octave for a woman's voioe. TriUy a turn like shake, a roll. Treble time or Triple time, threefold proportions of note> requ'unng 3 beats to a measure, as
Saphicivt kind of measure used by Sapho the Poetess. iiiin're^ a potni written lo e\pose \ice and folly. Safiricii/t sharp, sarcustic, censiuing. Score* several parts writtt-n oiil* under the oilier. 6Wa/ij a note often used in the psalros of David, the true iin{>ort of which is unknown pcrliaps it may be a musi^ cal character requiiinei; attention, or signifying ameiu Sev)ibreve, the lotigebt note now in use. Setni diapason^ an inip.rfi ct octave.
;
Spinnet, an instrument with wire strings. Spondee, two long and one short s\ Ilables. Stax-Cy lines and spaces for musical notes. Stanza, a set of hnes, a comphte strain. Staccato, a character requinng a distinct sound.
Strain, a kind ot stop for a rest or repeat, a stanza. Stops, marks on instruments showing where to reach the degrees. StropJiCy a set of verses, n stanza. St/nwietri/, beautiful and regular proportion. S^mp/innt/y a concerto, musical sounds, a piece of music without words, which the instruments play while the
voices rest.
St/?icope. cut offj falling
oft',
Trageily, a
^c.
i1i'i<ma, a mournful event TranspoaUion. the changini; the plaee of the key note. Trediapaaim, the three octaves. Tremola, m ktrd of trill or shake. ^ Wo, or TrteUo, a composition in three parts.
THte, a
third.
tliiid,
minor
third.
Tnimpet, a kind
'J'l/chet, a
'i'utti,
of shrill
wind instrament.
prelude.
played
In
the evening to
entet-tain a friend oi- lover. K>ejpentf a kind ofci-onkcd wind instrument for bass. ShohCf a grace of inns'.c. like a trill.
position.
T.
Tacit,
silent.
Sharp, a ciiarscter ii for raising a note?. Shurp^hetfy [the syllable faw bt.ing the key note, the major mode.
Union or Unity agreement, combination, concliord. Unison, two or more sounds at the same time, on the same decree, and crrated by an equal number of vibi-alionB fn the same space of time.
V.
Vero. one singer or player to each part. Vei-t or VolU, turn over. Venthsimo, twenty, twentieth. Vite, quick. Virginal, a kind of instrument. Viol, an instrument with 6 strings.
Violin a fiddle. . Violincelo. a tenor viol, 1-Sth above a baas viol. or double bass viol. Viohm. a large, Visto. or Vistaments, very soft
life, sprightly VoUisubito, turn over quickly. Volvntan. descant extempore, played at randoni
Tenor,
ih.e
Si^ia Si^Jtf. chrn-acters, noies * Semitone, a fesser second, a half tone. Semiquarer';'Ji short note, 1-1 6th of a seraibreve. Serauiiml. r* piece in low triple time. SfCoiuh: thf second p:ul, aif atcompanimcnt. SV/i^, to make melody with the voice. Sixtht 3n ini]ierfect conchord. ^litr. a dash connecting sevei-al notes. Shart-metrey four Hues to each veise of C sylliiUcs each, except the tliiid, uhich has S syllables. Sfile ihi- third svUable applied to the notes,
So/o,
pitch of the voice. Titrastick. vn cpigi*ara or stanza of 4 verses. ^ TestOy lijihi'iy touched. TetritHapason, containing three octaves. Thirdy an imperfect chord of 3 or 4 seoiitones. Theorbo, a large lute. Thorough-bass, Uie bass part continuing through without
rests.
Tliermody, a niourafu! funeral song. Timhrd, an old kind of instrument used generally by
'.vomen.
Vivace with
Time,
&c.
S<ma^ a
Sonorous, loud and stroii;*. Song-, A pi'Wjni cnrnpoaed for the voic. SanatCt a piece iu various pans, a tune
Tocato a voluntary piece by one performer. Tnin-iti'm, nio\ing across the Btave,aa intermediate note, a slurred interval.
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