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- Fer all the Common Metres of the PSALMS in the Old and New VERSIONS, and others for Particular 8 MR,

CHAN TIN G. TUNES

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\ Halifax; J. Mze@ciTT and G. NzwTon, in Wakefield; J. Bur and

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P R E FACE

\INGING of Pſalms is ſo fit a Part of Divine Service, ſo natural an expreſſion of our joy, and ſerves to ſo many no- Is ble ends, that it comes recommended to us by the pra de of all nations, ſeems to be as ancient as public worſhip, and s had the good fortune to be approved of by all parties of nat denomination ſoever; and therefore the Pſalmiſt direfts +: is precept not to any peculiar Church of God, but to all lands * to ſerve the Lord with gladneſs, and come before his preſence * with a ſong.” “ 4 8

Ir has that force upon the paſſions, as to compoſe our thoughts,

ſo diſſipate our ſorrows, and to enliven our devotion : It ſuits the + þ

pirits when heavy with grief, or exalted with joy, and brings

1em into a temper of grateful ſeriouſneſs. How raviſhing and 1Felightful is this exerciſe when performed with ſkill in a becom- [ng manner? And how much unlike itſelf when made up of arſh and diſagreeable ſounds ? They muſt have very inharmo- ious ſouls, who can hear the one without pleaſure, or the other

vithout pain: I may appeal to a great many of our Country ongregations for the truth of thys ; and yet with how much dit-

culty are they perſuaded to ſing in tune, or to forſake that they ave been accuſtomed to ? What terrible outcries do they make

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The, FPR EF A C E.

Tux deſign of this undertaking is to better and impreve this excellent and uſeful part of our ſervice, to keep up an uni- formity in our Pariſh-Churches, and bring them as much as may be, to imitate their mother Churches the Cathedrals; and therefore all the Tunes and Anthems are in four parts, and ſo j make up that fulneſs and conſonancy which cannot be expected | in two or three: Each part. when ſung alone, is as muſical |; as could be allowed, which renders them eaſy to the learner ; | and the compaſs of the parts is ſuch, that there ſhall ſcarce a tunable voice be found, but one. at leaſt of the four parts, ſha\.l N contain and conſiſt of thoſe notes which that voice will mot naturally and eaſily perform ; ſo that all. that are capable bf 5 harmony may join in this concert, * and © young men and « maidens, old men and children may praiſe the name of the LORD.”

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IT is very much to be wiſhed that this religious exerciſe might be more eſteemed, and that (ſince it is an eſſential part of the duty-and homage we owe to the divine Majeſty) a decent per- formance of the ſame might be countenanced and encouraged by the better ſort; this would be a means to add to the church daily, and make us glad to go into the Houle of the Lord; this would tend fo to excite and heighten the devotional. paſſions, and ſo to move the affections of the mind towards God, that our Plaims and Hymns would become ipiritual ſongs, when in imitation of the bleſſed chorus above, we ſing unto the Lord « with grace in our hearts, and with a voice of melody.” |

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| HE Gamut, or Scale of Muſic, conſiſts of Line and Spaces, on which are Pace thefe ſeven Let- ters, viz. A, B, C, D, E, F, G; which are repeat-

= : ed as often as the Compaſs of Muſic requires. The three Characters which are in the Scale, viz. — are the three Signal Cliffs; the firſt of which iscal- > : led the G Cliff, becauſe the Letter G is placed on n Hy —? the ſame Line with it; and in this Cliff is pricked | the Treble, or higheſt Part in Muſic. The Second is theC Clit, becauſe the Letter C is placed on the ſame Line with it; and in this are pricked the Medius, Tenor, and all inner Parts in Muſic. The Third is the F Cliff, becauſe the Letter F is placed on che ſame Line with it; and in this Cliff is pricked the Baſs, or loweſt Part in Muſic. | All Tunes are generally pricked within the Compals of

five Lines, in which the Three Signal Cliffs are placed thus, A The

i The INTRODUCTION.

—

Line; the C Cliff ſometimes on one Line, and ſometimes

on another.

The 85 G Cliff on the ſecond Line; e FCliffon the fourth 4

5

But to prevent any Difficulty that might ariſe from the re- moval of the Cliffs, each of the four Parts in this Book is con-

ſtantly pricked in its own Cliff, i. e. the Treble is always in the Cliff; the Medius in the C Cliff ſet on the third Line; the

Tenor in the C Cliff ſer on the fourth Line, and the Baſs in tage

F Cliff, as in this Example: The G Cliff.

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The C Cliff on the third Line.

A

— — —

The C Cliff on the fourth 1

Medius, or Mean.

"TENOR. | | |

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Theſe ſeven Letters, viz. A, B, C, D, E, F, G, are called

Keys, each of which is a ſeveral Degree of Sound, which is

more grave or acute, according to the Line or Space in which

it is placed. .

That theſe Degrees may be performed by the Voice, four "© Syllables,

11111

— — — — AW p

4

te INTRODUCTIOGaN _ i

b Syllables, viz. Mi, Fa, Sol, La, are appropriated to the ſeven

Keys in ſuch Manner, as to expreſs their ſeveral Sounds, how-

Jever varied by the [b] Flat and IE] Sharp, and yet keep the 9 ſame Diſtance of Sound each to other; E. g. Sol is always the

next Note above Fa; the ſame Diſtance of Sound that is be-

b tween Fa and Sol; ſuppoſing they are placed on the Keys C, D, is the ſame in Vocal Muſic, when they are placed on F, G6,

and ſo of the reſt. In the gradual Series of eight Notes are contained all the ſe-

veral Sounds in Muſic. Now theſe eight Notes are not fo 6 "8 *: the many equal Degrees, but conſiſt of five Tones or whole Notes, the ing to the Key they are computed from.

and two Semitones or half Notes, whoſe Order differs accord-

The Key is the principal or fundamental Note of a Tune to which the other Notes have proper Relation, and in which the

I Baſs always concludes. It is called Flat or Sharp, not from the Flats and Sharps ſet at the Beginning of a Tune, but with re- ſpect to the Third, Sixth, and Seventh above it; ſor if the

Third, Sixth, and Seventh above the Key be Leſſer, the Key

is Flat; if Greater, the Key is Sharp.

Thirds, &c. are called Greater or Leſſer, according to the

Number of Semitones contain'd in them. A Greater Third

conſiſts of 4 Semitones; a Leſſer Third of 3 Semitones; a Greater Sixth of 9 Semitones; a Leſſer Sixth of 8; and ſo of the Seventh, as will eaſily be demonſtrated, when the Places of the two Semitones in the Scale of eight Notes is obſerv'd. The Places of the Semitones are diſtinguiſhed by the Note Fa; E. g. from Mi to Fa, and from La to Fa is a Semitone; from Fa to Sol, from Sol to La, and from La to Mi is a Tone, as in

this Scale, in which the Semitones are marked with a Star.

—

— 0 - \

Any three of theſe Notes are called a Third, which reckon'd

incluſively, contains but two Notes ; now if one of theſe be a Semitone, that Third is called Leſſer, but if they be two whole Tones, it is called Greater: Thus the three higheſt Nores in the Scale are a Leſſer Third, and the three loweſt a Greater Third; and fo of the 6th, and 7th, :

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Hence it appears that every Tune whoſe Baſs concludes with Fa is in a ſharp Key, becauſe the 3d, &c. above the Key are Greater, and hols that end with La are in a flat Key, becauſe the 3d, 6th, &c. above the Key are Leſſer : And that all Tunes whatſoever may be reduced to A and C natural, thoſe in a flat Key to 4, in a ſharp Key to C. 1

Of Naming the Notes. 4

The Notes that belong to each Line and Space are eaſily | /F known from the Place of Mi, which is therefore called the Maſter Note, and is diſpoſed of according to theſe Rules. N.

If no [b] Flat nor [A] Sharp be ſet ar the Beginning of a

Tune, Mi is B. "mn

If B be flat, MG is in E. '"S

If B and E be flat, Mi is in A. 2

If F be ſharp alone, Mi is in F. | .

If F and C be ſharp, Mi is in C.

If FE, C, and G, be ſharp, Mi is in G.

As in this Example, which may ſerve to diſcoyer the Place of | Mi in all the four Parts.

Mi in B, Mi in E, Mi in A. Mi in FP, Mi in C, Mi in G.

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8 Whereldever Mi is placed, the Names of the next Lines and 1 Spaces above it are Fa, Sol, La, Fa, Sol, La, and beneath it are La, Sol, Fa, La, Sol, Fa: So that every 8th Note is che ſame in Name as well as Nature. 3

Baan.

A The INTRODUCTION. v

Example.

Treble. Medius.

Note, The {b] Flat ſet before any particular Note in a Tune | makes] it a Semztone lower, [+] Sharp a Semitone higher. | Thoſe Paſſages which abound with Flats or Sharps, and ſeem | cific to learn by Sol—fa—ing, are made eaſy by inverting _

the Names of the Notes all along t to the Cadence for which they Pp are preparing, and calling them as in the natural Key : 1. e. | when Fa by Sharps is raiſed a Semitone (for three or four Bars together, as in Page one hundred and nine) call it Mi, and the Notes above and below it accordingly ; ſo when Mi is made a Semitone lower by Flats, call it Fa, as in Page one hundredand nineteen, and the Notes above and below it, as if it really was fo. This way of inverting the Notes gives the true Sound of thoſe difficult Places, in the ealy way of common Sol—fa—ing,

Of Time, &c.

Timei is of two Sorts, viz. Common Time, marked thus, [C] and Triple Time, marked thus, [3]. Both theſe are divided by Bars which do each include an equal Length of Time whether — by Notes or by Reſt.

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The Notes and their Reſts. 4 2 1 * * : — — mg * * — Wt Notes — — — e ee — 3 1 eee — — = PC —— — —

Semibreve, Minim, Crotchet, Quaver, Semiyuater. „ F — — —

— | Reſts Kays an 07s | — 1

Theſe Notes are the Characters for diſtinguiſhing the Lengti 3 and Swiftneſs of Sounds, and as they are twice as long each az y other, ſo are their Reſts : Now a Reſt is a mark of Silence, to be continued ſo long as its reſpective Note is to be ſounded. '

In Common Time [C] one Semibreve, or as many Notes a2 make up the Length of a Semibreve, are a Bar: The Length of this Bar is while one may leiſurely ſay one, two, three, four, and it is meaſur'd by a conſtant and equal Motion of the Hand ſor or Foot, giving one half of the Bar to the Hand down, and the Mce other half to it up, as in this Leſſon, where the Hand is to be down at 1, 2, and up at 3, 4.

44

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N. B. When the Mood is daſned as the Bar is ſwif- 5

ter; when reverted and daſhed thus, 5 or marked with a

large Figure of 2 thus [2] 'tis more ſwift ; and this is ac- counted the quickeſt Movement in Common Time. Note alſo, a Prick after any Note, either in Common or Tri-

ple Time, makes it longer by one half; thus a (X) is equal to

—

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*

Of the various Proportions in Triple Time, I ſhall only make uſe of two. viz. [Z] three to two, in which Three Minims, or as many Notes as make up the Length of Three Minims, are a Bar; and [ three to four, in which Three Crotcbes, or Wi Notes equal to them are a Bar. In both theſe the Bar is di- viced into Three Parts, and muſt be meaſur'd by giving Two to | — down, and the Third Part to the Hand up, as in this on, | |

There

2% 133 1% %% „ ens There are other Marks which frequently occur in Muſic, as our, iſt. A Direct, [W] which is ſet at the End of the five Lines, Land Jon the ſame Line or K* in which the firſt Note of the ſuc- 1 the N ceeding Line is plac). - > be WF 2dly, A Repeat, [: S:] which ſhews that from the Place where Mit ſtands, to the double Bar next following, is to be repeated.

3 23dly, A Hold, [which ſhews that the Note over which it is placed muſt be held out beyond its common Length. 8 4A4thly, Tyes, I] which ſhew that thoſe Notes which are ſo ty'd together are to be ſung to one Syllable.

I here are alſo ſeveral Notes that require a further Touch

than a plain Sound, called a Grace; the chief Grace is a Trill ; L# which is a ſhaking of two diſtinct Notes, ſo long as the Time allows, always beginning with the higher, thus,

; Plain. Trill.

7 Un like manner the Grup- apo is a ſhaking of a ſharp 3d, or 6th, at a Cadence ta- ꝙ ken from the Note above; C ,

but the beſt way of learning thoſe and all other Graces, 1s by . MW hearing them well performed. 1 There is one Grace which is an Ornament to the whole Performance, and which ought to be particularly regarded, and that is a clear and diſtinct ſpeaking of the Words, not

[F altogether according to the Spelling, but after the beſt and moſt polite Way of Pronouncaation.

The following Tunes are all ſet in four Patte, 1. e. at one and the ſame time there are three ſeveral Concords to be ſound- ed to the Baſs, viz. a 5th, 3d, and 8th, or a 6th, 3d, and 8th, which intermingled with Diſcords, Bindings, &c. cauſe great Variety of Sounds, and make the beſt Harmony ; but where there 1s not a competent Number of Voices for each Part, they may be ſung in Three or Two. If in Two, the Tenor or Tre- ble with the Baſs: If in Three, the Baſs and any two of the other; and if there be no Voices for the two upper Parts, the Treble ſung an 8th below with the Tenor and Baſs, may do very well. | | The

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Vil The INTRODUCTION, 'W The Tenor is deſigned for the leading Part, and therefore muſt be pitched fo that the Baſs may — * the loweſt Notes 4; clear and ſtrong, and the Treble the higheſt Notes without ñ⁶ ſtraining and ſquealing. 4 The Parts being placed one nie another, it is eaſy to ob- ſerve their Compaſs, that is, how many Notes the higheſt Note in the Treble, is diſtant from the loweſt Note in the Baſs. The ordinary Compaſs is 19 Notes, i. 14 o 8ths and a gth. No if you learn to underſtand your own Voice, ſo that you can 5 | tell when you found the true Pich of the loweſt of theſe 19 ; Notes, you may find the Height or Pitch of any Tune, thus : Sound the aforeſaid Note, which is the loweſt Note in your f . Baſs, then raiſe your Voice to the Key of the Tune, (1. e. the Key on which the Baſs concludes) and from thence to the firſt . Note of the Tenor; and if the loweſt Note in the Baſs be the 0 EK ey, raiſe your voice to the Eighth above, which is the Note : . 3 where the Tenor begins; ſo you have both the Air of the Tune, 4 , | and the true Pitch at the ſame Time. Example. In Pſalm 19, the loweſt Note of the Baſs is on G, the Key of the Tune is C; | ſound G as deep as an ordinary Voice will permit, then raiſe a fourth to C, which is the Key, then a 5th, where the Tenor be- | Again. Pſalm 17, 31, 47, 100, &c. In all theſe the loweſt ore in the Baſs is the Key, found that Note as deep as be- | fore, from which raiſe your Voice an 8th, obſerving to dwell a little upon the flat or ſharp 3d above the Key, which gives you the Air of a Tune, and you have a true Pitch of the firſt Note of the Tenor. The Baſs may be ſounded higher if the Compaſs be leſs, and lower if it exceed 19 Notes. 2 The Pitch of the Tenor being thus found, the Baſs which is the Foundation of the Muſic, muſt ſound next before the other Parts begin; for too much forwardneſs in the Beginning, is often the Cauſe of the harſheſt Diſcords: But let the Ear be ſatisfied that the Sounds are try harmonic, before more Parts be added ; for if any Part be pitched falſe, tho leſs than a Quar- _ of a Note, it creates an untuneable Jarring among all the re 7 Note, All the Pſalm Tunes begin thus, viz. the Treble an Sth, and the Medius a 5th above the Tenor; the Baſs in the Vniſon, or 8th below, unleſs figur'd « otherwiſe. 42

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1 Nate, All Pſalms of 8 and 6 6 Syllables i in a Line, as Pſalm r. r Or 8 and 8, as Pfalm 100. Or 6 and 6, in the firſt 6 : Line, and 8 and 6 in the ſecond, as Pſalm 25, are ſaid \ to be 1 in Common Metres,. or Meaſures.

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Pſalms that may be ſung in this Tune, are Pſal. 2, 10, 52, 73, 85, 94.

TT EEE EE EEE bee ebe b.

Note. Tunes in a Flat Key, are generally ſuited to Pſalms of Prayer, Diſtreſs, &c. Tunes in a Sharp be to Pſalms of Praiſe and Thankſgiving.

The Tunes for Pſal. 2, 5, 6, 17, 24, 31, 42, are in.a Flat

Key; Pſal. 8, 40, 47, 95, 117, 150, are in a Sharp Key; all for Pſalms of 8 and 6. ”

For Pſalms of 8 and 8, are Pſal. 51 Flat; 100, 125, Sharp. For Pſalms of 6 and 6 in the Firſt and Second Line and 8

and 6 in the Third and Fourth, are Pſal. 25, 50, = Flat ; and 45 Sharp. |

Double Tunes for Pſal. of 8 and 6, are Pſalms 18, 119, 130, 137. Flat; 68, 925 98, 132, 135. Sharp.

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PSALM-TUNES. for PSALM

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1 deſerve thine ire:

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Common Meaſures, &c. PSALM

O Lord give ear to my juit cauſe,

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pſal. 11, 12, 14, 16, 17, 20, 26, 41, 42, 53, 58, 64, 78, 79, 90,

And hear the pray'r that I put forth, with lips that do not teign.

91, 109, 139, 131.

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PSALM

ul? nf | | O Lord.

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I put my truſt in thee,

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As thou art juſt de—li—ver me,

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let nothing work me fame :

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PSALM. XLE

and thy re-freſh-ing grace.

So longs my ſoul, O God for thee,

Common © Meaſures, &c. ES 1]

PSALM ve ©

ſe; mn | | " 7 o God our Lord, how won-der-ful, are thy works ev'ry where? 1 } "3, 6. : ILE ky — | LL »HÞ „ „„ "dt — i Th : A # - — 1 rnrnIP— ot 1 —rq FE. ZZZ ZE | cor L70115 e eee ww ee D 1 _ | | 18 * 1 * 4 ci Ju 7 3-3 — #6, 7. — ON of 4 2 4 14 FS, 101 _ =. «+ ih > | | — 5 i 5 9 TI 1 n +: — 4 * — — 0 11 A * Ti — rr "x II hogs Thy fame ſurmounts in dig-ni-. ty above the heavens clear, F 8

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XL.

PSALM

I wait--ed long, and ſought the Lord, and pa-tiently did hear

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Plal, 1, 32, 37, 40, 94, 75» 87, 89, 99, 107, 110.

Common Meaſures, &c. [20]

4 PSALM U Wer ks

8

Ye people all with one ac--cor4, clap hands and much re-joice :

Be glad and ſing un-to the Lord, with ſweet and pleaſant voice.

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Yield un- to God, the mighty Lord, praiſe in his ſanQua--ry,

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Common Meaſures, &c. 3

PSALM LI.

— Fel — F tene, 2 ry, O Lord conſider my di- ſtreſs, and now with ipeed ſome pity take; 2 * 8 4 of % LM 'S 1 z uy — | . — — - Ly 1 4 — 4 4 +1 | „„ — OH Li i «4 Y 7 By MMM, 1 il 1 + _— — M = 1+ | D 1 vi FF | 3 Pa FR 968 ict - ; 7 » —_— — — 23 . 10 b l | — — . ̃² Ä

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The Lamentation of a Sinner may be ſung in this Tune.

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PSALM C.

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All people that on earth do dwell, ſing to the Ld. with chearful voi

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PSALM XXV.

. » 2 op SE eee I lift my heart to thee, my God and guide moſt juſt;

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ne

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Let me oppreſt with loads of guilt, thy wonted mer · ey find.

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L- 02 1

XVIII.

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Then from my foes I am right ſure, that I ſhall be preſerv'd,

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3 1 - " Common Meaſures, &c. [ 23 ]

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My God, my rock, in whom I truſt, the worker of my wealth;

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4. The pangs of death did compaſs me, and bound me ev'ry where; The flowing waves of wickedneſs, did put me in great fear,

5. The ſly and ſubtle ſnares of hell, were round about me ſet : And for my life there was prepar'd, a deadly trapping net :

6. I thus beſet with pain and grief, did pray to God for grace; And he forthwith heard my complaint out of his holy place.

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LXVIII.

PSALM

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ll turn themſelves to flight

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Let God a- riſe, and then his foes,

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And as the fire doth melt the wax, and wind blows ſmoke a.-way

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So in the preſence of the Lord, the wicked ſhall de · cay.

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men before the Lord, ſhall heartily rejoice :

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|; and chearful in their and him ſtil] magnify.

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: It is a thing both good and meet, to praiſe the high--eit Lord 4 3 1 4

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And to thy name, O thou molt high, to ſing with one ac—cord. 1

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3. Upon ten ſtringed inſtrument, on Jute and harp ſo ſweet : With all the mirth you can invent, of inſtruments moſt meet. For thou haſt made me to rejoice, in things fo wrought by thee, That 1 have joy in heart and voice, thy handy works to lee, 3

PSALM-TUNES for the

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3. The Lord doth make the people know, his ſaving health and might: And alſo do h his Juſtic2 ſhew, in all the heathen's ſight, 4. His grace and truth to Iſrael, in mind he doth record :

And all the earth hath ſeen right well, the goodneſs of the Lord.

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CXIX.

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Bleſ-ſed are they that give themſelves, his ſtatutes to oh—ſerve . — © —

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Seeking the Lord with all their heart, and ne-ver from him ſwerve.

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Lord, unto thee I make my moan, when dangers me op—preſs,

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4. Bur thou art merciful and free, and boundleſs in thy grace : That we might always carefol be, to fear before thy face,

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3. And as the lower ground doth drink, the dew of Hermon hill: And Sion with his ſilver drops, the fields with fruit doth fill. 4. Ev'n ſo the Lord doth pour on them, his bleflings manifold :

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Whoſe hearts and minds, without all guile, this knot faſt keep and hold.

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3. Praiſe ye the Lord, for he is good, ſing praiſes to his Name ; It is a good and pleaſant thing, always to do the ſa ue, 4. For why? the Lord hath J icob choſe his very own to ſes : Bo hath he choſen Iſrael, his treaſure for to be.

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Then in re--membrance of Si—on, the tears for grief burſt out.

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3. Then they to whom we pris ners were, ſid to us tauntingly:

Nov let us hear your Hebrew Songs, ant pleaſant melody.

4. Alas ! ſaid we, who can once frame, his heavy heart to ſing ; The praiſes of our loving God, thus under a ſtrange King ?

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23. To | this Lord and God will I ſing anc :

So long as I live my God praiſe will I : Then am I moſt certain my words ſhall him pleaſe, | I will rejoice in him, to him will I cry.

24, The ſinners, O Lord, conſume in thine ire, Alſo the perverſe them root out with ſhame : But as for my ſoul now, let it ſtill deſire: | And ſay with the faithful, praiſe ye the Lord's name,

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Bound, as do him love and truſt, His works are glo-ri-ous al ſo Mis

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We till re--mem--ber ſhould, his mer-cy faileth never,

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5. Such as to him bear love, a portion far above, | He hath up for them laid : | 4 For this they ſhall well find, he will them have in mind, And keep them as he ſaid.

6. For he did not diſdain, his works to ſhew them plain, By lightnings and by thunders : _ When he the heathen land did give into their hand, Where they beheld his wonders.

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. PSALM CxII. II222Cͤ ͤ ͤ

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. I ̃he man is bleſt that God doth fear, and that his law doth love indeed: — . - .

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His ſeed on earth God will up rear, and bleſs ſuch as from him proceed.

| Pſalm 1 12, 127.

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2 Unto the godly doth ariſe, in trouble, joy, in darkneſs, light, Compaſſion great is in his eyes, and mercy always in his fight : Yea, * moveth him to lend, he doth with judgment things expend.

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Ye children weh do ſerve the Ld. praiſe ye his name with one ac cord: 1 2 1 . no} 1 11

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8. And fo him ſet in high degree, Wich princes of great dignity :

That rule his people with great fame. 9. The barren he doth make to bear,

And with great joy her fruit to rear : | j

Therefore praiſe ye his holy name,

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52 ]

CXX.

PSALM

1.

the Lord

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CXXI.

PSALM

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3. The raging ſtreams, molt proud in roaring noiſe, Had long ago o'er whelm'd us in the deep,

Praiſed be God, whodoth us ſaſely keep.

From bloody teeth, and their-moſt cruel voice,

Who, as a prey, to eat us would rejoice.

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PSALM CXXVI.

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PSALM, CXXXVI

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For bis mer · ey — for e · ver.

11 PSAEM- TUNES for the

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PSALM

CXLVIII.

Give laud un to the Lord, from heav'n that is ſo kigh : Praiſe

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3. For at his word they were al formed as we fe At his voice did a all things in their degree: | ut Which he ſet alt” To them he made a law and trade, Always to laſt,

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Ye Princes ope your gates ſtand ope, the e—ver-laſt-ing

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Key Sharp.

— — —

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This, or any other Tune of this kind, may ſuit the whole Book of Pſalms, commonly called the Reading Pſalms : Due

Regard being had to the Points, (i. e.) by obſerving to proceed

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CHANTING- TUNEs

Te Deum Laudamus.

1 1 3 1 1 8 — | F 7 8 ZE! 3 eee Sa eee 0 N 2 .

We praiſe thee, O God; we ac—knowledge thee to be the Lord

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Bleſs ye the Ld. praiſe, &c. | |

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O ye Angels of the Ld. TH LE Ld. pals Kc. — |

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2. 0 ye Stars of Heav'n, bleſs, & e. 4. Oye Mountains and Hills, bleſs, &c O ye Showers and Dew, bleſs, &c. O all ye green things upon the Earth,

3. O ye Froſt and Cold, bleſs, &c. 5. O all ye Beaſts and Cattles, bleſs, &c. O ye Ice and Snow, bleſs, &c. O ye Children of Men, bleſs, &c.

| — * 2 O ye Winds of God, bleſs, &c. 4 O ye Wells, bleſs, &c. O ye Fire and Heat, bleſs, &c. O ye Seas and Floods, bleſs, &c.

3 O ye Nights and Days, bleſs, &. 5 O let Iſrael, &c. bleſs, &c.

o ye Light and Darkneſs, bleſs, &, O ye Prieſts of the Lord, bleſs, &c.

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O let the Earth, bleſs, &c,

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bleſs, &c.

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2 O ye Winter and Summer, bleſs, &c. 4 O ye Whales and all, bleſs, &c.

O ye Fowls of the Air, bleſs, &c. 5 OyeServants of the, blels, &c.

O ye Spirits and Souls, bleſs, &c.

— — W a

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CHANTING- TUNES. L 79 1

Gloria Patri

3 . 5 * | Gla-ry be to the Father and to the

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SEAS

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now and e—ver ſhall be world without end. A-men.

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* —

—— ful un — to him, be thank ful and ſpeal

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ANTHEM XIV.

——

THEE

—Ciou his mc | — Wir his Ro is

— — — — — "I

Fre e

rer !laſling, == his trutk — — — I | — | — —— Trad. ms we — — . . * — —— — - Ky 4

—— dures from ge—ne—ration to ge—ne—ration, from ge —

— —dures from ge—ne—ration to ge—ne—ration,

from ge

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— * — —— <a-w | 2 12 "| —

CLOSES | PATR A CHORUS.

—_—_

Glo—ry be to the

tion to ge—ne—ra—tion,

— r NU e 4 — —14— 2 —

Glo—ry be to the Son, and to the

JR. = MLT e ee ee en ve

Glory be to the Father, and to the Son. and to the

—

S

Z

ANTHEM XIV.

As it was in the Es

was in the be—ginning, is now and " ſhall be

—

= 885 5

ſhall be, is now and 2-ver ſhall be Ly

——ginning, is now, is now, is now and e-ver ſhall be;

—

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As it was in the be—ginning, is

| as

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e r = a W 25 Owe an mths K. FEET?

| | i be; world with-out end, without end, world with—out

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THE FOLLOWING

Anthem and Plalm - Tunes

| Are added by Way = SUPPLEMENT;

| - Not any of them being EDIT! in the 1ſt, 2d, 3d, 4th, * or 6th

DITIONS.

11

FULL ANTHEM XV. Psarm 150.

2

O praiſe God in his ho—lineſs, praiſe him in the fir · ma · ment of his

Fs 2 2 : | ner 1 2

O praiſe God in his ho—lineſs, praiſe him in the fir · ma · ment of his

_ uf

| —

O praiſe God in his ho—lineſs,

praiſe him in the fir-ma-ment

of his ECG

*

O praiſe God in his ho—lineſs, praiſe him in the fir · ma · ment of his

—

n 1 * 1 — 3 5 WE —_—_— —=ETFF 55 ——

d Go, ; | pow'r ; praiſe him in his no -ble acts,

IS: Tz ISI

IF 4

powr ; praiſe him in his no—ble acts, praiſe him according

2 | 12 pF E _ my 4 1 2 3 E —— = | Br 45% Mt > — 8

pow'r; praiſe him in his no—ble acts,

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pow'r ; praiſe him in his no—ble acts,

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praiſe him ac

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7 = % *

.

ANTHEM XV.

. 9 = = 45 EF — m_ P 20 Sas = — CT —

praiſe him ac - cord ing to his ex- cel lent great · neſs; praiſe

E

t ——„b0 his ex — cel-

leut great—neſs; pra. ſe

2 1 2 4 2 e eee 11 . e ene, 9» — —

— hin ac—cord-i ing to his ex- cellent great—neſs praiſe

— — js is * +8. wo bee WS: =P | e ee —

ä — —

* A Ly ä Ee A

= OY to his ex- cel · lent great — neſs; praiſe

him in the ſound of the trum-pet ; _ him up — on the

555 EEE

= hini in the ſound of the trum pet; praiſe him upon the

— == a * EEE SES] — 0 ns | | 1 „ , ; | | him in the ſound of PE IM - praiſe himup——on tie 5 LE SER ; eee 2 Pl: —| = [1 —

him i in the ſound of the trum- Pet; | praiſe him upon the

ANTHEM Xv.

lute _— harp ; praiſe = in the cymbals and dan—ces 3 2

RR —

lute and harp; praiſe him in the cymbals and dan—ces |

——— —

f — ＋— —

lute and harp; praiſe him in the cym-bals and dan—ces FEEL OLE HE * r

— — — | . *. — 1 - 1 —— 0

lute and harp ; praiſe him in the cym-bals and dan==ces ;

| praiſe him. up en the firings, the 7

ANTHEM Xv.

bee ee MA: | [= = | "De | >. oo 4 and pipe; praiſe him upon the well tun ed | a —

1

cn the ſirings and pipe

—

——

praiſe him up — on the well tun —ed

.

on the ſtciogs and pipe;

| 1 = _—_ 14 eK n „ =

. — ——— — — N n 3 — = 3 >.

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===

cymbals ; praiſe him 1 the

cymbals; praiſe — up—— on

_— + wr} a

cymbals ;

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ESSE Ee

praiſe him upon

: s . — : — — =

Let

loud cym-bals.

Et

the loud cymbals,

Let

* ” 7 — » * >< F -

e — + oe 1 „ 8 aac, we -

4 —

* 8 * « * — - — — ws. # * n_ *C

= 2 on 23 a OO =" > I.

cymbals ; praiſe him up—on the

— = NS | 2 — — — === the loud cym-bals. Let __ 3 n t a + ae e eee —_ a — loud cymbals, Let

ANTHEM Xv.

— ——

ev'ry thiog that bath breath 4

ev'ry thing that hath

T1 41 > | PSALM - TUNES for the Common Meaſures. PSAL M LXI.

.

— 2 —

Re- gard, O Lord, for I com plain and make my ſuit to thee :

| + | * 221 | |

FEES:

LY * ”

89 as; ul

— | ; hey F lat.

Pſal. 39, 90, 143, &c.

'Common Meaſures, dec. 1

PSALM AXCV.

o come let us lift up our voice, and ſing un —to the Lord,

5 ; ' — — — —— — ww w

. in him our rock ofhealth rejoice, let us with-one accord.

1 Z 1 _ *

—

ee

. 8 7 Pal TUNES for the

PSALM KXCVIIL

o fing ye now un- to the Law a new and pleaſant ſong,

For he hath wrought thrq' out the world his wond ers great ard ſireng

N

Plal. 100, 2d Metre, &c. .

Common Meaſures, &c, 15 ( 9 ]

PSALM XXXIII.

* __— — —

So D. Ft

4

Ye righteous in the Lord re—joice, it is a ſeem- y fight,

—j— —-——EEcq—rTuk = HER 72. — —— re

That vpright men with thankful voice ſhould praiſe the Lord of might,

—

=

— —

= S 1 : _ i * [1% ; ' * I i £ i :

=

With ten ſiring' d in-

1

— — R

r n e A

— dene geen, ===]

ſtruments ſounding, praiſe ye the Lord mot high.

3. Sing to the Lord a ſang moſt new, with courage give him praife : For Why? his word is ever true, his works and all his ways.

4+ Both judgment. equity, and right, he ever lav'd, and will:

And with his gifts he doth delight the earth'thro' out to fill.

My foul doth long full ſore. to go in—to thy courts abroad:

th * ,

S RH My heart and fleſh cry out al—ſo, for thee the liv—ing God, . . N * *

nd 1 ==

- |

EL HE

| Chanting + Tunes,

A'N D

A N T HEM S,

E NITE E cw * 4 — — Te Deum Laudamus f — Benedicite.— > Chanting-Tunes Magnificat — , — — Cantate Domino — J — „ Jubilate Deo, à ſet Tune — — | Nunc sf AG a ſet Tune — — — | AN . 5 M2 I. 8512 the y Pe" Iſa. Chap. 12. — II. They that put their Truſt, Pal. 125 — III. . 0 praiſe, Pſal 117 —— — — —

Chorus. A 5 Voc. Fuga IV. Hou long, Pſal 13. V. Hear my Prayer, Pſal. 39 VI. O give Thanks, Pſal. 105. Þ

——

Proper for Lia Ke.

Proper for Eaſter, or any other Feſ- tival

vil, 0 alap your Hands, Plal. 47. _ Cho. Hallelujah, a 4 Voc. Fuga

VIIL.-@ praiſe the Lord, Pial. 115 ) Proper for any Ix. O gſve Thantt, Pſal. 11i12 Meeting of the X. Behold how goed hd joyful, A. 1 137 K XI. Bleſed are all they, Pſul. 1 | — — XII Sing we merrily, Pſal,* 11 — — — Gloria Deo in excelſis'' | = — XIII.: I heard a Voice from Heaven, Rev. Chap. 14. XIV. O be jeyſul in 'the Lord, Pal. 100 — |

Page.

74

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