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RB lips a a Lab Lg 7 pt oh a aot alain alla sea beh gh sa» SRE

se 5

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a

veto

te a oe i

. ~4o the GROUNDS of

7

Se ae

IV.

Ce AR,

Of Time in its various Moods, and how to beat them.

Set. 1. OF the Meafure and Proportion of ComMon-TIME and its various Moods. +5 meafured by even Numbers, a5 25 4a g, €c, each Bay including {uch a Quantity of Notes as wilt lled a Whele Time, or the |

: Onumon-Time y, y amount to anc Seanibrewue, (which 1s the Meafare-Note, and guideth all the reft) it being ca

16 ure of Time, you moftt ufe a conflant Motion w

oN Time- Nore. But to give every Note its due Mea/ hich Motion is called Time and Me ofure. ibreve, (which is the Mea/fure-Note in Common-Time) was fo long: beat two with your hand doz, and

e and Meafure of the Seri own by the feveral Marks or Moods

ith your Hand, or Foot ; once down, and

once vp in every Bar 3 W

leifurely tell 1, 2 > 354° therefore the Motion of your Hand, or Foot, is to

ery Bar 5 {0 that you are which fort of ‘Time is kn called Quadruple Preportion, being meafured by Four.

| The Firk Mocd or Mark, is the Adagio Mood, which denotes a very flow Movement.

asdong down as up 5

The fecond Sort is the Largo Mood,. being half as quick again, he third Mood, is the Agro Mocd, or Retorted Maod, being as quick again as the fecond ; fo that you may tell 1,2: 3» 4 im every Bar, almoft as faft as the Motion of a Watch. Jt is fometimes marked with a large and fometimes contains but two Crotchets in & Bar. See the Examples of the feveral Moods of Time Page hich, and obferving other Lefions in Common Time you may be able to beat and perform any Leffon in

reat of 23 firlt ;

by the Help of w 1 this Sort of Time, fill dividing the Semibreve into as many lefler Notes as you pleafe, according to.jts Meafure-Nete.

; Syncopation,

ence EES

ee ee pec Rg LOD OT DO

e, and Triple Time. Common Time co the two firft are to beat with the

ene ED Ta, aS ntains the quan-

Hand or foot,

Ck DERI I in Mufick, viz. Commey Tin:

* -There are two forts of Time, or four Crotchets 4m 4 Dares

tity” of one Semibreve, or twomMinims, \ t dows, end the wo laft with # up. . The frit Mood or Mark for Common Time, is a imple ©, and. denotes a flow grave fi. Moad are to be fung in the ‘Time of Seconds ; fo that 60. Crotchets, 3° Minims,

i hich has a Line’ drawn acrofs tha

. Mevement, The Crotchets in t

ibreves, are to be nthe 'Fime of a Minute. The fecond Mood, w ‘ ; ‘ wn > 7 : achat Z

hashes rr

<-

— } i:

N - ; ? ‘

% Pres, is very difficult for young Beginners, by reafon your hand or foot is either wp or downs) : fe is founding : But the foregoing Examples are fuflicient to give you a right Underftanding of them, by telling , with the Hand docx, and 3, 4, with it up.

Sect. 2. Of the Meafure and Proportion of Tripra Time, i#' its wariovs Moods. +f

Rirta Time is meafured by odd Numbers,. as 3, 6, 9, Fe. each: Bar including either 3 Semibreves, 7 Minims,

3 Crotchets, or 3 Quavers ; two of which mutt be fung. or played wich the Hand or foot down, and. one up ; fo chads you are juft as long again down as up. ,

The firft, and generally the floweft mood.in Triple Time is called Scfquialtera Preportion, being a Triple Meafure of three Notes to two foch: ike Notes in Common Time, and fung or played in the fame Une 5 which is ove fouth Parr quicker in every Bar.

'This Mood ‘is called Three to Two, and includes three Minims im a Bar; which ae pofermell im the Gime Time as two Minims in Common Time; two beat down,.and one up: ;, marked thus.:. 7%

The fecond fort. of Triple Time, is called. Three from four, each: Bar contamimg tthe Cratdhsts, az one pointed Minim ; two beat down, and one up ; marked thus : 3,

o A The third fort, is Three from Eight, each Bar including three Quavers ; two down, and! ome wp ; anil are mmtied) thus ¢ 9 : . 3 Thefe being all the Moods that are commonly ufed in’ Vocal Mujick:. Ant

Middle of the C, denotes a‘brifk movement ; the Time is to be beat and fung about half as: faft agzim as im te flow Mood :-and when the C, is ‘inverted, or turned backwards, or marked. with: a large~ Figure of 2., it: denutessa: very | quick Movement, | and is to be beafor fung about as quick again as'the floweit Mood.. Ncte, That tie Mood in | Common Time, which denotes a brifk Movement,, called: the Largo Mood, is: now geierally: fixed! to all’ Palm Lunes that are in Common Time in which the Crotchets, ‘and fo all other Notes in proportion, have: been from 2 long and now for the moft Part, are fung in the time of Seconds. $4 Triple Time contains 3 Minims, 3 Crotchets, or 3 Quavers, ina Bar. The whole Bar or Meafure, in® all ‘thefe different Moods, are divided into three equal Parts, called from that Property Triple Time; the two firt in. each Bar ateto be beat 20d fung with ‘the Hand or Foot down, and the third or laft with ic up. Three Minims in a are marked thus 4.and are to be fung near as quick as Crotchets in flow Common Time. Three Crotchetsin 2 3, and.are to be fung about as. quick as Crotchets in brifk Common. Time,ser_ ie Largo Moods,

Time pat,

fare “marked thus 3,

es x

er ny

—

\ SS

And though thefe Direé#i¢xs import, that your Hand mutt be always own at the firlt Note in every Dore a prattice to Zzat every Beat down, both in Common Time and in Triple ; But I think it is not very material howa perlom ee or what Motion he ufes, fo he keeps but a true Movement, to anfwer both Notes and Refs: For, unlefs.a perfon can count ‘Time in his thoughts, as fie {ves it, it is impoftible either to Zeat, or perform in Confort. Te

To A ADE. | AV Of the feveral Keys in Mufick : And sf Tranfpofition of Keys.

N Mijfick there are but two xatural primitive Keys, viz.«C-faut, the farp and cheerful Key ; and 4-re, the fat and melan-

choly Key : And that no Yuze can be formed on any other Key but thefe two, without the Help of placing either F/ats -or

Sharps at the beginning of the five Lines ; which tranfpofes,B-mi, the Center or Maffer~Note (together with all the reft in their Order, both above and below it) to be the fame in effect as the evo Natural Keys. For an example of the two zatural Keys,

“ee Table Page 7th.

PRES The Xey-Nore is the laf Note of the Ba/s, by reafon it is the Fundamental Part of all others ; which is taken from B-mi, suuy he Center-Note, which lies between both the Key-Notes, the one fiat, and the other /barp ; which are fo called, from their *jeq aaving their Thirds, Sixths, and Sevenths, Mayor or Mizor above. And as the Key-Norte of every Compofition is a certain wincipal, aid DoMINaNT Tone, faxed on to guide all other Sounds in Order, above and below it ; even fo DB-zai governs

eee hat ; and when Bem for deoas we call it) changes its Place, all,other Notes, in their Order, like fo many Attendant:, re- HS owe gion ind although, in In/Prémental Mufick, it is not practicable to change their Letters for every Remove of yunor;: imi, py Alats, Or fharps, (by reafon they always play by Letters) yet they are obliged to fat or /barp all Notes as are order’d Pre Bbatee the Places of the Semitones, to be the very fame in effeét’s yet it may be practicable in Vocal-Mu/ick, if the per-

~229" Somers are well fkill’d enough to call their Noss by Letters ; but this is tev perplexing for voung Beginners, they generally) Ading it Gifficltenough, at firft, to /o/-fa then { 5

But I fhall np longer defcanton this Poeiwt ; but fhall, in the next Place, fet down the feveral Removes of B-mi, (as are ongern’d inthi) Book) whereby you may be able to srau/pofe any Piece from its Natural-Key, to. any of the other Artificial-

\ fator faarp ; and to be the very lame in Effect, though higher, orlower, &-. which Table you may fee

x

had

mete:

= 3

po nee ee, mm ner: Vi.

eras CONCORDS, and Disconns ; both Perkc& and Imperfe@: And of the Figares, a/edin the TuokoveuBaae ae With fome general Rules thereunto. ; : 3 4 ‘HERE are but Four Concors in Mujfick, viz. the Unifon Third, Fifth and Sixth; (their Eights or Ofae+ ate aife meant) The Unifon is called a Perfec? Cord ; and cammonly th: Fifth is fo called ; but the Fifth may be made ay perfe, if the Compofer pleafes. The Third and Sixth are called Dnper/e@; their Sounds not being fo full not fo fiveet a9 the Perfe@ : But in four parts the Sixt# ia ufed inflead of the Fi/th. in foms certain Places, when the Fifthis ete ou “s in Effeét, there are but three Concords. | it pda The Meaning of the Word ImperfeG? lignifes, that it wants a Semitonr of itsPer/zion, to what it dors when it is per : fe& ; for asthe Lefer, or Lmperfect, or Minor-Third, includes but three Mal/-Tones : the Greater or Perfel, ot Mosate Third, includes four Half Tones, Ge. 5 The Discorns, ate a Second, a Fourth, and aSeventh, and their O@aver: though fometimes the Greater Foyrit ebmag very near to the Sound of an Imperfect Cord, it being the fame io Ratio as the Minor Fifth: tur will fer you An Example of the feveral Concorns and Discorbs, with their OGaves under them, CONCORD S. | DISCORDS., Gi he Did Leo 2. 429. ; 8 j 10] 312 | 13 9 PL 4 : ‘ ra hs Pek ES —— | pret: € $ i Their Ofavect, or Lights— 15} 17} 19 | 20 16} 181.2% & { : ML SEY Shia EES HS pees Rabaa 1487 . 22 | 24 | 26 | 27 23 i a5. bras | j N. OB. That if a Voice or Infirument, could reach to Ten Thoufand OFave:, they are all CO fe

The Table of Corns, Mayor, and Alinor, are inferted. Page 8h ; By which you will fee how Concorde tio a VS \ | wnade either Greater ot Lefer, ( Perfect? or Tnperfe? ) without the Help of either Flats or Sharps (tkceps the/ Lay or 4h :) ‘\ f But they may be made io Compofition either Greater or Lefer, by adding ither Flats or Sha ps vo one of dhe: Lats, thay 9 flands joincd with another ; and that Di/cords may be ufed in Compoftion, if.mixed with Jedgneot, &e. | birt a ii if —— Tere g Bob sistl tated sanayst fh Ih ba FAL? oH ome tppeas Ub

hy i

-

bh CCENTS, The empbatical noves — in, rutic.

rn! of tice,

JAcCENTOR. The leader, ‘or chorif- swho is expected to pracounce diftin®ly. i ALLEGRO. Very quick, being 2s quick | }in as Adagio, I, ¢. two bars in Ai legro, pes‘ormed in the fame time, as one in “fagio.

A Mufical ovens:

ne Explanation ofthe moft ufeful Terms that ate u

co N TAINING fed im Mufic ‘ in Alphabetical order. .

ANONYMOUS. The» Authors name | efteemed among ut:

not known. BAR-SINGLE Which divtd es the time: ASSAYING. Trying if voices are in | of the tune intocquil parts, and alfo disetia”

} tfue tone. | whiere to place the accents. Ms ANTHEM, ‘A divine fog; generally; N, B. A mof dignificd charadter Ce eee

in a very great utility.

BAR FULL. When there is a fuffici- FQREVE, An ancient note. iwice the | eas.q) wantity of notes included in cach Bars | length of a Scmibreve, to anfwer the time of the tune, viz, if the }

rN B. The’ moderns have droped this \rime be Adagio, Largo, cr Allegro, one

if Pee Oso: Tender nd aff :Aio- note entirely.

‘BASS: The lowett, or. foundational part; the mot miaj-ftic part in mufic, ge- nerally fet in the F cliff.

BINARY-TIME. Up and down, both equal.

BAR-DOUBLE.. An jake ibcack cha-

t ‘LLELUIA. Praife ye the Lord, - the @ a3 ‘Hallelujah, and is eftecmed as 4 the i word in mufic.

\|LTUS. The Counter,

CUTE.” When the noes are high: and

Bw a5 Paty >.

KOptEL ers Be!

rater i in churea saree ; therelore bus Rive | in Keeping 2.

Semibreve, or the fame quantity of lefs notes are required, to filla bar; if the time

is ¢, three Minims fill a bar; if 2? them —

three Crotchets, &c, BAR-EMPTY. When the bar cone tains no notes ofSound, but notes ofSilence} BEAT. Onemoiion of the hendjor foot _ g

a in; ba and ; 4 XC,

ss the beauty and variety of Cznons, im fug : -dbg mufic, and with this apparent advan- ©, tage, viz. that all the performers may fing

» €apnotbe done .4n canons ; for they par- + Qake of the height of the counter, and tke

' . ganee 5 therefore I thi:

» Cand G

CHORUS, An ent moving saetbeet aT For a beat,vi>. a Minim is theBeat-Not: in| CHORO- GRANDO, ‘The grandeft

AAllegr o, and 3, a crotehet is a Beat-Note | chorus, Rohe ty CLAVIS. Or cliff, or tay See cliff. |

| CONCORD. An agrecabic or mutes found. CKOTCHET.. A note, half the length

PEAT-NOTE. The on whieh goer

AROL. A fong, or hymn of § foys 0 on

a feat, or birth day. CANON. A perpetual fuge. ~~ N. B. Canons are not’ eftccmed with us ~ fo much as formerly, and 1 think not with

Quaver, CHOIR A company of muficians. _

@ut good’ reafon ; for we can exprefs all COUNTER, A part between tenorand treble, ;

A=CAPO, End with the firft ftrain.

[tis often fet in minuets, jigs, mar-

ches and for gs, atthe end of a tune, and

refers the periormeér back to. the firft itrain.

N. B. Sometimes the word is wrote at

» the part moft fuitable to their voices etl 5 length, ana fometimes only D, C,

depth Of the bafs, and unlefs the} perfor- micrs have fuitable voices for every part, whey cannot fing a car on with exfe, orele- kothe contrivance of Canons is more curious than ufeful we CONSONANCE,, Sounds whith are a- reeabie, rauch the Jame as Tonton int nt.

CLIFF... The kcy'to w bese ot mutic, confiting’ of Aree, va. B

DISCANT. Yne art ol compofition. .

DISCANT-DOUBLE. Or double=dif- cant, is when whe bals and tenor pafs by éach othey, fo that the bafs becomes highcit aud the tenor loweft. In iuch compoliti- ons the bafs and tenor exchange .charac- ters forthe time being.

N. B, Particular care fhould be taken on fuch notes to found the bafs foft, and tenor

I

Sires tas as alia Be

OCK, orcp

Pe ee ae

ofa Minim, aad twice the length ot a}

full; jatheanite the upper pai will over-

power the lower, hie’, DISCORD. A dif. agreeable Jevack, DISONANCE, A difagreeing noi fe, DISONANTF. » The fame as difeord.

DICTIONARY, A tagazine'of words)-\

together with the explanation, _ DiAPENTE. Afifth, a fweet concord. DOMINANT. TONES. Such as the sy

note, the greater third, greater fixth,. DIVISION. eye 8 fi inging.a

of quick Notes. . DOXGLOGY. Gloty toGod, er a Fi

to the trinity.

DUODECIMO. A twelvethy an Oc-_

tave above Deepal confequently a Con- cord.’ ECIMQ. A tenth; a grand Concord, an Octave abpve the third, or Trio.” . DEMI. » [Io mufic] is the half of a hal ~ i.e, a Demifemi udver is the fourth o Quaver, andthe half of a Semiquaver, _ DLAPASON. An eighth, the next per fect Concord to the Unifom = : DISDIAPASON, A fiiteonth, Con” coide anOctave above Dispafon, . tro Ostaves above Unifon. ©

Meee Bok

DIVOTO. asics sees to .

as all SS as

3 * ©

x

bove Unifon. DLIVOTO, in a devout masner: DOUBLES, ali Note,that defcend below Gamut, viz\the lower line in the Bafs are called doubles, as double Ff, double E, dou- ble D, donble C, double B,* double G, and all below double G,all called doubledouble;

as double double F, &c. NB. But few voices re eacept it is done by blowi

Be.

NOTES,

below double Cc

a MPH ATICAL- 4 fing the accen is placed. ok MPEIASIS, the fame as accent. ELEGY, a funeral hymn, or fong. EN! CORE, fing it again the dame as re- ot ERRATA, errors in the publication or inting. “ETYMOLOGY, the fir derivation, om whence a word, or found is taken. EXPLORE, to find out by-ftudy,

where

are

Bafs, fixed on the upper

: Mine but one.

N. &. It is one whole tone below the G iff, in the Tenor.

POURTH, a _Difcord,

b |

C 25 j

FORTE, loud and full FORTISSIMO, .very lond. BUGE, or Fuging, Notes, flying after ea h other, altho’ not always the fame found. N.B . Mufic ts faid to be Puging, when ne pa art c comes in after another, its beauties

2 nt umbered, it is fufficient to fay, tis. unit fally pleafisg. FL a Chara¢ter ufed to fink a Note half a tone lower, and to reg: Ree the Mi,

in tranfpofition. FIF TH, fee

rer vei

Di iapente, Scale of the lower

suo

NAMUT, the Arctinian %_Z Mufic ; alfo the name of line in the Bafs.

GRAVASONUS, ve ry grav and folid. GU IDO Aretinus, the inventor, or at leaft the improver ofthe prefent Scale of Mi ific, GLOSSARY, much the fame,asDiftionary GRAVE E, flow in Time, or in Vibration. N.@ Grave and Acute, are oppofite to each other. G. Cliif, fdr the Treble on the lower line b le one. N. B. G. in the Treble is an O&a ghave €. in the Tenor.

os

and Tenor §xed

ae

7 ARMONY, the agreement H refult from pra¢tical Mufic. HARP, a ftringed infrument. HARPSICGRD, a wire lJafrumen with Keys like an Organ. HE XACHORD, p fixth; an imperfe; Concord. HARMONIC, fee Harmony. HALLELUJAH, fee Hallelujah HOSANNA, by fome Authors, ‘* fave we befeech thee,’’-a

* a

it 4 and according ¢

others, the fame as Hi alelaiah N. B.. ‘Lufe.it for Hallel Ae MITATION, 4s when one part tates, or mimicks another. N, B. This is it done in Fi

ing | peices.

INHARMONIC, AL, fo unds difag

INTONATI ON, Art af ching a Tune, fee Pitcn-pipe.

JARGON, the wort of founds, feeDilt

cord,

the

pite

K EY, :the Dominant) er. principh a Nore, or tone.on whith the Tune j founded:

KEY, natural, or natural Key, viz, A.

an Ge

ADC oh

KEY, artificial, or artificial Key,is when _.Mi, is tranfpofed by Fiats, or Sharps.

ONG, aNote containing two Breves; now viet of ufe. LARGE, a Note containing twoLongs ; aow out of ie LEDGER- Lines, Lines which run above 5p below the five ives. ~. B. All Notes that run more than an Oétave above the G. Cliff, in the Treble, are fai fl to be in Alt. LARGO, a middle moment of Time, between Adagio and Allegro. NB. According to the = Pendulums you mutt perfo sm five Bars in Largo, to four

SIANT, in a languifhing

a fringed Inftrument.

a Note containing In Adagio,

Bar of Time. il is the

4 Prue RA a Semi! Meafure > Note ; b vecaute it fills a Bar'of it felf, and in ?, 4 Crotche t is the Wote 5 F ae Ms é fame re afc on. MIN a Note as long-as two

reve

UM,

e meafure |

OR BH! 1)

Crotchets,' and half as long as aSemibreve. MO OD, the mark or meafure of Time. MAJOR, the greater.

MINOR, che he {s.

MEDIUS, the Lay fung an Octave, below irfelf, with a fenor Voice.

MUS8iCO Theorico, aCompofer, aMaf ter, or teacher of Mofic

MAESTUSO, withMcjefty and Grandeur

an Ofave above te ly a Di ft rd.

B rH. bb. @ ark wek

TONA ninth, Secundo, confequ

NOTA-BENE, or Nd

ibrating,

Mufical

past

tunes a proper pic confifiing of,

CH-Pipe, ' if —_ ~

the Chett, or hollow Tube ; or Stider, on W hich the le

2d the Regitter,

tters are marked,

untill you get to the letter ; then by

wing 2 gently, } you obtai

an Inftrument to give

| rs aL being puthed in, or ae n out of the

nthe true found,

Obferve not-to blow too hard for that will caufe a faife found ; nor too weak, for that will emit no four d at all.

WN. B. moft of the Pirch- pipes in the country are fet too bigh, they should be! reguiated by. an Organ.

PLANO, foft, ae an E.ccho-

PRE Si O,

E HILO: Mufic co, a lover of Mufic.

0) UA

or

Sema1g

RTA, four parts in Score. QU AVI ER, a Note containing two: avers,and half as long 48 a Crotchet. R KE CTE and Retro, forwards and

YX backwards.

REPEAT, @ certain part to be performed

over egain,

REPLICA, fee Repeat.

EMI, the half. ~ Sf MUIQU AVER, 2 Nate containin€ two Demifemiquavels, and hatf as long 4

a Quaver. -¥ SCORE, all parts ftanding Bat againf Bar, a6cording to the niceft rut les. we

N. B. Muti out of Score, # is faid to ~%

tune without time

y eyen, Awake my dxwnedly

— REET is WOR - ae EEE, eee ia omlle datkibuae rom E fang fronrthe dar kimue

— J

bof Nig it

Speier SSS

A a Stars a dank her § salons clini is,

Por We feaz “themust we trnft3

Py i“ = Mowe und Bure Yetfiec al Clinton Lao. Lhe Fee comes on aele es ‘c Pelt Lr cscol aril Ey crttwidd. jf ee yi Cer tree fee adeunce ecthle a Sass - > = - > “-\ o Feyellier pilot er Cer iirow >. hhcer, CLA sxtzsus flee befere oer < Yow Sh O

Lo , 4 4 Y a Fr f je, A GY? j “4 SIIAH gee ty CESS

| | ‘ y) ; ie 5 22 ove |x Cayue comtere 2. Waly a tad ‘se the dre tfc j | Aa |

7 iy

Whew Cu £72S, aoe Fe 4 7 Che fegoh ny Aggie i LRL2 Y

-——_ ee ~ ; LAr rertey WLie lito. sagan Oi “ete Je a" dd, l 92 L897 2 Sc ey et as ?

View iets were Shad CTS Votd BMalbtuah, » {F-

TELIFELS ORR

fing with one confer’, The Comforter

2s

Hes came let ev'xy be bent, AUheaits Lew joys refume, Let nat

&

WAL FATA ; SSE TP}

te

po ARE © °F At oa =n | aa Be iene ae i ween 2S Rt + { = Poe : \romrens a ——hs- : = a gy

~

NAPE AES, L Li wei :

girs: Seeeaeeee e Pa wosdd

ae «ft

Birt.

Sappho, PM. Dw. PY : : at |} —

wh tux ety

When the fievre ‘Neuthawand w

firces, Rears wap tee Baliir ta + ihamint fuer f

ty een

—* thas) a |

A Sans ene

wail comers, Ana tie red Lx,

alt

ation. t

ament

L

avid's

D

iE est 8 aI

an omen 7a 6 PO —?

s yb Svace thy-teuth {y jufbice elatiu.

LO ae as 8, OF 6 A RE «2 SY AS NO. 2 en 6 a SD ee Le STE “Teste She eee wee 0) BS OO 2

Y ah ie “ ——— ae Oy OA ER TE a 2 are = Pe TKS SS a =

6 OMT A hs) Oe O_O A PF eee CT eR

9, C - al! be St US 00 ET DE BRT AD DE GBS Oo A OS Sa ai OF Ve A CT Ba Se ed ee ee) 2 ee eee nd

ed «EL RST Be BS 0 5 es OP Sy aT + RS Bs LAS BRL Le) Ue 9 Sam Wi meee ReREE id | UD CE Mg Ol A ae. HE ike Taal Bees SB rat nee. EFT THT 1 RRA Bf es H = - j_— ht

Nemes ORR a Be pi 1d

8 SS eh ee Se

Your yoives saute: “Ye @ Chevubim, Aud Bapiem

fF f= ——

fucked Roftonitan Breally {hold that for American Blnad. la ~

ae Wass ).4 a ee

70 of © HR 2

Prem RFS we SJ PO re a el

= re Ly ip Foo

=

a A A a TT A = a eee

a

1

A 3 eT Ta Le OE RT La nl

re a. eee Ry Dt OL Fs! | OR re + at El! SEG SONY iy, Me aM, AS A ET \

pe ee Eb.4.48.4 238 2 RISE AS VU es Dee, | Ba AS FOE Ve Rs Rs PR A NO RS)! A

; Bevercnuimbde cl os Ne clk B90 2 ince them CalamatyIdo earneltly rememb ex it ftill Ido earnefitly I do earneftly Tdo earneltly remember it fill : PeRERS ears SES A

¥

DAT DS ee inyy Nerves a — any Hleryv 4 é

PERE « a

ptt

am = =

tL Ste ves

Ag MPG a te He 5 aia i it - atte | TH tA 4 win te AH Ser

Tongue forget tomove Yever be confin d, Let horrid Jargon Tpit the Air Ss rive

my Y = aay _. .m a 1 Oe WY weeaae themes ee ty

kond, Then let ieee an oo Me Lt A AT RE Ca

SS ee ee St tt UU Ga be thaw, CRE mes

SF 4s eee es as REE 1A See a eee OF a WL hee Sea TORY © TE i OR Re) SR A EA A 4 2 Ss BAY 4 ene BERN ee SG

PA 08) Gas RM MEE LA! Eo BR ait

3 ak reicy Ta ery Ty

CG)

|» - a é - 4 48 rc ee 5 #2 rg © = ver) &

iS PA Lalo tS 4 hk 7h

i PU Pe

it

v

gs delay Tih

=)

Dims ring about thele smostalfhores Shemakes 9. lou

al SS prea ie) Oe Vs = PONIES NK 5

BZ

SPAIN,

8 | ~

Come let us feck our God to

2eaF Ge (SE

ay:

Zions lil And iis our. Ve

to

with a Chearful Zeal, “We

=

} } if {ji |

« bad = ales ” Ltd Ledesleekel pie { j . aaa ed) nem Z wT S 3 a at 4 om Seal an a

ad

|_| oe Lc etial

Author of Hoatmony: Hater of et —)

| OTS =a Ree. om aane Sane Suen aaee a ie

4H & ee

‘Uy.

mae es A)

‘ i> ; s a4 ALL

Thee. we avert

= Ti it hens =.

A hi il

| lett a lt ID eum Ut

yranny, Fifi

oes wee

SOP ih oi ee Monae Se ;

aah

ee

SRY Tbe) OVERS ary

+ AEY

& Na

Ware efter. CM. DF,

SS

2 >A. “Words. by- Re lly. 3 — . =. ae —? teh ee Soc eee le

a oases eeceuteesteusaty cpaLscer tony ‘soeseerces ] ief >yine make nity Breall his ee tept is ew 4 Saoae eee nap pe es nme me aoa PETE

Serie oo ce

D

> 48 +E Ana ail the

oF. ar ee f

Pe ee eT I

Maman 5 (3) C) ) as os aoe 3

ar eine 44H —by . - a aul the world 0 Lora Vai } } Lic “Wepler Po COWIE 4 aan a oS 8. selipapeade aie a 2s & Py a aa A a Oo | 5 nS Bae CGS) eli “SMTA aan TS © Vordcou- -i:1ne

eal can

— ee :

rh <I fo arn thy firpousse

Dhte

Se o>.

And all the world 0 Lord OLor d ge. se

i)

a

4 He:

ib

a. ee Bes os em «=O RR

Nall;

PY , 4

ll “8 Millie

ey’ Chap 144 : —— aen” 2 zer¥ -——— Ce ee

“wie from. henceforth write fiom hence

: 8 ” malliial auenn 5 e ll z : elt ile Soun! tr oo ah a na, (inne is ik at} cle (a0 Py ad | il By ab cas 54 a x= a oar ee ~~ HTL Garr <q | | : | D . | |

ae ase SR REN RATER _ ara ‘Age a great -voice

reft fram thei: Lobentedromthen Taahinss?

S ——--?} ee eee Ta eT, a | ae es 328 ae ane or ok aad Os EE a tee f ~

j aS er 0S SS Pes AY, aOR oad

yout =a

i :

ce —,

9

» RE EL Me eee aR ee aes > 1G & a ed Peo eed

ee

a ae =! se

/

vd ”

"

if Lf we re HH 4 LS ie H | A" 4 bit

Li. #° 8 | a ate. Sl

t+ iF wee ee CE ee

PE ROL TOR ee a: IS TS

; 3 7 a 3 a 5 1 a "3 r= . « on ai & ro ®% Si a Br ed i S =| e: leg 4 5 e R:

12 as i

Tie \Unsbiecs Sa

GN iiLL met

> 5]

ue with Hell Cau difroncert our Plan,

* =

u

joey

tl

A

=

is a 1e

arth you

{it i

OW, S OU ©,

eee

DOAN PEE M)-Aedin A a

— oe A ] 2 WA We Re A YA a AT Re

v

rerEily, Sing-ye amet viky, on ye

Serr-Ge 'e@)@ 2 4 Bee ee Ss J

> av 10) Mie

Babe eae Fa ae

CLK S Sas whe b

we > tI

Sod af

ts _—

makea Chear ful

Le

make 2 Neile un-- to tt

e—ei > v

~

“*Pfalinbring fn. ther -y#Tabret

takey’ P et

y? trump.

yelru

sem J/ HH

low up

— L et b

& Ss s~ E

the Inte

th

.

# a {5 uf a 5 E 3 po Fi a a S ad

He Sep

2 a

Me)

A) ee Wickit zee MEE Br; | ROE SB ww

er tb afJa:«

bt °'a Law of the God

: »

i SS ae

Jacob a a Law

a

L ihe wd

uu Ui et eh

D S &

rc S 3 <4 E |

S|

ay

&

ro

re

é d a

7 if ; e 1

i |

lil =

tS sere i aS BC ts.

or SEPHEE H oe gettin

ne i Ze Soe teei se —— ts Pe

St Seen

as if-was in the Beginning: is now & ever no0we os ever jhail

be world watkou.

= be -werld-vwithout

ail

now 4° ever now é& esyer ith = :

ce mee . ae ‘ a ae = pp. oe a encoame re! SS ee ES re -— = = SS ginning is now Ss e-ver ow & e-yer ball be fhail

as itwas inthe Bee

gt ay See SS ; FoF S ce ae

A ee ho’ ae A-men = -

be -world

> _ es Powaa inthe Bee

=a au Se ae sare asil-way im the Bepicuung

as it -wasin the De.-cinni $ at ag at asin thebe.-ginning as at

Ha.

“World. -wathoui

2

oye.

chi © WARREN.

c . . mn ee Pe Pld Pen Yala aeane Seo Ty, — ane ee ES SS SS TN Es ee oe ced | ea oe SM vee is wee oma swears mee ei

: pt ee el ti th =e

Paice bon eme his works i waya é

“Oz

wti-te sure therefore

fi 1)

gS | : { N y N od =) aa qd -_ | —— < | vas z=

iu

o> Ui 6)

4 the tir?

"heh

atheame about. me

Theinares of De

mick ‘

Gracious is the Tio

eit forne a ee

Vv compla int ae Pe ea

v

| a 5 y sa H iv & nH 5

&

d inazny &

Lor

called. tothe

Tv -

i HL ii ih

bo id

en a

relsion. &*

Auger forgiving 1_uiquiy tranle

0

BEET ZOn MSE et al a RT

a Sw.

we H

a

i 3 1

hile Wt Alls i Epil

A --mew ss

all

Chrift be--with -you

“ ae rd S| al 2 ‘2 w % 4 w B

imore

e_cver

n= 3h

1

eR bEM

{

et alltheferyazits of the Lord, Fis worthy Evarfe proclaim. ;

wy

- Aad magaily-his name J

bf aun-der -neath his Feet he Caft .

tt hich.

av ms an0

He

Ley ral U mH Y | a Ps Y bel A

& op) a

ingall abroad. fonthewing

fix

gar

THLEHEM CN

~ +

BY

aa | dewat had Aoeflione ar outid. ‘

al. of ac Tdle

gxvound TheAng

Lg

featecL an: the

flocks bunt

ch. their

Swat

pci

t| I al

=. \ i114

Bc)

al ES A dB i 2s

anethen inp wes butall thei Yors ave

1S Bo. Bane Damen. W

ler @

if

Ten thenfand , //-

a au Ie

tee Cae Ome oe "EE Bota

i © bee [yA

* 7

ane bas

» =

Ir foys ar ‘rarer ors

a Je ee

os te aber = ) oue. ‘Ten thapfand 7 avethemtanguesbytall heir Joysare one b

ae

a

S

aa

mt: am:

allihei Joys bul. allthirJoysare

Sa PE

- cov ADH.

but allihe

allthei:]oys ave. pee yi =.

+

a

i wa

SSS a i ay

re

> ae ww Wen ee ore

» ~ a re as Y = ab

dihall Ke.

Reltthe Lio

Dy VL

— sa 2 the Lord fhall givehon Ref Sa City

Re, | SPE ES “ve him give Aron

/4

4 _ : , Fae Va2h HC TI2 Solon ows Songs. Cha Qos a

a Be ee Se eee | 0 RR 7a OTESY FI OR Pee 9-2 Lae / ee OR A Fe A oe

(eS ee 7

‘the Apple tree “A-anang: ihe Teves af the Woo!

|

Cited ir | Bi Bia As thelial thethorna ‘fois aay~L ‘the Daughters. ft by among nx {ois my Love among: the ee

— . ~< é e a 7 : a Schema

Ta I

Tuadow-wath reat del

ie

e; 77 er Dis

al

lol g c bee | de s rao

Bout Ke

Shag

"ba aa. >

Tule

a - 7 His Raw

1eE © vel The wa

S

Alu

Tr WaRd SERA BRE 6 AM re a] ‘Sarumee : Conifort yrewithi

AS es

> Ramee |

fie _k af Love I charge-yon. O-yeDanghiers nk Jeu Ledene

ARE Ty OE

2S Poees Sees Os SS Pas ee we

Tye SEE PRL ‘Aer NE Be p—p- 1-4 5 1) Se Ge y _

BE =tteks SA TT

| ht | = nN : 2

: 2,

Toes

-the

1 Di

mis

i I) Hn A

Tal | Hl Ue

aes (aie ee La

a D

Fc BOUIN

| t

ainia ecverthe |

rer the rai

35

oT

Me ¢ i! |

} a. J

1 Se tl

rai 29

af -cond on ug. Sh, bh, Ten thouland Augels ill'd the Sky; Tenthoul'a: aad. Angels Ftd the Sky

a

an oe "ha heav’ early Cad ua 2 a sound ihe watt like Char’ots that at-—ten mons Tate like ager

Thole eav'nly Guraed so s0und. thewait like Char ols that at--tend thy- Ttate like Char ets that at , an %

~ 2 * dl

aa oe

ove

Hf dah I

a) ied

Fa

> ¢ a ' ’ ' ' 1

Dial wale or MOS

wan was we ee. ae Cha.

i:

@G eff a

i Ms)

7H

ee

i man i

{

il it i a

TA) RET) IAP

u

F ft! TF

fle (iil IE Hie

nea cu tt

RE IRS

Sere

_—

Sa

een

the Tor

bul Blefie

= “s

d

px ated b

ox

Curfed

d

ieee

ze ovtan zorsae= Sane ieee We

eb foray we

Oh! Horrible! 0 Dilan!

om” mc —s SD aster isaness iso ma a

ME! ~heart maketh aiteii-withat:. me. For thewhatt heard Ounv Soulthefound ofthet: hy thea. deni ok Wai

accel:

‘tf : i

rile

Het Nie YG Esko if

Ge i ge BE

vie

Stk joice

| : WM

JI:

Tefk

“hy Sata

gunk

ut il NY ‘ Tt th

SS ——< —

of *

_——

: od | VES A bt. ‘= Eat = a he

¢

Le joice

Se .joice near hear 4

i a =.

=<

dl . isd

es ee |

Ma sa maa

a i a ek Sb ee kt pha

jou -

<¢

u

| <8 >

bat '

'

'

'

i A =,

2 Jssi = -joice

ar & re

he

bs @e joice

How. Beautiful How ,}t- up... = te

VO $9 — 9-7-7 - a —_ :

her

reicneth

<j 1 a % “ey ay = ; a c: q ev : < ol 4 ;

6 ae

a

'

he Lord God Om.

Choro Grandoe.

_Mailtufo. ale: —Jui-.ah for t

———— a

a ee

sord-with Sonots of Praivfethall in ily-Sirenoth re - ice —= : * <-- a

+--+ — 3 ee mee = ates O Lardwth Sones of Praife fhall iurily Strength xe -joice ; : a Sn of ‘ oP? Sl .. U ae Lae te et

Strenoth - re

thy Str eng thre ace dy blett valh re

+

o” bleft-waiththy Sal -:va—tion raife to

thy Sal vation raifeto Heavy mtheirchearhi 4° ’ v bleft-w

ae

- a ae, a + rai the States OLordwith Songs of Praifefhal!|

rip eh eS ae see aee = — ae eee eee

‘ang aes

ca PPT

ME 6 I,

ae i Mt

f

ae

|

‘jonraile to Hearn!

+ _-*

ru wa

Sal. ~yatiomraileto : “a =

ye we A em

tho: od, ee Wael oe BEeEac wet SE _| sade pekioea PB

os ee ee

bleft-with thy” Sal. -va

as

bieft with.

> i

; Fieav nineir cheacfiud-

Pletwith

et it |

an) 9 Ss ta rm = 3 Lea 7“ = 2 «¢ aq! 3) C24 = a) E J ¥ pe) = = ° <a ew Cel = S s Lal be | - > ° eo

tThalifing

ie Continent

aidalltl

7

iN

2

lo.

ff i

a the Con wilt-ne ent fa galifinns God tice oe ie

ati —

<>; ; Pes HEPA sieeeizds eis _—s fee ~ i bes re pimesiaee HP = ffieeo, i = CS Bracwus EP | ie ESET 2

: Some Tal . le ln-ah They- Aballiing lothe King: i Ngee OS PE Thes rig. = —

—=

Conkinent May

Z

: part ofthe festa as

end om eVv-rv Pp: mT

without

de. foend World

‘Hal-lelutah_

‘lo the King?

me Name

,

Let ust

cord ie hus.

a

—O-f i, 5 eer acereaeae. ~\

me ae oe at a

RD TRO SPECT an AM — fom %

ck G2 ee oD WATE FLX SAS am oh ee me =

cof iat gt , it

ee ieee eee are

de.

are

€3 x 5

ft Se

oattt i - 2 hana

> “ Et ed" eee

et eee satis Tay aes SE

oT Re ggg mare di cenadie ial -":

* —_——_—~—— U ee Some ni nweln _ oe = panne etn eee y Lexy

4g ‘ie! ns

via

hy Sea

yaead yiaada heogpad

Hear Ky rejaace

ime == t=

Ss

Tear &

X oe ee Ce si== ae = 6g a ae *

i. Glas ee ——— Pe 3 ~~ ™ 4. es = eo a ve Me wate ea

hear “ «ee aes

i

ee Leh

oa Fir

— ‘ C i (PR ania |

> be onearth good wi towardsimen.

ates. Sree

hi

Hi

<p i “+ —

—— +} Ae

A TSS Halle_..-1u.-ah Amen A -imen men

i =

oath

DE PENDEN

aT

= A ae { ates O Lord-wih S sor Tle fhall. zy Stre ~joice fm ope apes en | avis = sue ie

==. = a

Heav'ntheir

a ‘

thy Salva “tian reale to

“Vaire

—

blefiwy

thea rf ul ¥

ke

hearfiny

: L Heavn ‘

’ | | ry ~ | 3 & Rice - ‘anaes eH Ee

-+—

. blett-with: —~2-

Lon rale ty Heavy ntheir a

= Voire

~Va

Sal 1

itchearfu,

of

] " i. ‘matt a

arty — =

Heav nithewr chear

i Hae

mull 2

HL E>

aan i il It

elle il

+) uk itt

bt . My His G Ul » Ns FLIED Tp

SS lnmnmrce

itl

4

S that

sreiavae

f : wa covenazt

a

of Peacethou oad S-aithints ae Sue

ae

~ | - - g / —_- =

fe i thy tender carehave all ourfeazs de-fivoy”

—_ =o:

a .e

but Go

Downw it rihis C3

ae eg Oy + #-Ptp- -@ Bi seer Pen< A i SR Rk Se Wat ea pees {— pet

: ~~ ?. (o£ - ffs @-0-£6e.-— —

a

oe raat 2 aaa ieee

7 . @r . -- , — + ea So ooo os et aH na <7 He 8 ttf it —t a dae aoe Fis —

pci 3

Continent May

partofthe =

~

vA

TH

ev- ry

P, Pt

Pr

World witho ul

sul end. on

~- if

7 Ne Ds:

end World wi

-Ai

a Me BP

Ae

mee) amc a=

~ 2 .

yen BERET EEN

rhe

ag fii fie aid das ues, injfituted D3 by

: : {Or Bs dnd dat of Kies Waly ehall be Some: of ch” firh-frultssof-theint lobe tahs A Lang burnteéfteri ing tothe Lor pe béfere which fime yeeres fruits, woich atthargme in ate Gowttries es bead iPhilo..tud, de knowledge G om the giuerthereof. f Philo faith, Thay vila Mofl.4, therwil fe broughtix i his Sacrifice to the Drieft, dackifices p Mind te owne hands: and eliewhere g hee affirmeth the fame filudcy, ° the Synedrium, ordayned: three hundred a ind fifty y re Oaldonat.ia that the Paffe-ouer fhould not be folemnizéd en th Mat26. weeke. and therefote when it fell on the fixe des, y

red to thefeugnth,at the time of Chrilts Pafhial

night before, according tothelaw ofGop,

Thtis Eleazarus ot dayne d; thatthe Feaflt offers hau fecoyd, fourth, or feuenth : Or Pentecoft on the third, & Tabernacles.on the firft, fourth, and Gxe:Orthe Bates orfixt: Or their New-yeeres day, on the firft, fourth anes the booke'of@amaliel Pauls Matter, which# ey did i

Sabbaths, (in fo ftrict a reft together, and carryingDOu fe Aft fell 2 her@on and on other fuch reafonlcflexeatonsul After thisdixtetnth day ofthe moneth, opfegond-da whych fist pf b fi ckle was thruft into the Harnebths age toGopn, were bred feuen tntire Mekes, “and the tieth, (accountin on Wlufiuely)\ was celebrared the Fi uing his name of that reckoning’ of fifty: aid Schefaa caufe of thisreckoning of fevien weekes , itis jeatted f Exd7.23-160 of the firft fruites: the i rites: thereof are Pieenbeam was in re{pectofrhe Law then giten on M@iity Sina f licall Law, which Qu r:1 s T, -hajting alcetidediyp ioe bles of Rone, butin Aethie Tables of the | heey when’ the holy Ghokt to his Difciples, as a réemétbrabee az Harueft-fruits, and of theit pofleffion of chapel whe: uit which in the wildetneflethey wantedy sas WAU tie feuentinday if cha weeke; forhe (euetmone part fettiuail: fttett for that puny sofe, asthe fries of thy Thefirtt day ofthis moneth ent befidegithe orditiq

=e ThefeNew- Afoone k, the Feaftiof Trumpetsy inre fpedtiar thatri rite