ll
COLLEGE OF-lSlOO^f'ER "^RARY
*
\
VX II
BEAUTIES OF HARMONY, ^^^^
CONTAINING
TRE RUBIMEJ^'TS OF MUSIC OX A JS'EW ^JVD IMPEOVED FLAX;
INCLUDING,
WITH THE RULES OF SINGING, AN EXPLANATION OF THE RULES AND PRINCIPLES OF COMPOSITION.
TOGETHER WITH
AN EXTENSIVE COLLECTION OF SACRED MUSIC,
CONSISTING OF
-V PLAIJV TUJS'ES. FUGES, ^JTTSEMS, ^c. SOME OF WHICH ARE EJS'TIRELV JYEff
^r TO TBE ■WHOLE IS ADDED ,
AN APPENDIX,
CONTAINING EXPLANATIONS OP IVtUSICAL TERMS, CHARACTERS, ^*C. ORIGINAL AND S]BLaCTj3»,
BF FREEMAX LEWIS.
FOURTH EDITION.
PITTSBURGH:
PRlNtED And PUBUSHBD by CRAMER fe SPEAR, AT THE FRANKLIN HEAD BOOKSTOEEi WOOD STREET.
1820, *
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:
" The Beauties of Harmony, containing the Ilmliinents of Music on a new and improved plan; in-
cluding, tvilh the rules of singing, an explanation of the rules and principles of composition. Together
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,
characters, &'c. original 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.
THE following pages appear before the public, in consequence of the frequent inquiries which I have heard made, in difl'erent parts of
the country, for a book which slioukl contain a more correct and full explanation of the rules and principles of vocal music, and a larger collec-
tion of such tunes as would be both pleasing and iiseful, than is to be found in those books heretofore circulated through this country. If 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 consequence is obvious."
It will appear, that I have thrown my Gamut into a catechetical form ; this was because experience has convinced me, that it is the most
speedy and proper method of conveying a knowledge of the Rudiments of Music to the mind of the learner. A. portion of the Gamut in this
book is original; but the music is selected from various publications, both European and American, except a few pieces, which were never
printed, until in this work. 1 have inserted a musical variety ; it would have been partial and ungenerous, to have confined the pages to a set
of compositions of one particular style, which might please my own ear, or that of any other individual ; knowing that scarcely any two will
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.
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 number of new tunes; they have peculiarities and beauties which are not to be found in ancient composition. I have inserted a
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
they will be particularly attended to before another edition is printed. Without further remarks, 1 commit the bouk to the hands of a candid,
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.
Bedstone, ^pril, 1814. /• „^r>r-r'vy
• Iilthis/o«r«A edition there will be found ten piee« not publisfieTm &e/i«i/(^»5SM^^flWldbf®tUSiTnBfi£»'Wl wilh other valuable irapioveiuents in the body of the uor'
PHIwAa. PA. WU7
[JSTDEX.
Tunai.
America >
Aniamla 3
Amherst )
Amity ^
Africa >
Albany C
Amsterdam
Autumn
Allsaiiits
Allsaints New
Arise, an Anthem
Austria
Alstcad ?
Jiridgewater 3
Berlin
Brookfipltl
Bunker Hill ?
Buckingham <|
Bristol
Bray ?
Brunswic 3
Bourbon f
Concord ^
Cambridge }
China 5
Communion ? .
Coronation $
Calvary
""omplaint
Fage.
27
28
£9
30
31
52
32—33
34—39
40
41
42—43
43
44
# 45
46
47
48
49
aO
51
.?
ColeshiU ? ""a.
Cookham5
Covvper
Contentnie)|t
Creation
Cumberland
Cumberland New '
Charleston }
Chockset 3
Colchester )
Devises 3
David's Lamentation
Dunlap's Creek 7
Doomsday ^
Delight
Dcatli's Alarm
Bunstan
Dalston }
Dover 5
Denmark
Detroit -
Eastford
Easter Anthem
Enlield -
Exeter - . -
Kiducia )
Fairfield 5
Few Happy Matches ;
Funeral Thought '
Funeral Anthem
52
53
53—54
54
55
56
57
58
59
60
61
62
63— CG
67
67—68
69—71
72
73
74
75
76—77
Ganges
Gethsemane
Gloucester?
Grove 5
Greenfield
Greenwich
Handel's Hymn
Hartford
Hampton
Helmsley }
Hinsdale 5
Hollis ?
St. Humphreys 5
Huntington
Hotham -
Heavenly Vision
Isle of Wight ^
Irish
Invitation
Jordan - - -
Judgment
Jubilee ? _
Kinderhook 3
Kingsbridee)
Kingswood 3
Kittery -
Lamberton ) _
Lebanon 3
Lover's Lamentation
Littleton - *
77
78
79
80
81
82—83
84
85
86
87
88
89
90—93
94
95
96
97
98
99
- 100
- 101
102—103
- 104
Little Marlboro >
Liberty Hall 3
Lenox )
Lisbon 3
Majesty
Madridi'
Mear
Melodia
St. Martins >
St. Michaels 3
Milford
Middleton Old
Middleton New 7
Miles Lane 5
Mount Pleasant
Mount Ephraim
Monmouth
Montgomery
Morning Hymn
Moreton
Montreal ?
Munich 3
Morpheus }
Namur 3
New York >
Newbury 3
New Hundred >
Newingham 3
New Jerusalem
Newburgh
105
106
107
108
109
110
111
112
lis
114—115
1
1
117
lis
119
120
121
122
123
124
m
INDEX.
Newport
New Yorlc Anthem
Ninety -third?
Ninety-fifth $
Newcourt >
Norway j
Northfield >
Norwich 5
New Sabbath }
Northampton 5
Kewmark >
Old Hundred $
Ocean -
Oporto
Omega
Old Fiftieth
Paris >
Peckham 5
?enitence ?
utney j
Pittsburgh
126-
125)
-129
130
131
132
134
135
136
137
138
139
140
141
Paraphrase -
Pleyel's Hymn
Pentonville
Portugal ^
Resolution 5
Rapture
Rainbow
Repentance
Redemption
Rockbridge }
Rockingham $
Rochester }
Russia 5
Rocky Nook
Rose of Sharon
Savannah
Sutton ?■
Sutton New $
Salisbury
Sanborton
See! He Rises
142—143
144
145
146
147
148
149
150
151
152
153—158
158
159
160
161
162
Saints' Repose
Southwell
Suffield
Sophronia
Sheffield
Silver Street
Sherburne
Spring -
Springfield
Scotland
Symphon*
Thirty-Third
Thirty-Fourth
Thomaston
Trowbridge -
St. Thomas 7
Twenty-Fourth $
Triumph >
Truro $
Trinity ?
Turin 5
163
164—165
166
167
168
169
170
171
172
173
174
175
176
177
178
179
180
Union > . .
Unitia 5
\ictory ? .
Virginia 5
Vernon
Walpole
Walsal I
Wells S
Waybridge }
Wilderness 5
Wareham
Winchester ?
Winchester New J
Winter ?
Windham $
Westonfavel
Westminster
Westford ?
Westford New S
Williamstowu ?
Winwick S
181
182
183
184
185
186
187
188
189
190
191
192—193
194
=6
THE IlVDIME:yTS
MUSICAL CHARACTERS, &c.
A Jitave.
A Brace.
or
AUa^io.
3 Irom 8
h
6 to 4.
^
F Cliff.
AUesro.
6 from 8.
ii
1st G ciiti:
2 from 4
1
4
Single Bar.
C Clift".
i
3 to 2
^
Double Bar.
0
2d G Cliff.
3 from 4
4
A Close.
W
Limar Metre.
L.M.
Common Metre.
a M.
Short Metre.
S. M.
A Flat,
b
A slur.
A Sharp.
A Natural
A Direct.
Point of Addition.
Staccato.
Proper Metre.
P. M.
Mi Faw Sol La
? p: P P
f ^ fE P
$ iC S P
A Repeat.
A Prisa.
A Ledger-line.
:s: or
A Trill,
tr.
A Hold.
Figures reiiresenling ttie
No. of syllables in eact
line.
886,886, ^-c.
Seinibreves.
s e: Q D
Rest.
Minims
E E
E t
Rest.
Crotchets.
¥ Pi: ^ PC
Rest.
Quavers.
^ i^ ^ V
Rest.
Siemiquavers.
E ^ t E
kH ba ^ Ik
Rest.
Demisemiquavers.
S F: PE n
■1 h- U b.
= t t s
Rest.
OF MUSIC, &c.
Question 1. What is a stove?
Answer. A stave is five parallel lines, witli
their intermediate spaces, on which musical
characters and notes are written.
Q. 2. What is the use of a brace ?
A. A Irace shows how many parts of music
are performed togetlier.
A stave.
^^
Two parts.
Q. 3. What do you understand by the F cliff? 7— j-
A. That the stave upon whicli it is placed » *•'
belongs to the I ass, or lowest part of music.
Q. 4. What do you understand by the 1st
G cliff-? {^) :^
A. That the stave upon which it is placed ^^
belongs to thp tenor, or second part of niusic. ^i.
Q. 5. What do you understand by theC cliff?
A. That the stave upon which it is placed '3
belongs to the counter, or third pact of music. :.*-■
Q. 6. What do you understand by the 2d G
''^'ff^ . . . . =
A. That the stave upon which it is placed
belongs to tiie treble, or highest part of music.
Bas
Tenc
Counter.
Treble
(1) The 1st n cliffis by some useil for brtli countei-anrl treble, ami in thji (4lli) edi-
tion of this work, it is useil for treble in some pieces, but always ou the upper stave.
Q. 7. What do you understand by Jldugio,
or the letter C upon the stave .►'
A. That the following piece of music is in
the first mood of common time, or a very slow
movement, having one semibreve, or its tpian-
tity, two accents, four beats, (2) and four se-
conds of time to a measure.
Q. 8. What is the signification of /.aj'^o, or
the letter C crossed by a single bar }
A. That it represents the second mood of
common time ; having a semibreve, or its quan-
tity, two accents, (3) four beats, and three se-
conds of time to a measure.
^=^
azzmi
ill
HI'S
(■2) The first and second moods of common time are sometimes performed w th two
beats to a measure.
(3) Wheatliere is but one note, there is but one accent in & measure — (accented as
marked./)
THE RUDIMEXTS
Q. 9. What is signitied by Allegro, or the
letter C iaverted?
A. That it represents the third mood of com-
mon time, having a semibreve (or its quantity)
two accents, two beats, and two seconds of time
to a measure.
Q. 10. What is the signification of two from
four?
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.
^^M
1
_£^"
^'
il
^1
X*
t
^
fc ■■ » ■
^
w\
~-r n-T
z
"• d \ \
Jll.
1 •• ■
3J
_l ^ i
Q. 1 1 . What do you understand by S to 2 f ^T
m
0-
A. Tliat it signifies tlie first mood of triple
time, having three iiiinims, or their quantity, ^£;
one (4) accent (commonly) three beats, and ^
three seconds of time to a measure. —
li^
4?
Q. 12. What tlo you understand by 3 from
4-
II
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!
(4) When the measure contains three minims or three equal parts, there is usually a
full accent on the first, and a halt" accent on the third part — See Lessone for Tuning the
Voice.
OF MUSIC, i^c.
»
Q. 13. What is signified by 3 from 8 ?
A. The third mood of triple time, having
three quavers, or their quantity, three beats,
one accent, and three-fourths of a second of
time to a measure. JVote — This mood is easi-
er performed with one beat to each measure,
down with the first and up for the second.
Q. 14. What is signified by 6 to 4 i
A. The^rstmood of compoMJifi timejliaving
six crotchets, or their equivalent, two accents,
two beats, and tM;o secojirfs of time to a mea-
sure.
Q. 15. What is signified by 6 from 8:
&Et:=t
S
IS
m
mmm
n?^
5
4
A. The second mood of compound time hav- ai — t ^-
ing six quavers, or their equivalent, two ac-
cents, two beats and one second of time to a
measure. JSTote — Some allow one and a half
seconds Of time.
5S
[•-•-f»3
h:
isW^
Q. 16. What proportion of time do the notes bear to each other ?
A. One
semibreve
is equal in
time to
2 minims
i
4 crotchets
8 qUAfers
16 semi-
quavers,or
Eii=:g
^
2=E^z£E5:
eeIeU
^^rE£EaE5353E3^iEa
32 demise- yfPPl^^*f
miquavers, T3J™^^£^
inthesamelCtfitCSS':
mood of
time.
W.-1
Each one of the above staves is equal to a measure, in one of thc-
three first moods of com-raon time, filled with its proper quantity.
B
10
THE ItULIMEJ^TS
silent 1 ^ secnnds.
Q. 17. AVliat is signified hy the characters
called resfs ?
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 re-
quired to perlbrm the note after which it is cal-
led, in the same mood of time.
Q. 18. What is the use of a s/no-Zp Jor?
A. A single bar divides the stave into equal
parts, or portions of time.
Q. 19. Wliat is the use of a double bar?
A. A double bar sho«s 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 oi aflat? (.i)
A. A fiat being placed on a line or space,
sinks the degree thereof a seiuitone lower, &,c.
Q. '2J. Wliat is tlie use of a skarp? (6)
A. A sliaip sot upon a line or space, raises
the degree tlicreof a halftone.
(5) Accidental fl;*ts or sliarpa, sUtiougli they alter the sound, do not cliange t!te name
of the notes before v.liich they aj"e placed, except the key note is removed, in uhich
esse there is one oi" rr.oi e i)tMCed in each stave in the same measure.
(6) Accidental tlats or shar^^s are suali as are uot at tiie cUff.
Q. 23. 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 de-
gree.
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.
l^iE^^
Si
lisHi
Q. 25. Whatis the use of a /Joifit of arff/if ton .^ i. 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.
Q. 27. What is the use of a sZur.'
A. A slur shows how many (or includes the
Q. 28. What is the use of a repeat?
A. A repeat shows that the tune must be
again perforinecl or sung from the note before
^vhich it is placed, to the end of the next dou-
ble bar or close. (7)
Q. 29. What is signified by a prisa?
A. It signifies that the preceding word, or
sentence, must be sung to the note or notes un-
der which it is set.
Q. 30. What is the use of a ledger line?
A. A ledger line shows the degree of notes
which are beyond the compass of the stave,
either above or below. (8)
Q- 31. What is signified by a trill?
A. A trill, or tr. signifies that the note over
which it is placed should be lightly warbled,
like a soft roll.
OF MUSIC, &c.
number of) notes that are applied to one sylla- -r
ble. ^
is:
i
sail
IggS
rise rise rise
I
i^H
(7) That part of a piece which is 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.
Q. 32. What is the use of a haid. ?
A. A hold requires the note or word over
which it is placed, to be sounded somewhat
(9)
longer than its usual time without one
Q. 33. What is signified by the figure 3 plac-
ed over or under three notes ?
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-
der I must be sun^ the first time, and those
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)
ii
■-©-
a=3
D C.
(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
the sound I 4th lunger = 5-4lhs usual time.
(10) D.i Capo signifies nuich the same as a repeat, or as the figures 1 2 at the end of
a strain ; none of whicli are placed, except some notes or words are to be twice played
or sung.
i»
THE RUBIMEIN'TS
Q. 36. How many souncts properly belong te
one key note ?
A. Seven; or jive tones and two semitones.
Q. ST. By what are th& seven sounds repre-
sented ?
A. By the seven first letters of the alphabet.
Q. 38. How ar« the lines and spaces of the
bass stave represented, or distinguished by tlic
letters.
A. G stands upon the first or lowest line
A - - - first Sjjace
B - - - second line
C - -
D
E - - - - space
¥ - - . fourth line
3d G - - - - space
2d A - - - fifth, or upper line
A B C D E
F G
.^1
-rr ,1
• *
±»-A-i-___. — :±
I 2 3
7 F
6 E
5 D
4 C
3 B
2 A
1 G
4 5
space
tliird line
A
Q. 39. How do tlie ieUers stand upon the
lines and spaces of tiic tenor and treble? (11)
(II) Tlie tenor nrjil treble staves ai'C i'c-pi-cstnl.c(l Iv tliesanie k-tlers, but different
Clilfs.
A. E stands npon the first or lowest line F-
F - - - - space
G - - - second line D-
A - - - - space
B - - - third line B-
C - - - - space
D - - - fourth line G-
2d E - - - - space
2d F - - - fifth line E-
2d G - - - space above
or in alt, &c.
J^Tote. — The letters are here considered in their
natural place. See plate 1st.
Q. 40. How do the letters stand upon the
counter stave .''
A. F stands on the first,
or lowest line
G
A
:
-
space
second line
B
C
_
-
space
third line
D
E
2(1 F
2dG
1 1 1 1
1 1 1 1
space
fourth line
space
fifth line.
G-
E-
C-
A-
F-
E
D
B
G
Q. 41. How are the notes HflHied in singing as they move, either
rising or falling upon 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
TabJe Lorth*: tlifret-f^TK-ii s l>et''''e en tkf. 'Keys
T.,\ •' ■/- -il^^
V Ker„.
* f^-
rtatKiy
^ ■
"
7
■
i
h. v*
Nr 4:^
a i-^—
I
Tht wiinlrt Sc ?le fc the f -^ >
branohiri'i^ Uier«fifOin. ><■ ^_
OF MUSIC, l^c.
13
upon the </iir(i, law, all upon ihe fourth, f aw ; 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. — or in this book, all tlie
Diamond headed notes are
Triangular notes
Circular notes
Me
Faw
Sol
Law (13)
is:
P
P
Square notes
Q. 42. What is iiiMsic ? (14)
A. Music is that part of sound most pleasing to the ear.
Q. 43. How many kinds of music are there .''
A. Two ; vocal and instrumental.
Q. 44. 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.
(13) The notes are pronounced asspelleil above, instead of fa, so, la, mi, &c When
Ihe learner has committed to memory tlic pi-eceding questions and answers, he may be
f^ exercised upon the Lessons for I'uning the voice, and on some plain tunes ; attending to
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 ne«ded by the learner.
Q. 47. What is time in luusic-
A. It is a regular and true division of ihe music into proper and
regular portions of notes and rests, words, accents, beats, &c. by cut-
ting the whole piece into small measures, (15) containing equal quan-
tities tliereof.
Q. 48. What is a conchord in music }
A. It is an agreement or union of seunds, or two or more sounds
or intervals at such particular distiincc from each other (according to
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.
Q. 49. What is dischord in music ?
A. Two or more sounds or degrees, at such distance from each
other, as being struck at one time, will be rough, grating and disa-
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.
(15) In most of the music books wliicli I have seen, it is improperly said, such portions
are • in a bar ;' at tlie same time ' a bar' is only a line of division, and in fact contains
nothing.
(16) The distance between intervals is reckoned accordmg to then- difference m semi-
tones. It is evident 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.
14
THE RUDIMEXTS
Q. 53. Are (here any iliscliorils allowed in composition ?
A. As one of the most difficult parts of composition, is that of in-
troducing occasionally a ilischord, in such place, and manner, as to
show more plainly and fully the power and beauti/ of music; there-
fore, there should be but few dischords allowed," and those few fol-
lowed by perfect chords.
Q 54. How are the degrees, as 5d, 6th, 7th, &c. discovered .'
A. Begin at the 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.
Q. 55. What is signified by a sharp fourth, nflat fourth, &c.
A. Any degree \vTien sharp, is a semitone higher than the same
degree wlieu flat.
Q. 56. What is sound .'
A. Any strong vibration of the air upon the drum or organ of the
ear.
Q. 57. By what is sound formed ?
A. Any thing ( 1 8) which puts the air in quick motion, will thereby
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.
(18) When the air is put in raotinn l>y any poy.-er, it is supposed to move in every di-
rection 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,
then in aptalion, the degrees of acutencss or gravity of the sound thereb> constituted, will
be acconling 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.
Q. 59. How far may those degrees extend ?
A. To •22 for 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 semi-
tones
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. 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 .'
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.
(19) The whole scale contains three octaves, CRch octave having Us own key note, by
which it is governed.
OF MUSIC, (Jc.
IS
Q. 67. What is medeus?
A. A meileus is the treble stave, or part, performed an octave be-
low 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 which particular stave does each octave properly be-
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)
(20) It frequently is so, tliat 5 bass, 3 teiior, 2 counter and 4 treble make better har-
iBony. (Note 7, also 1st page of observations, and obs. 19.)
Q. 74. What is the use of a cliff?
A. A cliff signifies iieaily 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,
The first G cliff - 8 2" - tenor.
The C cliff - - 1 1 3 - counter,
The second G 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
(21) Sre plate 1st ; table 2(1, kc.
(22) The bass always ends on the key note, whether it be a flat or sharp key note ;
the letter A being the pliice of the flat, ami C that of the shirj) key note, me be?ig al-
wavsupon B. [See Q 88, -ilso plate 1st .and 2iid J
(23) Sec plate 1st, table 1st.
1(5
THE nUMMEA^TS
the best rule to distinguish between a good and a
od, 6th and 7th above the sharp key do from their key. Sd. The
flat key note is always called law, but the sharp key note is called
"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
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)
Q. 81. What is
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.
('2i) There are some 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
<^ ia music
Q. 82. Why is me called the master note ?
A. Because it is always in the centre of the tune between the tw»
keys, being the only note or syllable which does not occur tu>ice in
the same octave.
Q. 83. Upon which degrees of the scale does the 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. By what are the keys transposed ?
A. By flats and sharps placed at the clitf, or upon each stave across
the scale.
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 for me which will do as well as these ?
('26) 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 " sharp?
t»ke place where me is qitien added."
OF MUSIC, iJ'c.
17
A. The degrees inight have been represented by any other cliar-
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 de-
grees of the general scale. (28)
Q. 89. How far maj- transposition remove or cliange the place of
B, or of the key notes ?
A. About an octave, or 14 semitones, being M removes, T by flats
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.
(30)
(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.
Q. 91. Why might not «?; f»HPS be composed with mc on the na-
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 dis-
position of the author's mind while composing it; it will have a par-
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
degree. It will there (and there only) bring the key to govern tlie
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 com-
mand the semitones in their places without altering the pitch intend-
ed by the author, and so that a number ol voices, or voices and instru-
ments, 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 ?
(31) The fii-st and ssMioail keys, the places of C and A before tranqiosilion, or on the
9th, lllh, &c. degree*.
(S'2) A person may he oonrinced tliat all tunes eannot be set on the 1st or 2ni keys,
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.
c
18
THE RUDIMEJ^TS
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 [.er-
fect 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 in-
terval, [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
(33) See Question SOtli, kc.
(34) P.ih:iiK I
_ ; nothing short of practice and experience will convince a person liow
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.
( j5) It the Rai'.^e sUtiids hetween two letters, the one must be flatted or the other
sharped, aceoiili»g to plate al, to bring the kej- upon tlie exact semitone.
to a measure (36) when divided into four equal parts, as crotchets,
&c. the first 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 ac-
cent on the third part of the measure ; the compound moods are accent-
ed 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 emphatic-
al woi'ds or syllables. The music should comply with the meaning
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 denomi-
nated 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
measure in that particular mood of time.
Q. 97. What is the best method of keeping time while singing.'
A. By a regular vertical motion of the right hand. (38)
(.16) 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.
(38) The hand should fall at the beginning of every measure in vocal music ; and a
small motion is sufficient for any one, except a teacher or leader.
OF MUSIC, e^c. 19
The following table exhibits the length of a string suspending a ball or pendulum, which will vibrate in the time allowed to each mood of time.
TABLE.
Adagio ^ 39 and two-tenths inches for one-fourth of a measure.
Largo J 2
22 and one-tenth
do.
do.
Allegro g
39 and two-tenths
for one-half
do.
2 from 4
9 and eight-tenths
do.
do.
3 to 2
39 and two-tenths
do.
do.
3 from 4
22 and one-twelfth
do.
do.
3 from 8
50 and two-tenths
for a whole
do.
6 to 4
22 and one-twentieth
for a half
do.
6 from 8
22 and one-twentieth
for a wliole
do.
The above are the lengths allowed by Mr. Billings.
Perhaps it would be proper, when first learning a tune, to have the pendulum somewhat longer than above stated.
20
THE RIVIMEXTS, ^c.
Q. 98. WUat is the ilifference between sjneope and syncopation ?
A. 1. Sjncopc signifies 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.
Es. 1st.
2d.
EXAMPLES OF SYNCOPED NOTES.
3d. 4th.
5th.
mMmmw^MmmmsiMmmMi^^mMi
Eg. 6th.
rth.
8th.
iiiiiiiii?lisiiiiglSiSiiilSS
Eg. 1st.
I I I
EXA3IPLES IN SYNCOPATION,
1 _!
fid.
(
SliiiHsi^ifeliiiiSlili
The character i shows the usual place of the accent in sucli cases.
There iniglit be mure examples given, but it is probable these, with the explanations above give,)), will be suffi.
iNutes ot syncopation are by some called " driving notes,"
cicnt.
GEXEBAL OBSERFATIOXS, ^c.
21
Obs. I. CaiL should be taken Liiat all the parts (when singing together) begin upon |
their i>roper pilch. It' ihey are too hi.:^Ii, uifiU-ukv iu the perforniance. and perliaps }
dischords, will he the eonsequence ; it too loSv, dutness and languor. If the pai-ts are
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
soft, as will permit llie otlter parts lo be distinctly heard. If the teacher's voice cannot
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 coun-
ter Clear and plain, and the treble soft and mild, but not n^int. The teitor and treble
raay consider the G«t 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; apply-
ing 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-oprie-
cy. 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.
(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.
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
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.
1.3. Some teachers are in the habit of singing too long with their pupils. It is bettei-
to sing but G 01- 8 tunes at one lime, and inform the learners concerning the nature and
disposition of the iiieces, and the manner in which they sliould he performed and con-
tinue at them until they are umlerstood ; than to skim over 40 or 50 in one evening, and
at the end of a fjuai ter of schooling jierhaps few besides the teacher know a fiat keyed
piece from a sliarp keved one ; what part of the anthems. Sec. require emphasis ; or
how to give the i.ilch of any tune which they have been learning, unless some person in-
forms them. It is easy to naniL- the notes of a piece, but it requires attention and prac-
tice lo duL^' one.
14. 'I'oo long sin:Ving .it one time, injures the lungs. (40, 41)
15. 1 have found by experience, that learners will soon know when to siiig soft a.nd
when strung, if they are led by the teaclier, making a larger motion in beating whsre
emphatical words or notes occur, than where others do.
(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 de-
structive to the voice of one -who is much in tlie practice of singing. A frequent use of
spirituous liquors -.oil/ speedih/ rain the best voice.
(41) .5 frer/iiem use of some acid drink, such as purified cider, elixer of ■vitriol
with imtsi; vinegar, &c'. if used sparingly, are strengthening to the lungs,
23
GEXEBM OBSERKiTIOXS, 6?c.
16. Leai-ners are apt to give the first note, where a fuge begins nearly double the
time 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 pro-
portioned with a lighter bass j (43) but for sharp keyed tunes, let the bass be full and
strong. (44)
lU. 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.
-•^ I" 2r ^ ^ ^"'l ^ t''^ second accent is in common very weak, and in fjuick
lime scarcely discernible, e.xcept in some particular pieces of poetry to which tliey are
applied.
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
(42) .See note 7. (43) S^e note 20. (44) See Q. 73.
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 cor-
rectly.
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 Au-
thor 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 A are nalurally sharp sounds, and are therefore first flatted, and as F,
C and G 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 of the 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.
(45) And likevfise by upphnnir different tunes to t/te sajyie -worch. tviU have a great
tendency to remove t/ie embarrassment created by considering every short time a " Mt
piece."
LESSO;^S FOR TUXIJVG THE VOICE, C^c.
33
+ + +1+1
+ + + + ++ + + . o r>o^^+'+'+'+'+'+'+'+''i 11 +
liill^ilil^iiliiliiiSiiiiiiiiiiS^li^
2. + 1 + » +1
+ ( + l+l.... +I-+I +1 +_l + I + l...».i.v. + I +
iiiigiS^
t:
igsi^m^iii:iisiiio
+ 1 + (
i^iiiiii^iiiiiiiEgiiiiii^iiiiiJii
:EEEF=F:]
3 continued.
_+ I +1
-0-
+ 1 +1 + ) + +
+ I
liiiiyiiiiiiila^iiililiij^lS!
The bass may siog the same stave one octave below the tenor, or two below the treble.
24
LESSO.rS Foil TIXIXG THE VOICE, &c.
+ +
+
-.±1^.
4 continued.
+
i3=
3C3::
t— t-
-^-^
±.-±dt
i-tSiill^
itliliPiiiiiiili^Sii^ii^Miii^iis
+ + , + +
+ 1+1
+ 1+ I+I+ 1+ i+t
+ +
iaiiiii|igjggf^frffm#1^p^iiig:g|i^^^
+ +
~^^
iSiF^^
+_ +
+ +
+ +
+ 4-+ ++ +++^^ + +
INTEKVALS.
Note. ^ stands m-er the xmial place oftlie acceitt, and ' over rhe /laJfarent.
TJiBLE OF COJSrCHGRDS dJ^D DISCHORDS.
5S
I - I
§•3
o
Semi-
tones
0
I c
K*
;»■
^
>
=1.
Q.
D
a
s
»
=
3
s-
?i
"S
1?
a
a
r
e
o
o
ft
a
a
1
2
3
4
— r-*-
I oe I tp I o I — I to
•q CO
^iSigiii
Intei'valsor 2d. | 3d. | 4th.
degrees.
This is considered as the bass stave, but may be applied to any other part.
RESTS OF SEVERAL MEASURES.
BEATIXG on KEEPIXG TIME. 25
^^^jl^:ip33|333J^
12
16, &e.
! . 4 secont
measui-
A'ote. — 1. A semibrffve rest is consider-
ed as equal to a siteiU measure in any
mood of time. 2. Rests for 4, 8, tia.
measures, are seldom U3ed, except for
instrumeBta) music.
D
2. 3
4. 1 1-2
5. 3
6. I 1-2
7. S-i
S. 3
rtsper zE=:a:z:ipr£ZKlfEaa:3iJ
d d u u d d u u d d u u
d (J u u d d ti u d d u u
d u d u d u
d u d u d u
a
d li u d d u d d ii
i^du ddu ddu
d r u d r u d r u
d r r u r I' d r r u r r
^•"mlr."- gggjSfeggJg
drrorr drru. rr
S--^
to c*
n »
= 3
2(5 EXPL^XATIO^ OF THE SCALE OF TKAXSrOSITIOJ\', Plate 2.
The figure. 1 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
figures at the top 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 transposi-
tion. The letters at the two ends of the scale are in their natural place against their proper degree, before transposed. The circle is con-
sidered as the end of the cylinder, and both as turning together (with all their graduations, around one common centre, between 18 and 19)
either to the ri^ht or left, 7 changes if required. The letter B (see Q. 88, 89, &.c ) shows the degree upon which me will stand, according to
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
(Irom the face) of the cylinder are only changes or removes. The column which crosses the centre of the circle may be considered as a
moiiothord, or some other instrument, by which the degrees or intervals are proved — showing the 50 semitones or 30 degrees.
E^. 1. Suppose I would know the exact semitone on which the key note of the tenor of Old Hundred stands .' I find the tune is sharp
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
chord where it must be struck : 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.
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--
uece^saryj as a little attention will render the \yliole very plain.
VJ^IT lOW.
AMERICA S. M.
Watts') Psalms, 103. wetmore. 37
isgiisgipgipgi^i|j;^^^g|lspigiiig^
Our days are as the grass
Or like the morning flew'r
If one sharp blast sweep o'er the field
It withers in an hoar
^^^^^iil§§iiJI?3
iizsrc
p-p-^'
m
It witheis It withers
If one
AMJXBA L. M.
MORGAN.
Walts'' Psalms, 90.
r^iii^iliiS^iPiS^lieiiiiiM^l'
*
T=-@
::::M:M
^^^^mmmm^mmw^mM^mm
Death like an o - - ver- - flow- ing stream Sweejis us away our life's a dream An emptj' talc a morning fiow'r Cut down and wither'd in an hour
H
--j^
S
^V-B-
fl^
S^iiiiilS^ii]
eEf;
::zz— cz^a:
i
T/ie directions between the name of the time tirtil thnt of the uuthoi; heme a reference to the place -aliere the verse may be found : the principal ju'.rt of -uilach is contctwi U: ft'
ff'tuts' i'mlms and Hmmis.
§8
MIHEBST. P. M. 6's, 4's. Words by Tate &' Braihj. wm. billings.
iSiiiiiiftiiili
ISZSE
^IS^lt
_^_J._1.,
sc
xfet
'SS.
Ye bouiuUess realms of joy Exalt your maker's name
^fcii
Your Toiees raise ye cherubira & seraphim
His praise your sougs employ Above the starry frame
iisHigfiigiiglS
A._
US
, to sing his praise
s
ri=~
MIITY. P. M. or 6's ^ 8's. mt«s' Psalms, 122. reed.
1 2
pi^i^SllfiiiaeiSill^ii^^l^^
i:5^-:=:e
:|zg§:ee:fp:
=ttf=:t
j|i^.^^gii|g^lii[=gsgii^gg^^
1 low pleas'd and blest was I to hear the people «ry ' Come let us seek our God to day' Yes with a cheerful zeal Wh haste to Zion's liill And there our vows and honors pay
-r I -12-1-
i^^iis
iiilMiliilieffii^^iiili^l
^^m
I 2
JiVmCA C. M. Warn' It. 39, Booh l. V. bilungs. 89
'pj^gg-^jg^
&■-&-■
♦
-i*-
ili^^feeSSii^S
^
3^P-^
DTP'
19 — e-
ss;
iggE^iiiiiiiiii
Now shall ray inward joys arise And burst in- - . to a song Alnilgh- ty love iaspires my heart And pleasure tmics my tohgueSi
s^sms^^
3^"b(iM-M-5:
D fa^:
^^3^
^§EE^
o-©-
^=F
^im^^Si^i
IS
J--.
q_e.
li^lE^is
ALBJlJ^r. S. rM. 7l^a«s' Fsabns, 19. edson.
fe
#-#
p-e-
H^lilli
Behold the morning sun Begins bis glorious way
a thro' all the nations run His And
His beams thro' all the nations run His
' His
-&t-&t
i^JW^^PigilMiiiiil^iiiSiiSiliisiliJ
"" *~ Hij His And light and life convey And
30
AMSTEBDMI. P. JIf. or 7's, 6's. Kippon- s 11. 30 i. d. heed.
J; tX___irLjl!Z:i_^ZI~i;~^~Izni~lT — l — i~T — l — l — r- — l r \—i T i-tH^ — It — 1 — I-
liliyililiillli^
— ZIZt3=X±
qtzs.
Rise my soul and stretch thy wings Thy bet- ter portion trace
iliiriiii
i[ii^.iii-li|TiiSii^l§iill|l
Rise from transi- - to- ry things Tow'rd heav'n thy native place
HSiei^iiliiie
:^±
mmm
If:
sHHi^lii
^HiHii^iiiiiiiBi
iiiingiiiiiggiigiyiPiiiiiiiiiiiii
Sun and moon and stars de- - cay Time shall soon this earth re- move
Rise my soul make baste a- - way To seats prepar'd a- - bove
iiliili^lii^iiiiiaiil^iiii^aili^i
^— Sfcp::
4'
JIUTUMJ^. P.M. 8,7.1VordsascribeiHoBeathj. fisher. 31
Biigiiiilli
liiiiii
if^iPilil
See the leaves around ye falling Dry and wither'rt to the ground Thus to thoughtless mortals calling In a sad and solemn sound
iiiiisjf=iililiiiil^iiiliiiiiiiiiililii
iiili^giigl!liliiiiieiliiiliililiilil
z\=z\=i
iMiPilil
Sons of Adam o':ce in EJen When like us ye blighted f 11 Hear the kctures wearei'eading 'Tis alas the truth we tell
~ I Z^
PlSiSiiliiiglil^Siii
iliiii^ir^iiiiiliEliiiiglilililiPliillt
^as
-H==^FF^
^iriiiii^
ALLSMJ^TS. L.M. Watts^ Psalms, ii7
^-
t
«zizo_s:
^EflJJ
TANSUR
1
1^^
From alUliatcI we'll be- low tlie skies LettheCrea- tor's praise arise ; Let the Re- deemer's name be sung Thro' ev'ry land by ev'ry tongue.
it
l^iiiiiii
11=*:
:=sze
in:::
.5/p. iaw cu/fe lite above piece " JBollon."
mmMm^^^M^^^!i¥.
ALLSAIJ^TS JS'EW. L.M. IVaUslSH. Bl, B.
HAlili.
If:
p^SiiiSBiSl^g^ifii
ig^eiiiiiiliSSiiiiiii^iliiigiii
O if my Lord would come and meet My soul would stretch her wings in haste Fly fearless thro' death's iron gate Nor feel the terrors as she pass'd
^iSSi^iiiaK^^ilSilSiiiifi
^_^^i^illSlpfe
4:
51=^
.Te.
JULSATXTS XEW. Condudcil
33
■^^SiiilSiiigiiiiiiilSSifei
Je- - - SUB While ^^ \\ i>'lf
Je- - - SUE While
^l^ililgiilllPiSiifSimlliiiiJii
Jesus
WhHe
While
ii^iigifei
¥li
^^^^^m^mimm
E
If:
9US cim make a dying beU kcl soft as dowoy pillows are While Da his breast I lean ray head and Ureallie ray lite out sweetly theie While
2
---a
l^gg^^ii^iiliE^SliiiiiMi
m
lean my he.^d And
And bieytbe
^^_^^_|
I^HiSiiiiSia^i
And breathe my Jite
I _ lean
11^
•P^
*i-i-
And ^^- ' 1 9
my heMd And breathe
^m
lean ray head And bpeathe :JS
3-i Isa. Chap. 50, ver. 1. .IBISE, .3n ^inthcm. [Words from sundry scriptures.]] a. Williams
^siiiiiii^iiLfEi^ijigiii^iiPii^i^Eii
^^mmiM^M^&MmmmmmMm
:[]: Shine
:!|: O Zion for th)' light
is come And the glory of the
Sllll^iliri^llilliiiiSlgiiiriitlig.
isiisiiiiiiilHii^iiEig^igEiPiiigiiiiiigi
^^iE£EEHfiiii?3i?fe:^
*tt:=lg3
igiSliiiiiiilgilliiigiiiiiil
sgiJiiiii^iiiiiiiigEiii
Mm
?ffezfc:a
LnnI is I'iscn upon thee And the g!o-
ry &e
And the
Ilililailliiililiii^i^l^i^iil^i^PI^
the glory he.
I-
iigiiii^iiiiiiiiiiiiPiiiiiftiirEiiii
jmiSE. Continued.
inn:
Isa. Chap. 50, ver. 3.
i^lil^Si-ililiiliiliiiiilgil^i
35
And kino;s :!|:
iiiiiiigiiiiiiiiiiiiPiiEf|Epiiiii^iii
Glo-
ry of the LottI &0.
And the Gentiles shall come to thy light
to the brightness of thy
igEglUgigli
^rgs:
HiHililiif^iiiiil^
^^iiiiiMiiiiir-iJiiifaiiiiiiriiiii
Anil kings ;|!:
fzgTipiz:^:
iiii^igig^igiiiiii^giiisiiiiiriiii^^
And kings :
mai
ilUlillilliill^ilillilliiiiiPil
Sing :|i: :1|: O heav'ns and be joy-
rising And the Gentiles &c.
^_^ And kings to thy light ^ »>--8 -p*~^ -?»■
^iiiliiiiiiiiMlhlil§lllirlj|flii
y
36
Luke, Cliap. 2, ver. 10.
JRISE. Continued.
^^zX^x.wtX-
For behold I \ji\n^ )ou glud liLllngs
XM
(ilad tidings
lip:^^
iSi^
^ «,
lii^liHiiiSiiliilS^-ligliilS^Sl
I ful O carlli
Behold I kc.
Glad tidings Gla- - d tidings :||: Gla-
d tidings
l^iig^ll^iligi^PiiliSSlS^iiSii
^#-
<.-t
sliiiE^y^^=l=E-
Glad tidings :(,':
Glad
tarings :1|:
#
rk
iop bLiioId
^^^S
G lad udlngs
SieilK^
:1;: Glad tidings :]: :i|: gla- • -
igiisiiiiiiiiigiiigipggi^ii^iii^i
of gie;.t joy Which 5li»ll 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
ff^#
i:„-.« ^ .11. .«.
ARISE. Continueil.
37
- <1 tidings ;||:
£
^-
^1^
in^? of Rier-t joy Glad
of great joy
A
Id
i^i^
:]: Gia- ...-.- d tidings of great joy AVhich shall be to
:^^»iPi^i^lii^iSiiiiil-lilL^Ji^
- d
of gi-eat joy
eSeH
ings Gla
■ d tidin:
Sii^
g^^i^Tip
^ii^ii
■ liSs-
li
(» 1»
all people
To all M
all
^ggi';§li|g
lEH
t
^^:iliiiiiiiiirilli
this day in the city of Dav;d a
people For un- to you is bora this day in the city of David a
1^
iiillililir^iliillgi^3Siiil
'S
Luke. Chap. 2. ver. 14.
dRFSE. Continued.
f
:=— +:
£
^--^-
7-r-ar--1ig
v/ ::r:
H^HgilH
^^Kwr a SaTioui- a Saviour U ho is Cin i st the Lord Glo- ry :'i: :| : be to God on
IH^H:
=^^|EiEgElH|!
l^aH^i^^^iiiiiiiirfigiii
a SavioHr a
h-j-i — -f-J
peace
For unto us a child is bom
Hiigfiiiiii^j
m
hi^h
And on earlh peace
Ji3E§El=
peace
And good will tow*rd men
For
^^E§ilF§lii^^^i^j^g^^^^l§ii^li=
-n_^_a
And on eanU And
r-e-n
-mnmr
psace peace .-li: ;!l:
*=a
i
Isaiah 9 — 6.
ARISE. Concluded.
39
VV'onileiful
iiliillliSilliiiiiiiiiiiiligill^^
unto US £<cc. un- to us a Son is given and his nunie sh:ili be called
Counsellor the mighty God
the everlasting Father Uie Prince of
' Wonderful
iBiiliigiiill^^iifciiiaiiliiii
IL=
(f-i:*
zziaz
"ieiiililllil^^iiiliiliMi^igBi
Atnen Ha Amen
peace Amen Hallchij:Ji Arni-n Ha Amen :l|: \. - - men -I]-
i^BSiHgiiiliiiillil^lill^iil
glMgiliSSIil&fiiiiliiilllli]!
40
^lE
^:3t^
AUSTRM. S. M. Watts' H. 74, Book S
MITCHELL.
rtwfg
1»i»-(»-
Itifc
!^^
Is this the kind return And these the thanks we owe
Thiu
Whence
-■^ Sr^^^^^^SS lE
^t
-J4— t
Thus
Whence
flo- - w Tlius
^^g^igmiigiiiiji
*^^****
' |. i Q.
EC3ii:
-^♦-^4-^
^=»
Thus to abuse e- ter- nal love Whence all o«r blessings flow
^fe^^agHs^
l&^-
eite
^
^-t■
^
11
Thus
Whence
Thus
^5ii^=te
.^-i
:t
fc. »
EH^335£±S
il
Whence
flo* - • - w
Whence Whence 8se.
i^^
igi
ei:t:
K=ta£]
Hi
m
Whence all
all
all
JiLSTEAD. C. M.
News
HOLDEN. 41
1 2
X£
^^M
0^.
t-
11^
•■-ff
^^
Salva-
7Ffl«s' 7/. LTjvica.
News iS:c.
l-tt-H-
m
pza::
ilE
ij£
News
Shepherds rejoice lift up your eyes And send your fears away News from the regions of the skies Salvation's born to dny
News News
?E*»:
ISgi
News
News
-S 1— r
5i5^^i^K3rS
:dz:
m
News he
BEIDGEWITEB. I. M. Watts' Fsdlms, i t7.
mm^
m
1 2
IS
EDSON.
§gggs|5
:=k:
:b:
m
9]fl-3fS¥^
^-.^.^., -^^-. ,, , , , ^ -_-,„ „,i#^^ipffps
13:5:
From all who dwell below the skies Let the Creator's praise arise
Let
i
:it
m
:m\
H=S
«TPP:
S
^
©=PI
i^iSi
il_)-4
Thro' ev'ry land by ev'ry tongue Thro'
1':^^
jy' 7n
k-
32=S
xa:
B2?3;
M
^Si
-k-
Let
l£t the Redeemer's name be sung Thro*
42
^^^Se:
BERLIX. L. M. iratts' 11. Lyrica.
WM. BILLINGS.
SElfei
'- -z.z^zzI^
3fM
S-B
^:
S
e-^
^
§mtz: -B
Ez:::
--M^
Hilillllii^iraiilHglife
Eir->
<? ?S T-tl f'^-T^
m
He dies :{: the * hear'nly lover dies The tidings strike a dole- ful sound 0 my poor heart-strings
m^^^^^
■^-f--
«?
:2Z5
Izg
giggggpgiiii
^i=^:ili^%^^igi^^iilg^i=lSiiii^^^lSi
Ebgiiii^^lialll^glilii^E^ils|s=li^li
Come saints and drop a tear or two
tlil=1giilSi^lll^sisi^l5E|s|is|^i^i
In she co!d ca- - - veras of tl.e srround
deep lie. lies
On the dear bosom of your God
iiilSlllPJiiSP^gi^iiSiPSii^P
a tear or two
;,r==:r2r^zl3zFIlHj3E3;Srii:SS~±Jiz5EE^
BEELIJ^. Concluded.
43
g^^^j-^iii
iii=ililiS^i*Sri
«-ptr-k|^ ,^-fr
V— tV
ii^glgai^Eiiiiiiif^ipai
=^:
He ihe< a thoutand drops for you A thoiuand dropi of richer blood A thousand drops :||:
of riclier blood
T»-tT-^->H:
E^^iii^ggiiigiii^iliiiigii^iiii]i
a^iil^lSiiilgSliii
i^iiS!
^^^:
E
»S
o-e
BROOKFIELD. L. M. Watts' Psalms, 5 1. w. billings.
iiiSi@liii§iliigiig|SiiiiS
Pmlii^iilferi
P-r-D— P_
i
±Ezf=gz^
gg
Shew pity Lord O Lord forgive Let » re- - - - penting re- - • bel lite Are not thy mercies. large and free May not a sinner trust in thee
igSSeiiii3SSSiiiiiiii§M!illiiM
ii^fes
a-a
:±=jrd±
S^l^iPSgiSgSiiiiiilpii
44
BUJS'KER HILL, Jin Ode. li ^ 5. Words hy JV. JV«7e»,
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.
uith death groans
igiiii§iiiiipliigi
in the field of battle where
ili^JSiiil
2-i-B-
BVCKIXGIIJiM. C. M. Watts' Psalms, 12. williams.
■"ilNfeisiiEpiliiiiiijigjl^g^^gil^;
E^^iSiiiPJlES^Ii
-a — e
^^E=^m^^=^
m
c;..Q,
a_=-4s:
H^ll> Lord for men of virtue fail Religion loses ground The sons of «ick- ed- - ness pre- vail And trench- e- - riea a- - bound
iiiSzli^lilifife^i^S^I^
:!tttz
n^m
r-E 1-S-?-
Ij ^-Q pTZ^ — lZilIZ2 -f'^I T5-pr— ]- I-— -1-
rcc
sii^lSi
BRISTOL. L. M.
P^^aSsi^l^Sl
TV(ttls'> Psalms, 93. swan. 45
^
To show thy love by morning lij;ht
SS^Haii^giSiiliiSlliiM^.
Sweet is the work my God my king To praise thy name give thanks and sing
And talk of all thy truth at night
Sgigi^^^^i&jEPll-^ilglgg^
l§gSiiiiiiilS§smilii
5k-
Mii
njJI--^^^^Bi
ggSlEiiii^ai^
I may
«
j-k.
IrtiiiiSlii
-k— ^
^W-
Sweet is the day of sacred rest No mortal cares disturb my rest O may ray heart in tune be found
No O may tune
solemn sound
WM
Like David's harp of solemn sound
12
prF*Pk
11
i«-^f
-p~p»i
m
s-
:=F
O may tune
O may my
WILLIAMS.
liBJr. C. M. Watts' Psalms 139.
|piiliiiSi1iiJiiiiiiii&^=il^i!lgl=^i
m
p-ip p-
m^^^m
When I with pleasing wonder sUnd And all my frame sur- rey Lord 'tis thy work— I own thy hand Thui built my humble clay
33^
nzdliz^zz:
m^.
Mr. Law calls this " Easton."
-STK
BRUXSWIC. C. M. Watts' Psalms, 49.
Why doth the raan of riches grow To in- science and pride To see his wealth and honors flow With ev'ry lising tide
^liilti^^^iiliiES^iiiSs^
SSiliilLHIigiiili^lHiiii^iSia!
BOUKBOX. L. M. Watts' Fsalms, 143.
47
iiili||ii^^^^ipg.^1^|ii^l|iiil
::=:ffl
— — © r ^-•P — — ■
■P-©-rF-i
KgMiiiSiii&ailiiiill?
.Tizipj^-^-
Look down in pi- ty Loitl and see The mighty woes that burden me My wasting life draws near the giave Make bare thine arm tliy servant save
g^iliiS^islliilSiiSiiiSiir^l!
i:
^
ii^iiii#liiiiiiElii
COXCOBB. S. M. Watts' H. 30, Booh 2.
HOLDEN.
^PJiiiiP.^II-^iiii^iiigplSiiig|iill
_ _ _ - _•■ ■____ -.r^^'^ jT^. _ - _ - a. I. 2
m^^mmfm^^^^^^^mm^m^mm
1 he Mil of Zion yields A thoiupnd sacred sweets Before we reach the heav'nly fields Be- fore
Or walk the golden streets
•IkTTWTr — T-I -n-2 -1-,-
^lilglSfsifelEfeiiilieiliiiiifE^iiii
S^
a
#
r-^^
•t-h-i-H
F=^=F
fiisi
48
DH. RANDALli.
— ^^
aiMBJlILGE. a M. Hippon's H. 173.
Sif^i
5:^
i»-|»tO
E^Sigiiliia
Jesus I love thy glorious name 'Tis music to my car Fain would I souod it out so loud That heav'n and earth might hear.
i^llilUMPiiSiiiilill^^l^^^ll
ggjjpl^Etegg^lggipgggMgf^Bfl^g^siJi
C/ifJVJ. C. M
t^-
ISHb
W^flffs' i/. 3, Boofc 3
SWAN.
2^gp:
^
:fez5iinipzj
■F
ggi^g^gii^^.i^p^ig
Why should we mourn departing friends Or shake at death's alarmi 'Tis but the VMce that Je- - ius sends To eall them to hi» arm*
^^^^mm
1^
COMMU:S'IOX. CM. iratts' IL' iS, Book 3. j. robeutson. 49
How sweet & awful is the place
Here cy'i-v bowel of our God kc.
Ipl^i^iiifeaiiliiilPiiiHSli
LtTT" r..
fS ^:
gji^i^a^^teigisiiiiisiaigsiii
nOLDEN.
1 2
G . COMOXATIOJ^. C. M. lUppon's 11 177.
All hail the pow'r of Jesiu' name Let angels prostrate fall Bring forth the rnj'al diidem And crown him I^rJ of all
iiiii^iij:
:aiff
■'r—
.^Mi^iBHiiiliSgi
»»».
^fife'^^S'iSJf
50
CJLVJRr. C. M Watts'' H. Lijvica. BipponS H. 550. d. reeu.
i pili^]^ilii^ieiigEiPi
ii^iS
fei=^igliiliili§iiig^iiM^l^llii
Where
m
My tlio'ts iliat ofien mount ihe skies
Co search the world ♦lem-ath
:si£ii|gliS^ii^iSigi
cere
m
Go Go Where nature all in ru- in lie» Where in
EEEfSiEg^^ig^llilE^^
E=brEEizEEEEi£=Bt^i^zEEtrzEE3EHzzEEEES==E
© — ©•
rl^l^l
And ow-
her
tov reign
death
si^flgi^iiiii
->. — ^^-kg
-1^ — - — -r — I
m^iEPiiiiiiiiiii
ruin lies Ami ow-
^Siliii^iiiililiiiiiilililSl^lllS
COMPLJIIJS'T. CM. Watts' Tsalms, 102, vev. 2. paumhter. 51
gfMm^^^^^^^^^i=^=^^W^
l^^l^lii-^igi
-^--1
m^immmm==m
Spare us 0 Lord a- - loud we pray Nor let our sun
down at noon
~E^^
5js:
iiiilli^lPiSi
z^!t-^
:^=t=^::=-z?=^±M-?
»l:
^=
m
:=x=~tF=
iHiPi
— •— ••T-C ''^^ 1
Tliy ) enrs are one e- tc-r- nal il.i)' Aiiil
^iiiiiiiiiiiiiiiiiiiiiilgiill^liiiM
-^— ^ I 2^ _
igi^iiiiiiiiE^iiiiiiiiiiiiiiii^iiiS
Thy
Thy years
||ii::|giiiiiii
iliii§3l|:
1*
3J — S_J3_
m
m
s-r—m
V=|E
must ihy cliil- - drea die so
soon Thy years
HHLSliililil^lilili
52
COLESIIILL. C. M, Watts' Psalms. 144. kirby.
iiiiiiiriigiiiiSigiiiiiigiiMiii^
Lord wliat is man poor feeble man
Boin of the earth at first
His life a shadow light and ^-ain Still hast'ning to the dust
«y
Ei§§iiiiPJ^iili|g^ill|lj^iiillili-iiii
H:
giPpgj^pjI^^iigiipjcEgEiggpga^-g^^
rf:
Coles/till is l-Xj some ealled " Dublin." It is a little altered frtnn the oricrinal by lite name of " fVindsor." '
COOKTJAM. 7's. Cowper's IL Bippon, 250. har. sacra.
3.
illiiiiliJIIIiiiiiiiiiiigllii^
'Tis a point 1 1 ng to know Oft it causes anxious thought
mi
psiiiiis^^ig^
iiiiiiiil^iiiiilil^gliiiiiiSg^Ep
^iiii^t^
tr~
:::fc3!!:p
ffPpSggsjii
COWPER. L. M. Corvper's IL holden. 53
WE
:f:^:p:
t
WWMW-
i^M^M
Forgive the long that falls so low Beneath the gratitade I owe
It means Sec,
^feeisiriiiii»iEg^
:S:^:"^
mil
It meaDS thy praise however poor It means &c.
COJ^TE^TMEJ^T. S. M.
-^^m^m
Aa angel's song can do no more
Watls^ Fsalms. 23.
J. COLE.
rq
mm
— :ffDTS-|-B-
i
ssHiii
^ISgSjI^MEsI^
^
ftitfl^l
ii^igiigftSSiiiiilSfeiliiiii
The Lord my Shepherd is I shall be well supply'd
What can I want heside
1-S&.
Since he is mine and I am his
What can 1 want beside
cii^^iiS^J^SiiiiilSiiiiig
What can I want beside What &c.
51. CO^'TE^^TME.yT. Continued.
If:
lE=lEiyEfe
^\■|l:^t
[EiiiiiSiiiliat
■What
-Ik-
ifiliilili^igt!
Since he is ko.
CREATIOX. C. M. Rippon^s 11. 33. iiolden.
All All
iSHiiigiii^ililiiii
Lord when my raptui-*(l thoughts survey Creation's beauties o'er All nature joins
^ All
'iiiieiiiii&jrii^
And 1 am tec
F^;
Wh:U can &c.
0
5t=F
F^
i^ii;^i
w^
All
tiiHi^iiiiiiiiiii
^HHfelSSfel
Ten thousand
to teach tliy. praise And Lid my Sool adore Whene e'er I turn my gazing eyes Thy radiant footsteps ahine
^iiilPiiiiiiil^f
z:t__D-fc=:
.Ullliliiii
Ten thousand pleasing wonders rise
And speak th^' hand divine
CWMBEKMJ^I). L. M.
rf#rSs^i®5E:
In^z
■©-=■
-6—e
%
szraz
Waits^ II. 4, Book 2, rei: D. an. i*xv,i:\. 55
:s:
^^
^=i£
3=^Zt323^=t
'r::az?i
^s-^-F^^^^s
ii^i^iii^Fji
-b-&s
B
Yes I'm secure beneath thy blood And »Ufay foes sliall lose their aim
tm
22Z
-m^.
MS
mz
izszto:
itzzzt:
e|^e|
E=iE|r.
^Seffl^i^iii^i^SSiil
^IS^E
~~zizq — ——re- — Kzczsz-ipzzrgzitpnsrrzzF:?:
:^£!Eg^Et^SeiEiSgEEEt:
^i^^ziztE
Note. — Bi/ repeating one part, this tune may be sung to 6 times 8
XUMBEBL^JS'I) ^EW. P. M.
Hosannah to my dying God And my best hfinors to liis
•°ztoz§z:zzrEz:zzrzzzzz[:zszii::z:z:z
Bippon, 500^
iiiigliliiiilPiiagliifililiiliiSlii
Come thou fount of evVy blessing Tune my heart to sing thy grace Streams ot mercy ne- ver cc:ising Call for songs of lr)ud,.'st i.rr,i:e
iSiiSsiliisa]
y
56
CHIJILESTOX. C. M. Watts^ Psalms, 42. frothingham.
teifgSiiiiiigirililiillli^Mi^SM
With earnest longings of the mini My God to thee I look
So paDta the hunted hart to End And taste the cooling bi-ook
l^siiiiiilfl!
S-B-yy-rp—T
i
-p-p
iiSiiiiie^iii
■^pSiiiiliiSli
CHOCKSET. C. M. Psalms, 139, rer. 6. mitcheix.
g»^SlSii
:SjET»Tkyizix~
iSilgSiiyiiiiiiiii^liiSiiifei^JB
Lord where shall guilty souls retire In In
ForgoUen and unknown In
la hell they meet thy dreadful ire
In henv'u thy glorious throae
COLCHESTER. C. M. mats' Vsalms, 5.
VVILLIA.MS. 5/
p^iffliSBi^l^lgigiil
-i — i-
:tzd±:az:
UJNl J—
^TfTCS-gigS
iz:^iqpg=p:f:az:pq:aipy=czpz:p=ppzp:;:=D^z:|:B=pf-^3Zi-.q:§zi]:
n — r
:*t==^
:«2
33-^
Lord in the morning thou shall hear My voice ascending high To thee will I di- rect my pray'r To thee lift up mine eye
t ipTTirt — -U — -i^-^^ira — lUT^zp: — :p
ffiz?
.1
11
^ii=>
-ii:— =■
■*<:— ^
S-
il|iil=^l^^iyE^=iE§gi?Ef
H
rf:
J. TUCKER.
Pfe^S
DEVISES C. M. Watts' Fsalms, 9.
^^mfip^
■=-&
I
fcifc
0—s-
i
^
Will put &c.
With my whole heart I'll raise my song Thy wonders I'll proclaim Thou lov'reign judge of right and wrong Wilt put my foes to sh^e^
^g^Ei^i^giiQiife
;?&i:a-ji^:
I^Ll
— M
7
fee
ggs
-vv
^e;
iy^H^-^sgPil
zzz:
T-zzzi:
.58
BAVIBS LIMEXTATIO.W. Words from a Sam. Cliap. 18, ver. 33. wm. billings.
D.ivid tlie king m as grlevetl .'ukI moveii He went to liia cliaiiiber his chamber Cind wept
O 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 O 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
iiii^Siiii^
-P-P-,
iiilSli^liiiiia
Think 0 my soul the dreadfal day When this in censed God Shall rend the skies and burn tlic seas And fling his wrath abroad
^s^i^iiliiiiiiilSliiiiiiiiiPiiiiii^^
ii^^i
a;
'?.-
Ti'ii-i Ume is eke~^liere called " funeral Thought.^
i^iii
#
:^i==-
UlliliglPJi
DOOMSDAY. S. M. IlarVs Hymns.
VrOOD.
— It
^pg^iiliiiiiiil^iliiiiiigiSlfelil
^ The
H^iii-iiil
Q_ft-
JF
il!
s3
tEzSfEEFEE=EfeEtfe3E^EE
BeUoM with awful pomp The judge prepares to come
The archangel
And wakes
iSiliiilJl^iliiiiiiSi
Iziiflr^lz' ""
^ts
^^1~EE
tr-lt
:==^^P
dreadful trump
And wakes the een'ral doom
iiliil*
ziLn:zziEzEizbzpzi===i@zEitzEiEzfi^p3=zzi:— s:Iz:izx^^
The archangel sounds the
60
LELIGHT. F. M. O's 4's. Watts' Psalms, 131, ver. 3.
COAN.
^S:
liiliiliiiggilliieeigsl
iSSagi
v-w
p^-w
Thou
No burning heats by Jay Nor blasts of ev'ning air Shall take my health away If God be with me there
Thou
iiiiliiiiiiaii^iil
p^i=
W^W
WFiH-
Thou
e£
^feiSlElgES
•-^
A*'
^m.
?±^
Thou art ray saa Aod thou my shade To guard my head by
fqjm^zf^z^zzzzz
^m\
--fct^zSj
iPiiigiiil^^il^i^i^i
iigiPiliiiiiiiigSlfe
Tlimi art he.
E^3Ei^|==i=pHgggp_^ipgg^
nigt.t or noo* •
:eI^P|3^
^l^lgMl
DEATHS ALARM. C. M.
Watls^ JI. 8, Book 3, ver. 4.
WEST. 6 1
1 2
ffigglPSi
To snatch our lives a- - - • way
~ 1 2
iggmiigiiiiggiiai
to snatch
iffliHiiSiifflsigli!
DUJ^STIJ^. L. M.
irntts' Psalms, 73.
DU. MADAN.
^^
e
Pi»
^
:b=±-
fei^iSS
;::s:=::-rj:
Wii
-if-'-'
mmmm
Till moons See .
iHH
f^
Till
iiiiJiiii
i^Siiffliil^lSMiiiii
Jesiu alukll reign where e'er the sun Does his successive joumies run His kingdom stretch Trom shore to shore Till moons shall wax and wane no more Till moons &(C.
*
^^
1S— 19-
r-ft:
g^gHUggiliigge
63
DJLSTO.V. P. M. 6's 8's. Watts' Psalms, 93. williams.
liilgiiSg:iliiillp"Siii§Sffiii^
IS?
iiS^liiiSiiiiil^Siiiiii^liiilii
The Lord Jehovah reigns And royal state maintains His head with awful glories crown'd Arraj'd in robes of light Begirt with sov'reign might
Tzs:
Miii
And fays of majesty around
DOVEPi. S. M.
Watts' Psalms, 48.
WILLIAMS.
f-
^"^i^^^^j^^^^f^^^zlzli^^
liH^Uli
I — H
S-T-S-T P-T»
Siiiiiiigiiiiiilil
n-D— „_
±=a
Great is the Lord our God And let his praise be great
tr. tr.
He makes the churches his a- - bode His most de- lightful seat
Hiiiiiliii
iiii-SiEi^iiiiBi
IliiiiiiiiliglililMiMigilgilMiiigMiiii
Mr. Cole has called this piece " Durham."
SEAMARK. L. M. Watts' Psnlms, 100.
DR. M'ADAN. G3
pli^^giiii»^li^ii§ilisieiSiii
Before Je- - hovah's awful throne Ye nations bow with sacred joy
H^HiliPiliiS
Know Ihi^tthe Lord is God a- - lone He can create and He destroy
— hi — i— ^d «-d- -f H — — i H— -p J — \- —\ — M-»4- J-3f—
f^gis^ggiillfeS
ffi^
;^t-
-^=H-
fc:
;liz.^±d
iiiliSiii
If
iHii^Sn^ggiar^litei]
He can ere- - ate and He de- stroy
His sovereign pow'r without our aid Made us of clay andform'd us men And wiien like wand'iing sheep we stray 'd He
=EiiSiiplig»piSipiSiiigiiil
.g^J^iliiiiigtSiSiigliiliiii
64.
JDEXMARK. Continued.
Duet.
EE5SS
il^iS
We are his people We fee.
We his
,^i^MiSlii#liiiiliSiiiii^iSiii
Jiass viol.
'^^Ef^^gEgiagllg
il
and all
What f«c.
=i^
shall we rear
iitliii]
l^tesg^l^^ig^fc'is^g
eare Our souls and all our mortal frame What lasting honors lasting honors shall we rear Almighty maker
■^
«=:r5r^
W=i:
SfiElEiteS^SS^S
§^y^B
JDEJ^MAEK. Continued.
65
:rSii=:i:
^iiilSiii^iliiiiiliiie
Almighty inukcr
We'll crowd thy gates with thank- ful songs High as the heav'ns our
IS
-4-
f^F=^
to thy name shall we rear Almighty maker to thy name
.^.JL
I
iillPiiiiliiiiiii#iLii
— t-o^
^SggSigg^EliSiiiiiiiiiilga
voice- - - s raise And earth :||: with her ten thousand thousand tongues Shall fill thy courts with sounding praise Shall fill thy courts J:c. Shall
156
DEXMARK Concluded.
I 2
iiiiiiHaiilliiiiiiiggSgi^iglif
fill Shall Sll ihj- courts with sounding praise Wide :!|: as the world is thy command Vast as eternity thy love
firm as a rock thy truth must
iiiiiMiiiiiiiiiiiii»^P^S^
SiiiriSiiligilil^^llS^iiigie
SiiiiiliiiiiiiiSiiSSiSiiril
Rtuud When rolling years shall cease to nioYe shall cease to move WhearoUiiig &c.
WilCD loIl- - - log
jears shall <ease tomave
iSBiS^SpiiaSEBS^^ii^liij
^Ste^iSfeiSi^ll^ll^^l^iil^
11= _
The Air o/-' Denmark," " HELMbLEv,""HOTHAM," and other pieces af Madan's composition, fin three parts J were umttenjor the
treble X'oiees, and may be so performed, or even by tenor aud treble together, duly proportioned.
BETHOrr. L. M Wutfs' rsulms, 146.
war. tvEXs. 07
Praise je the Lord nij' heart shall join In wort to pleasant »o divine Now while the fiesh is mine abode And when my soul ascends totiod
iiSliiSOiliiiaiifflisSSliiilFJ
SIS"^ilSl^iBieiPiSill
zrrs:
-kt:
J
EASTFOBD. L. M. Tsalms 68. Tate & BvMu. french.
rf^^^J
;ns±
e^^fei^H^illSSiigsi
:Si=i
^zi:s:zs;:i
iiiiiilili^lMl^iiiiiiiillii
When maroliing to titjr bless'd abode The wonder- --- ing mul- - - - titude survev'd The pompous state of Ihee our God In roy-
S^SSiigl^SiiiiiiiiSil^i
EE^Si^ESElS
^iig^il^^KliSi^iiiil
^\^
68
EASTFORB. Concluded.
iigi^?illSigli
Swoet sing^ug Ltvites led the van
Between both troops a virgin train
Si^gg
•~'"^^^ jiijQiujj t^n.iit.1.^ n-(i viic 1*111 xjciwecii uuui ti-oojjs a vii-gin nam
I>ou(l instruments bro't up the rear
1 - - p1 majeny ann^'J
With Toice & tim-
AVith voice anil timbrel cliRrm the ear
SLiMiiiifiiiiias^iSg^^iM
f=~^T aTji:!
£te
Efc*ri^^x
it:
1 -»-■- 2 -r»-
ffil
F-f-p-rf-|V-r^T-P>Tl^
— P^I--U-L-i-! U-t—
1 2
i^Siii
siliiiiliil
r ThU was the burden or" their son_x In Tuil ai
brel (.harm I'ne eor This vias the buiueii ortiicir son.? In I'uli ass^mljlics bless the Lord All who to Israel's tribes belong The God of Israel's praise record
tt-
i^PJ^^Jg^gf^g^^fpTi^fl^sg^
s=s=;
EASTER AXT HEM. Young's Xight Thoughts, ^^o. Mh. voi. biixtngs. 69
"fiiiiiiiiili
*t
Hal- le- - lu-jah
The Loni is kc
:&■-
^^Sgi^^SiiSiil^l
Halle- - lu- jnli
tM^^-:^
The Lord is ri- sen in- deed
^l^lifelSSl'^il^^^iliiiiiili
Now ia
If:
±ts;^±tz£Zt±±i[z±p: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. Continued.
And And
Halle :,: . .. j:j l. •_. „ ._ /^ •_.
a^siiiisiEi
-t«r
And
did he rile Hear O ye nations
And
i^l^i^Sigig
And
l^rrT-.---T-^^ T~I~T — i~i iz — ^ — ir^
T it T -1-
Fortissimo
And did he rise
And
§3g3fiBgiiiii^
Me rose he rose Ht bursT&o. ^'^
Lear it O ye dead
^HiOiiiigigi
Be burst the bars of death
He bm-st
and triumpU'd o'er the grave
He burst
jgfS^Eig^giii
li^ip^^afe^iiiiiiiiiiisiri
EASTER AJ^THEM. Concluded.
71
5PISPsPgg|g=^5P^^gii|igii|iiii|PPgPP
liiiiliiiili^lSfeiiiiligiiliiilil
Then
Then first humanity triumphant passM the
And seiz'd e- - ler- nal
--k-T—
:||: I rose ^ ^ crystal iiorts of light
^:
JHo tier ate
miH^lEisi^^yi^lHii
iiiigH
v^#-r
iKii^gP^gHigi^ili^
iHil
youth
1 2
Man all immortal hail
Heaven all lavish of strange gifts to man
Thine &«.
ns^n^y^i^ni^n^isgiiisa
Thine all the glory roan's the boundless bliss
iiSi^SiiiSi^asa^Si^a
72
EXFIELD. C. M
CHANDLER.
i^^i^il^^
-!»—<■
jg^^feja££ilg^P^JB
iiSiiii^iig^iiiii^lifeSliii:
Before the rosj' dawn of day To lUce my God Til sing Awake my »oft and tunefal lyre Awake each chu'm'mg string Awake and let thy
laasgig^gB
E
isi
^iii^^^i^S
'^^iii^lpii:
=^=^=F
H=r3
'^^=f
:lz=pl
^^H^^H^il^^!
Egp^El^ggg^^gg^^gi^^ll^^E^^^
Sowing sti'ains Glide lliro' the midnight aii- While high amidst her silent orb The sil- ver moon rolls clear
1
i^iimiSiiiiaiinp
IliiJigiijglii^ii^^^pPii^il^Bl
EXETEB. a M. Hymn 2, Book 2.
73
''^^igg^^^^Hiiigiigiyilaiiii
PI
My tho'ts on awful tubjeets roll Damnation & the dead AVhat horrors seize a guilty soul Upon a dying bed Ling'ring about this raoi-tal
'~ ■ ' ^ '"" ~ Tr— r — I 1 — rm — m — i 1 — n m -m wn 1 — ri 1 1 »•"
^pp^|^^r||g|||!jg||||2p|
iiiSiliiaSSiSiSiiiiiiiil^iiiiii
^^iS^^^
5iz±=E=t;:zt:
g|^^i^^|J^:|JErEJp
fei^iii^Biiiiiii^^iPiiiiiJ^^^Ji
tliore She makes a long de — lay 'Till like a flood with rapid wave Deatli sweeps
the wreteh a- - way
^
i=gz3pztzi:
k^-
=*=¥=
Death sweep-
xi-z3d
■1 ~M— It
fe^
:ii~„za~
74.
FIDVCM. C. M Hymn 03, Book 2.
J. ROGEUTSON.
;iJiiiiiiiiiiiii^iiiiliiiigiiiiiSiii
Hai k from the tombs a ilolcfnl soimd >I ine e.iis uttenil tht cry " I'rincts this elay must be your bed In spite of all your tow'rs
" Ye living men come view the ground W lure you must shortly lie The tall the wise the reverend hesd Must lie as low as ours
iiiiiiEeifSliiliiii^^iiiglliligEliii
KilllFIKLT). C. M JFutIs' I'salms, 89. hitchcock.
mm^m^^^m^^^m^^^^m^
WitK rev'rence let tlie eait.ts aiipear AjkI iiow beSbiie tlie Lord His liiyli commands with rev'i-ence hear His high commands And tremble at his w,or<l
S
xr-
T3-
l^^iSim'Sl^liiEiigli
iiiiiiliiiSiiSiiil'giiisiiSiiijgiagB^
FEIV IIAPrY MATCHES. V. M. or 8, 0. Walts' ii. Lyncu. cuane. 75
Say mighty love ami te;Ach inj' song
^Vhose yielding iiearts and joining hands
glglrti^Kis
!^i£&ff££
-+-I-
p-i»-^;-
1 — r
iillilMr
To whom my sweetest joys belong
Find blessings twisted with iheir bands
-o . And who the happy pairs ^osoften all then- cares ^
.^^l^lWii^iiSiigii^^feSfii]'iiiilli
J. SMITH.
r'T^~D~
FUJS^ERAL THOUGHT. C. M. Hymn 63, Boo/e 2.
-w-^
s—S-
Uaik from the tombs a doleful sound Mine ears attend the cry " Ye living men come view the grouna Where you must shortly Be"
p|liillpipililiiiilili-=ii^l"^i
i*=S
■=pz:
iiiii^ii^Si?^£iii^^il'
76
^=1135::
FVXERM. J^rniEM. Kev. Chap. 14, ver. 13.
^z?Sir2di
^^i^i^ie
BILLINGS.
1 2
1 2
i^ii^
I t.eard .1 great voice from heav'u Saying unto me
Write from henccfoitii Write Write Blessed are they who die in the Lord
liliiiiilii^g^i^l^igSS^MIi^
iii^iPpiiiiiillilK^iSi^i^g^
^ll^iElils
t?SgE?E3^£BS
Ezcis:::
mmmmim^^^^mimm
Yea saitli the spirit For they rest For they rost For they rest For they rest from their labours from their labours
-^^^m^^^m^^m^^^
i[3^iiii^lil^ie?liiii^SiMi^^^lia
FUJ^ERIL AJ^THEM. Condmkd.
77
^^^^^^mm^m
t
f==p=i5^sj
from their labors and their woi'ks which do follow follow :]
:J: which do follow them
which do
fpl- low
them
^lillSHBi
Ps^
GAJ^GES. 8, 8, 6. 8, 8, 6.
£i
SS^iS
OF?;
•■=-p
TFflffs' If. Lijrica.
m.
H — I
Hil
i
i^iS^nMii
E331
^EK^S
w
I-
Why should our joji transform to pain Why gentle Hymen't tilken chain A plague of iron prove
-tr-i-'^--i— iT-i--]-r^
S^i
EUewhtre called " The Indian J'hilotopher.'
S^
J, n that binds Millions of hands should leave their minds Atsucli a loose from love
78
GETUSEMA.YE. P. M. 8, 7.
r-
Vv'OOD,
9-
^^m^^mnmsmwmmmmmmmm
Great high prieU v.c view ihce stooping With our names uiion thy breast
"Weeping angels
-::t:dz±=!!Z±»i^
Id the ^rden groaning drooping To the gi-ound with son-ow press' J
iiigi^iigiiiiiiiyiiiiE|§iiggg3iEiiEii
w:f.
IPiiilii^liiigp^iilMiiliiiiiiils
I atood confounded To behold ilieir maker thus And shall we remain unwounded When we know 'twas all for us When we &€
:iiiiiiiiiliiiiiMiigiiPiigS^ili!
GLOUCESTEH. L. M.
MILGUOVE. 7'.)
1). C.
11 y inn 1.1, Hook 2.
iliiiiSliiii^ii^^imiy^llilll^liiiilS
Far from iny tlio'ts v:i'm w orld begone Let my re- li- - gious hours alone Fuin wotilJ ni^ cj es mj- Saviour see I wait a i isit Lord fioni lliee
i^-m.
~=3.
'^1--
^
:::^=f
By repeating thejirst part of this tune it way be suii^ to 6 times 8.
GROVE, P. M. Watts' J's«?»js, 84.
miTON s eoLLr.cTiojj, .
Lord of the worlds above How pleasant is how fair The dwellings of thy love Thine earthly temples are To thine abode my heart aspires With warm desires to see my God
'^m
^BHigiSllil^iiiiteilS
^ifeps
l^zz:
IS
P~
8U
GREENFIELD. F. M.
6 times 8.
EDSON.
iiiiililigi|gg;Migig
=F«^
;mE3
iliSSS^siiiigaiii^isls^iiyi
Goil is our refuge in (listless A i>rcsent help when dangers press In him undaunted we'll con- fide
ilMlliiii^giilifciiiiji^^i^illii
^iiiiii:^iiiiiiiiii^i^iiiiiiiiiiPi^i^
Tho' earth were from lier centre tossed And
:^Sgi|pgpi=il=p
zmtEM.
^=^'=P==p:
iiiiillrilli^iiS^M
jj Though
lifililglilii^iiiiiieiligiiiil^giiil
Torn
iil^l^m^^iil
\^^^.
^=is^^§
Q-
iitazi
iiHB^^
roountaim in the o- - caan lost Tom pieceoiciJ by the roar- ing lide Tom itc.
GREENWICH. L. M.
rifli/s' Fsahns, 73.
1>. UEED. 81
'^s|yggi|*r*|gigP|g=iiyi|lgi
* _p-*-.
^m^^m
5=3:::!
:pt:
iliiiiliieiigiiiiES
Lord V hat a thouglitlesa wretch was I To moum and murmur and re- - pine To see the wicked plae'd on high In pride and robes of honor shme
igliSiiHSiiP
si^i-i-—
iim^iip
^»
■'-^
iilsisSiiiiteiiii?=^
L
'^^S^M
^^^1^
But O their end their dreadful end Thy sanctuary taught me so
SSiiPiiiiiiiiiiiSil
On slip'ry rocks I see them stand And fiery billows roll below
^^.
fc^gj^^ly^^l^^j^^^ig
t-B--
-a-
Etzr?d:?=a#Jt,
iliiii
m.
^
Ob
szrrx:
;7ftz^iEz:^i:i
-M
fczpgzji^ljjrliij-
83
r=
IMJS'JJELS HI MX.
?4:=i--^
l^lsiSS^ii^Sirg
How wond'rous lils giace how amazing his !ove
G. F. HANDEL,
m^m
And he laid down his life to
ifiiiiliiiiEiliiilggiiSg^giiSg
A\hei) Jesus our Saviour carae down fi ora above
His dear blood as a ransom for sinners hf spilt
liiiiiliiilillgiiliigggiSlliiiiaii
atone for our guilt
He hung on the tree that all might be free if on him they rcly'd
Inviting us all tethe
a=S^|iillS§SiiiiiPigiiil@
Thatjust'ce divine might be well sat'sfied
And now he in Heav'n sits pleading our peace
Ulig
iiiiitiliiiig-iiilSiiiliiil
if oil him ifu!i &c.
HJIXDEL'S JirMJS', Concluded.
83
^-
And in songs of thanksgiving his mercies proclaim
For sinners &c.
ligjggPp^ffgiiiiiiiiiiiiiiiigli
Then let us forever adore his deftr name
For sinners he b!eJ when they pierced his side
S=3
^^
t5
*a:
E
fcfe
±i
Ancl he bore bore
iE^^£o?!fS;
bore &c.
pzJJigjfizjrjfS^pfe^:
t^^^--^-
SiiiiiiliBH
i^^gS^ii^fei^^jgiSiiiiiiilH
bore :||: bore all our guilt whentosaveos to saTe u» he dy'd dy'd ij: :|I: to save us to save us lie dy'd he dy'd dj'd
kore
-^
-i^
Wheo tajare us
to save us to save us he dy'ii When to Sic. beilj'd he dy d dy'd
84
HARTFOKB. L. M. Wnlts^ I'snlms, S4.
fiiliiiiggiiiiiiiSili^iliiiiSli
CABPENTER.
iiiilliilliiiii^liiiifeJiililfefei-1
Thus si)acions earth is all the Loiil's And men anJ worms :ind beaus and birds He rals'd the building Oii the seas And gave it for their dwelling place
lil^JigiliiiiigSiigi^^igS^lli
But thiiie'ss bi-ighter world 00 high Thjr palace Lord abo-e the sky Who shall a<cend that blest abode And dwell so near his Maker God
UAMPrOX. 8's.
LEACH. 85
" Thou shenhenl of Israel and mine Tlje ioy and de- sue of- ray heart ^_^ ^ ^ ^..^
Thou shepherd of Israel and mine The joy i
3-p--©-
For do- ser com- ma- nion . I pine And long to re-side where thou art
That pas- ture I languisli to find "^^Vliere all who their shepi
iisippEii.=s5sgiiii^Eiiii|giiiiii^^
■^SE^EsiE^;
■ — © — ©■
-t=-
m^
:ciz2^
iiilP
=©=F
'^
l^paz —I" ^^"pTpTJZii:
1^
herd o- - bey Are fed on thy bosom re- - clinM And streen'd from the heat of the day
nzzz
'^^^^^^^m^m
^
fei=t
e— -
I
zinna:
^H
-M
86
JIELMSLET. T. M. S's, 7-8, 4's. hippon, 373.
MADAN.
^
Lfl he Cometh countless trumpcU Blow before the lloody sija Hallelujah :([: tl:
Welcome :||: bleeding Lamb
mS:
i—-^
sue
t^
±^
IPi^ii^agli
N I N -L\—
rf:
Midst ten tliousand saints and angels See the cruci- . fi- ed shine
Ul^SBJiLE. C. M. Fsalm 16. ver. 3. holyokb.
3^J_
^gl^l^^gl^E^J^sSgJMi
iHHr
Thy co'jrts
Thou wilt reveal the paths of life And raise me to thy throne
gm^^igi^giiii^iiiii
Thy courts immortal pleasures give Thy presence joys unknowa
iHHiSiiii&liS
^-
lis:
Thy courts immertal pleasures give
ggiPliiffF^^4ffiroiroQp^;
• - • - sence &c.
Thy pre sence &c.
■i~7's::
JWLLIS. a M. Watts' H. Qi, Booh 2. 87
^pgteiffiiii^ii
^
■^
PrP^rF
EF
glg^^pjji
— U-^-l B
My soul come meditate the day And think how near it sUnds When thou must quit this house of clay When thou
.i^Hliig^igiilg
e£a=HiE
"~c±E:[:r"
i:
When tljou And fly to unknown lan'is
ST. HUMPHREYS. C. M. Psalm 98.
'i^ggSHrfl^lgligi^giiiSiMim^
fcT^^ad
i^H
m
^=s
-m— ^
iiiiiiii-=iiigEg|ii
Joy to the earth the Saviourreigns Let men their songs employ While iielilsand floods rocks hills & plains Re- peat the sounding joy
i^liliiteiiifiililiiiM^i^
?ii
:^i^mxi=:^:
t&m^m.
Mmm^^^MBMw
88
r-
[^lEggP''
HUJVTIXGTOX. L. M. Watts' Psalms, 73.
_^=^ T
MOEGAN.
iiiSHiiliffiiii^Si
-X-
dreadful end
liiiiliiiiil^iiii^liiMliiiii^^li
Lord H'liat a llio'tless wretch was I To mourn & murmur fc repine To see the wicked plac'd on high In pride & robes ofhonor shine But O their ead their
liiirliiliilPiiil:
But O
gJliiiiiggigiiaimiiiiMslite^
rfHTT
But
I —
p^^;
-^
'^^
llii
But
^^
:l
l-I.
I
But
: -n—r
On slip'ry rocks I see them stand And fiery billows
ifiU below
I their dreadl\>l
lie
But
■-P^mm^^-
as
Bm
ZOIZ
zz^m.
tliy sanctuary tau't me se But
Bffil
szrs
P'OE^
es
HOTKiM. 7's.
RippoH, 3 O.J
MAD AN. 89
^iiMiiliiiS§iiiiii
Jeausloverof my soul Let me to thy bosom fly While the nearer waters roll While the tempest stHl is nigh Hide me O my Saviour hide
^iSiSgiiiiiiiiiSiiiigili^Sg
m=^
M
If:
iSi
wzm.
;^
)»c— k
::?:
-^
iepiSilll.iiia^iiil
'Till the storm of life is past
Safe in- to thy haven guide O re- ceive O re--ceive O re--ceive my soul at last
M
il^giiiglilgSiiiiiiiiilH
^^ — k
k— k
-@ -#
iiiSiiiiiPii
El^
ii^iH
K-
90
Kev. Chap. 7, ver. 9. JIEAVEJS^LY VISIOJS'. «ev. eiiap. i5, ver. 11. frlkcu.
psii^iiisiiiiii
p-©-
I beheld kc.
i^EiiigiliHi^
Thousands Stc.
Tliousands &c.
iiililiiliiliiS^_ii^il-liiiiliiiiili^|
)~H|iieEI:
1 bohcli] and lo
it^t
A threat muUHmle which no man could number
iiiiH
Thoasands &c.
Thoiis &c.
gzc
1
■zt'
Thoiisaiida kc.
Eiiiiiil
Tbotis:inds &c.
!:i=il^i=llliiiiii&ri?siliiiiiiiiii§^i^i
Thousands ot'ihousantls Thousands kc.
and Rn times thousanOs
'I'housands kc
Hevclafioiij Chap. 7? ver. 9,
Scood
giilii^lllilii^iliiii
Sii^^li
I'housand kc.
tr br kr-Tlfcr-k-k-|k-
Thousands kc.
And they had palms in their hands Ami they
liiiiiiii^il
Tiiousands ike.
IPillii^ili^illfillliiglillliriil
Tf»ousa^^ls kf.
Stood be- fore the Lamb
Rev. Cliap. 4, ver. 8. HEArE^'LF FZSIOJV. Continued.
91
i^zP:=--r-^zi
m
PSSiis
cease not day or night say- ing
Holy
Lord God Al- mighty
Which was and is and is to come WliicU
ii^zH^ilK^iiili
s-^-
lilsiEgiiiilgii
iilil
'-^-^T-
pzp:
4;^
^^
pz^
■^^±
iiiiili
E
^ms^
ilii
Eevelation, Chap, 8, ver, 13.
ff:
i^feig^iBiii-S^ii^iiS"^^iili
^szfczliEZiazid
iMiH^^^ii
^-— pt
■was Sec.
And I heard a mighty angel
fij-
ing
in the midst of
ISHiSll^^iiSiii^iPiSli^^
s-r-±
liPMllli^SiliPiii^iitiiii
/
03
Chap. 8, ver. 13.
UKiVEJ\*Lr riSWJS\ Contimitd.
beav'n ciy- irg with a loud voice
Wo :|1:
be nn- to the eiiith by reason of the trumpet which is
:=y^ElE^ill^i^^iiSiSii^iiSiiiii^liiS
iKZZzEzrrr:
-t-F^-x
EE^r
'^.
;ilgiiiiiliia
Revelation, Chap. 6, ver. 1.1.
yet to sound
tEtt
J 1 1 ^ -L
■&r-^^^^T
The jieat men ami nobles rich men and poor bond and free g-.i- ther- - ed themselves to-ge- ther and
ilsgJiii|iE;g||gggg;Piggjg|ilfig|iS§P
'z;:zpzz±tz^Jpztzt±Sz^±^-'--i-F-H~±z^-;
;,zc:zJz_^±5_zlfz!z3fdlz:tztz:±r-Z3iZ:3±.Pz::cffz^-'
An'.l when the iast tvumpf t souridt-d
ii^Sgiiiil
Rev. Chap. 6, ver. 16 — 17.
UEAVEXLY riSIOX. Concluded.
f),i
©-••
^iMH^E^IiiSaill
-Si-b:-Tk-
ii^z^z^EET-p-Y-^zizSzozT-p^-^^-^-f^p:
IB
li^iiiiiiiiiii
cry'd -.i: to the rocks and mountains to fall up- on them and hide them from the face of Him that sitteth on the throne
m
ISZTC
s
g^lg"^l^^|^^3i
For the gieat day of his
■5;---
il:
Siiiil^ilftS^iSi^lliiiigiiliP
Bevelation, Cliap. 6, ver. 17-
^E^kilfe^^fe^
£:
4-
^giigl^^ii
,E» p:
-h— t
wrath is come And flho shall be able to
3—^
stand
And who shall he a- - tie to
stand
-ss:
-I — wizizpz: — 3ii£__u— :_in
3E
Ili^^liE^il^^^
-ij «
9-*
iaHSi^iii^
ISLE OF WIGHT. C. M.
3_ _ 3
Psahn 39.
TANSUR.
— -p
HiHilirsgiiJ
||^|sii|jg|giglg|||r^^^:pQgpgp-^g|g|p^
m
A span 13 all that we can boast An incli or two of time Ma» Ij but vao- i- ty and dust In all his ftowV »nd prime
npizpittiTTi
E^HiiSSi^^ggggi^gSi-^^^
ia-jj_
IRISH. C. M. Watts^ E. 72, Booh S. williams.
=^=F^'Frrf"rTft
m
i^HiiHiai
Blest morning whose young dawning rays Behold tlie Son of God A- - rise tri- umphant from the grave And leave his dark a- - bode
:&=!
L-^:
l^^^^l^
sz:
gggiliEiiiii
^MS
ilSilliifafcBgil^^gtfeCT
i— -^irzE
I^riTATIOJ^.^ L. M. Hymn 7 S, Book i, last verse. kimbaix. 95
iiililigigiilitegiiiiiiiSlilill^
1^^-"^
:t=:
Come my beloved haste away Cut short the hours of thy delay Fly like a youthful hart or roe Over the hills where sjMCes grow
iis^iiiigiiiiiipipl^iiipiigi
52
^m:
E
Fly
if — ^
m
-3-
Fly &c
■• - ver the hills &c.
Over kc.
^iiiiiiiiiL^iiSiil^^l^li:
SglS^^
Fly like a Sec.
.lE^E^El^iiiiiiiiis^iiisE^^
mm
Over &tc.
iizsztzg
I
I^^-it
* Taken ei fubliihcii i>i/ Holdenfrom the liural Ilurmimtj.
96
JORD.iXi C. M.
The Jirt,: part of this treble omitted in some bouls.
^ill^il^El^Eigi^te
Walls' H. GG, liuok 2.
lii
>VM. BILIilNGS.
^laiigEggi-^ipj
p-p-
i-A-r-U.
imisiil
i&— f©-
asfe
There is a land of pure de- light Where saints immortal reign
In- finite day ex- eludes the night And pleasures baaish pain
XT-'
m^mm^
^m^^^^^m
(^liiiii-Sigiil
ir=?
^^lllill^^ni^Hl
p-F^*-l
'^A
W^'-'P=^
n--i3:-l
saH
3=illllilililliiiii
— -p-
1^— (9-
^-©
^CTirogg
Sweet fields beyond the swelling flood Stand dress'd in living green So to the Jews old Canaan stood While Jordan roU'd between
Si^lSiiiglii^liliiiiii^ilSSiJi
lliliiilSiiS^iiiiiiii^Sig'ipi
N. SIIUMWAY, 97
©1
JUJDGMEJS'T. C. M. Waits' Fsalms, 50.
The Loiil the Judge before his tluone Bids all the earth draw nigh
And near the western sky Thron'd on a clou.l our God shall come
l^iliSiSiiiiiii^Sjiiiii^liEgSil
The nations near the rising sun
liritjlit flames pre^iare his way
N
^^mimmM^^iwmMm^Mm^^
Tbunder
ThuriLier
rti under
iMilil^ilii»iliillsiii»e^iiiii^
Thonder Thnndei-^ ___, _j _i ._ |!>.K. _ — ^^ __ _ _
rhunder Thunder Thunder thunder
-sLhhn.
Thunder • Lead Lead Fhunder
I'hunder • Lead
Tfeunder and darkness fire and storm Lead on the dreadful day
ys
JUBILEE, v. M. 6's t^- 8's.
Bippon, 57.
BIJOWNSON.
ffiiE
rg^liiliiii;giigl|glii=gS^^i
Esaj
igfiigiiiigligi^ig^gggii^Pi
i»-»»F]^i
i
Blow ye the trumpet blow
The gladly solemn sound
The yeai" of jubilee is come Uelum ye ransomM sinners
i;iiiiiSliiiigl|l^li!iiS]^^iiiii!
Blow &c.
\^^m
Let all the nations know To e.iitli's remotest bouud
home
»rKV-(
nzjsr.z
ft
P.
ail
laXDERUOOK. CM. Watts' H. ii 4:, liook 2. ^ dr. arnoi-d.
tr.
iiiliiliiSfgiliiiaiilliPiliil?
I sing mj- Saviour's wond'rcus deuth He conquered «lien he fell 'Tis finisliM said his dj ing breath And shook the gates of hell
paaiiililii=:iiliiiiisg^piii^a
The treble of this piece tnav be performed bu tenor voices.
KIXGSBRmGE. L. M.
Walls^ Fsalms, 139.
U9
^^^^iil
li^^m
=^9-
I
Lord tliou hsst scai-eh'd and seen me tliro' Thine eje coraraiuids w ith piercing view My rising & my resting hours My heart & flesh with all their power*
iM^iim'gSi^S^iiiii^gig
s2l35p:
l[~^
~z:fez:=:
,5p:
SeS
m
lt3L^^„-.
g?"
m
nzzqrzlizzzri-
lEill^lMUMfil
ISMt
^^s
ifi
->>l —
gff^=
ISi^^
KIJ^GSWOOB. 7's. iJi/)jJOJi, 240. j. peck.
^ — !^
P^
1&-S-
^-&
iiii^i
> pi-
Children of the hcav'nly king As you journey sweetly sing Sing your Saviour's worthy praise Gkiious in his works and ways
il^:
-.-S¥ b.-£.-A— T-^ 1
zH:
II =::rf:±rztz
&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 Thy kingdom come tliy will be done 1 hroughout this eartlily frame
Siiiiiiliiliilii^l^iSlilii-SiSii
; _- — y -y^ — js H-|» ^^-f- — I — j rn~— -
Our
li'i^iliii^illiillPiiiiilili^iSiiiilili
:iliiililiiliiiiliiii|igliiiiEgiiiiiill
Tliv
EEr^fE^EiEiEiSStztii^liz:
fliilli^PJiiiiiiiiiiiEllipilpl
•r"~^r7~'~r;TT r~~ M — i — ^j r — '^— — ♦ r~W — 1~
F — P-
ipr^^^-ii:
LJMBERTO^. S. M. WaUs' I'salms, 53.
N. SHUMWAY. 10 I
1 2
Since Since
iliiilSigllilliliii^
^«p
Since
1 1
t^^i:^
The Lord my shepherd is I shall be well supply'd Since he is mine and 1 am his
What shall I waiit beside
I 2
^:
Since _ Since
Since What
LEBAJS'OJS'. C. M.
BILLIKGS.
Hymn 63, Book 2.
piiiilli^ililiiililiitiiiiiiiiii|iliS
Haik from the tcnits a dolcl'ul sound Mine ears attend the cry " Ye living men conae view the ground Where jou must shortly Ue"
[sSgiiiiiBiiip^JiiiiPiiftiill!
lU!
A,
:&
*-
LOJ'EK^S LAME^TATIOJ^. C. M. Hymn 107, Book 2
ijg^iiigiliiisiigiiiiigii
in
iS:
That awfuUlay will surely come Th' appointed hour makes haste When I must stand before my Judge And pan the solemn test Thou lovely chief of all
Siiiiigiliii^iiiiiili
:it:
Sl^
lliiTgiilSig^Mfe^iiis^llll^l
myjoysTliousov'ieignofmyheart How could I bear to hear thy voice Pronounce the sound " Depart" The thunder of that dismal word Would so torment my ear
Hi?lH^lisrElilllilli^ilfiiiigii^g§i
LOVERS' LdMEJ^TATIOJS'. C'ondmled.
103
■^^l^llli^illl^iS
What to be banish'd from thy sight
iigSiiiiiilii^lilliS^iiiillMiyililii]
And yet forbid to die To linger in eternal pain
sisiiiMimiSiiiiii]
'T would tear my soul asunder Lord Willi most tormenting fear
i^eI^
1 2
iiirJiiil^giggiigSiaCiiiiiiil^irJ!
Yet death forever fly O wretched state of deep despair To see my God remove And fix my doleful station where I must not taste his lovo
1 2
if^i^iiiigiiiiiiiiiiiiiE|iiiii^iiitE3p
ii^ii^iipii§iii^^^-|^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 Blow before the bloody sign 'Midst ten thousand snints and angels See the
H:
^v:->#-7T l~fc:~^""I~E"£fe — I — ZS3E
^rr^lzttfc
liiiiiilii^ilii
h-i — I
3
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
i£ll|iEliiiiiii|giiii|^|i|E|ii^i||iEi±l|i
LITTLE MARLBORO. S. M.
Psalm 90.
WILLIAMS. 105
fpis^gii^§ii^il^Eliliiil^giii
E^fe
:3E
i-4:
i-t-
m
gi^igiiililliiiiiiiiiiliif
Lord what a feeble piece Is this our mortal frame Our life how poor a trifle 'tis That scarce deserves the name
;^feii^ii^iiiiiii3iii=iiiiilili!i^
ii:
liliiiiiliiiiigEiiiii^iiiiiiiiiiiiiliii
o
Mr. Law calls this " Coventry."
:^1
CHAPIU.
..«U-i»-
ifihS-
n^
LIBERTY HALL. C. M. Hymn 'j, Book 3.
ill
-(9T=rP-|9
EEgiEae
— • 1 ©T 3 1 O-Q-T =
lEz^riJ
Alas and did my Saviour bleed And did my sov'reign die Would he de- vote that sacred head For such a worm as I
iiggli^Bligiiiiliiiiii^iiiiigEiiiiii
mm^^^^Mm^^m^m^^mmi
106
LEJS'OX. P. M. 6's, 4's.
Bippov, 37.
EDSON.
1 2
pffillilgl^^iiliiiiiiiii^^lgglill^feH!
iffi
ilsSi
r©T— 2n
iin^iHiiie^i
:pibb±b±^iz=r
Blow J e the trumpet blow The gladly solemn sound Let all the nations know To earth's remotest bound
li^i^'Si-?
sIe^I
The
l^iigStei^iSilii^iiliigiiiiiiisIs
The year The year of jubilee Is come relura ye ranscm'd sinnei's home
LIS BOX. S. M. Hymn 14, Book 2. reed.
iiriiiiii^iisii^§i^liii^iiiiiiej:i^s
Mw^0^mm^=^mmmm^^^^^^
AVelcome sw eet day of rest That saw the Lord arise
Welcome to this reviving breast And these T»joicing
lii=^"
eyes
1
HgSiiilii^^iSgii^^^^iai
^iili^iiffii-3±^il^&iSSiiii:41
Welcome to ttiis
And these
-^
72:^
MAJESTY. C. M.
Sternhold i^ Hopkins.
BILLINGS. f07
fifeiii^^gilliP-iiiti&K'i
T-u*. I ft,./» <i^rno«,!fl,^ r.v^m ntu^i-A An.1 K.^«7M »KAho<it7'na Tnr\Rt (ii»h ' .* N-.. Tlic dai'k- -ocss of the skv
The Lord descended from above And bow'd the heav'ns roost high
The dark- - ness of the sky
■■■h — r\ — ,— •+!—, — .™— #1 — Ti
::i=±^^:«fr3=J
And un- - derneath his feet he cast
.l2iS^iiB^^^illiiiiiiiii#ii-^
==^lE^^il^tel§^ilii
n .._-__
mm
m-M
m
T^^
^EEE^
^.*
E-S
P0I
&
^-m
-.•[•'
^giiflil
Full roy. al.ly he rode And on the wings of mighty winds Came flying all abroad
tZlL
gg^gi
tSBte
±z:$=
il.^glifeiiiSil
And on
f^feF
k^
On eherubs k ob
108
MADUID. P. M. or lO's ^ ll's
l^iii§ii|iSPi§ii
WM. BILLINGS.
15S
Come sinneis attend & make no delay
Good news of salvation come now & rece'iTe
->-♦
P>TP'
Good news from a friend I bring you to-day
B^
.-^?:^
There's no con-iemnation to them that believe
-6s
iH|gi|i|igi|iig|i^giiiigilig^ggigi^ ■
fr#=
MEdR. 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 j e distant lands Ye tribes of ev'ry tongue His new diBcever'd grace demands A new fc nobler song
W^^i:rzzz3^J— ^±zr:pz±-'g^±z?E?E±5E§=±EE^-
JClseifhere called " MUd^esexy
-3Z^
^^PIIiESiiSEElE^p
MELOLM. P. M. 01- 10 s.
Psalm 50.
aiEKlCK. 109
s:
-^3^lil®ifelSli
0^=-^
ilPsiigilliS^lsil
:s
^ii::^
m-wTm
W^^=i^
ii^i
^^TqZII
src
ilgiiliiiiiii
The Lord the sov'reign sends hU summons forth Calls the south nations and awakes the north From east to west the sov'reijjn orders spread
^nsigSPegiS^iSiSiiiiii
[ifeEE^^lSi^^^=^^^ii?iHi^§ii@ii^
*:
piggP^P^Pg|^PPPS||||^|g||g||ji
HP
z^zi:
»*
:fe^
•"■"El
^iPiiiiilia=iS
Thro' distant lands and regions of the dead
No more shall atheists mock his long delay
iilM^
^ps
0r-P
His vengeance sleeps no more behold the day
i^Egg^glgsi^iill^^i^iSiliiii^ii
110
^'2'. .^MRTIXS. C. 31 Hymn i, Book I
TAN St R.
pi§^p^|ii=gEg^5
-azSi
-&-=-
^^^^Iggg
Be- hold the glories of the Lamb Amidst his Father's throne prepare new honors far his name And songs be- fore unknown
iiSl^gilliiiiiii^Sil'Sia*
.iiiiliiii^li^iiii^illKi^fei
Mr.l,arjcaUslhis"J^orfo!h.- *~" ' ' ' ~ ^
'=^=P-
^
m
__^_^^^^^^^^^- ^- '^^' Psalm 149. Tafe and Brady and Belknap, handel.
pi^iiigiiiii.^S^^iiii:
assSiHiSiiiSgiigi
O praise j t the Lord Prepare your glad voice His praise in the great assembly to sing In their great Creator let all men rejoice And heirs of salvation be glad in their kin;
m
.1/r. A««. £.„/& ,/,..■., Jlrn„.,..^ " -—-^-4-^ J. _— J ..J^i^ i., X_ i— -.Ij-! -i-f-J — -H4-4-J- — "-
MILFORD. C. M.
il
i^^gi
IVords by Br. Waits. stevenson. ill
M=s^
SzS:
^^gJi^^^gplPPPggglsgiMi
If angels sung a Savior's birth
Oa that auspicious morn
We
■^7- r- t- I =_ 1-^ w j^ Sa-vior's :]: On ^\ e
*S r~ I r— BBtar— t- ' Wc urpll mav ttiiit^tt^ tlip'ii" uiirth We
irt
^^l^r^z^
We well may iiuiuite tlicir luifth We
-r- 1 — rr- 2 — 1-|-
Now
Now
iiii^ii
Now
Now
-^
Now he again is
bora
Now
Now
¥
3Z3:
HEF
E?
^k
:^
^i^^iigiiiiiliBi
-k-k-
i
eI^E
Now Now
Now Now
112
MIDDLETOX OLD. P.M. 7's. Baltimore coll. of Hymns. buli..
Hail the ilay that saw him rise Ravisli'd fiom our wishful eyes Christ awhile to mortals giv'n
Piiiii^ilip^ig^ipjiiHri:gi^ii
Re- aS' cends his native
liieiiligill^iiiiiP±=lii4liiiiii^
iili
I here the pompous triumph waits Lift jour heads eternal gates
.giiiiiiiiiiEiiliiiiigl^iiiiii
--T^d^
f^.
AVide unfiid the radiant scene Take the king of glory
1
heaven
iiiiiiiiiiiiiiiiiiiii
r-Si
?35=E
1
gill
if'
ms
hi:"
':s-s:zz:
l^gE^g
MIDBLETOX JS'EJV. L. M. Rippon, i-iS. j. lane. US
wot..
■\Vbcn I the holy grave survey Where once my Saviour deign'd to lie
I see fulfiU'd wliat prophets say And all the pow'rs of death defy
^iiii^^iimiMiyiilii!iSiiiiiiiil
^t
nn
|K~*r
^
31
zl=q=l53zG:izp_i
ii^miiiiiiiiii
p
MILES iJJ\"£. C. M.
liippon, 177. W. SHRUBSOLE.
f
pgs=^y=uibg=fflgi4
iiigilliiiiiiigiii-iiBi
Bring forth the royal di- a- dem And erown him Lord of all
^53
K K K
gpEgjifpjipipppgggpciEfmpp^p
All hail the pow'r of Jesus' name Let angels prostiate fall
crown him
hwd of all
li^^giliilfciiiiiiiiSliiilSJgil^i
114
UEOLFH.
MOUJVT PLEASANT. C. M. Hijmn lio, Book i.
iiiiiiliiiEiiliriiii^iiliiiiiiiiii
1^1
There is a house ret niatle wkh hands
And here my sp'rit waiting stands 'Till God shall bid it fly
Eternal and on biirh And
liilliiipiiiiiiligiii^iiiSiiiiiiiii
And here
Aral And ■'■
^^■•^
mmwm^mM^^^^^m^^^
And here
•Fll
:!i:
-ttuSi-
liiiiiliiiiiiiiiiiliiigMllgiiiiliii
'Till 'Till Fly ;y: :j;: 1,:
ll^i^ieiiiiiiSiiiiii&ii^iiiiii
'Till ■ And here :||: ^l- -l-
MOVJ\'T PLK9SAJS*T. Concluded.
■A: :|!: .:r-v 'Till
trn:
115
If
^;=F#
Till
,J3_^.
Efpgpg^igp^liiggg
B$fe
liiiiiiiiiiiiiiii
And here my kc
^
{^-
m
■k-t
#
ig^iiii^gi^l
MOV^T EPHRMM. S. M. Rippon, 234.
p!i.iliii^liiiiiiS^fefei^&-i
MIT.GUOVE.
ill
liilii^iiiiliiiisiii^^iiSiiiiiii!
' _i ^^^B ..... 1 1 _._J ._ .1. _ : _£■/>! "._* n.-.» I .-...,1 III. I ii»''_ _ r-ir i^tl-iiirr i_ _ Xl>jlj»»
S
Your harps ye trembling saints Down fi-om the ^vi^ - lows take Loud to the praise of Christ our Lord Bid »^'- - ry string .*- - wake
:aS3:
m
iiiiS:Slliii^^'^?lii^iiSiiiS
^fr. J.a-w calls this " lielhlekem.'
116
mo:kmovtil c. m.
llynm 3, Booh 2.
pgl^PPi^g=^§iigil5lii^gSgg^^^ii
iiil^EliiSii
~-h
Why should we mourn de- - part- ing friends Or
^iiili
shake at death's ahirns 'Tis but the voi«e that Jesvs sends To call ihcm to
liiiliiiggij^ig-^lg^ias^BfeMi
P-
igiiiiiiiiiiiiiiipigiii^giifisig^g
g^tigf^EillPl
mmw
zlzP*:
FE=EE!:
euM them to call them to his arms
ililiiiiiiiiliriiiSrIS
To call them ;||:
■©-
to his arms
•Tis
giiiiirgiiiilliigLiiiiii^jSiiiep
MO^TGOMETIY. C. M.
K
iiiiiliiiffif^ei
iValts'' Fsaliiis, (33.
|Ci:^Ci:i-p;z:
MORGAN. 117
iiiH^liiig
m
IMIl-
i
Early my God without delay I haste to seek My tUii'sty spjiit taints a- - - - way
Without thy cheering grace
So
£ffi;
MmM
^i.i.
Siliil^iilSifiieiiMI
thy face
So
i^iigmgi^^ii
»^rf^
-Si
3CI
^m\
.€Z.^\
Hz:
§i
So pilgrims &c. So pil, on ihe scorching
Long Long
:^Ti:p=*zgzgzipZiig:g
l-,.i-
SiiilH
EES5
Long &I.C.
Long
s^ilgigiiiii
1
,^gSiili;ii-iiaigi^S^i#liililii
sand Beneath a burning sky
l-,ong for a cooling stream at hand Aiul they must annt oi di(;
118
If:
MORXIXG JITMX. L. M.
WILLIAMS.
piSi^z^s^^i^^i^^^Sl^^gi^i
sm
— ©■
Sp^^fS=zEE3^
^ffli^iSiSiSiiiiiiiiS
A\v:,ke my soul a- - wake nic eves Awake my drowsy tacuUies Awake and see the new born W^ht Spring from the dai-ksome womb of nipht
f^gjS
i^^
z=S±t=±=p=t=fz±
g[iSii^liifS"iiiiiiriiiil
mohetok. l. »u
KNAPP.
Ss^Sees
?=T^
P-r
^
ffl
-^— ^— 7
z:
e-©re-^T©-PT-Q —
©T-O-S— re-pT= T T T rS\T~^~g~T^'S:T^l~
B' ^^
^
O may tliy church thy turtle dove Mournful yet chaste thy pity move To birds of prey expose her not Tho' poor too dear to be forgot
^Sl^^^SiiiiilglilEiliiEi^E^ggi
llzirg
MONTREAL. L. M.
W. EVENS. 1 19
Gotl is gone up our Lord & king With shouts ofjoy & trumpet sound ^tfliim repeated praises siiag And let the c'.ieerful song rcbounti
iSliiiii^ililiil
iPJiiSiigiiiiigiiiiiiiiiiiliS
MUNICH. L. M.
Rippon, 73.
GERMAN.
Sl6W.
:ei5C
IPSi
SiSJ
-s■^
^2r:rrizipiti-4:J[i;rltrlzl4ztzir!^i=rripr:ir~aizzzirzii:ip-ci:f:-L_j_:
Tis finish'.! so tlie Saviour cri'd And meekly bow'd his head and di'd 'Tis fiuish'dyes the racels ran The battle fought the vlctVy won
saieq
t^^^^m^^^^miMmm^mMm
aiiiiliilSlii&lllSlStSiftliili
120
r — —
MORrUEUS. C\M.
^ w.
WEST.
Death with his warrant in his hand Conies lurking on amain We must obey the summons then
We must 8ie.
i^iii^iiiiii^Sil
SHE
a-H*
w-
'^^mm
Return to dust agsin
BiBS^iiimiilgiiSlffi^aj
ff^E^
We must Itetorn Return We mast
X.iMUB. CM. Psalmi.
pirliiiliiii^iSii^i^lilllli^iililiSi
:22 — --- r — r?T^-^T-:^ir-/;-T-^ T^-^~r^-i-^
^_t=^Q_i^..
11
+^
^
MW
Bless \l is the raan wlio shuns the [lUce Where sinners love to meet MTio fears to tread their wicked wajs And hates the scoBer't seat
i^s|gji;ii^Si^Li-ji|gp3^g5Pp&^
'^^z^s=^-T
XX
gJIggFFI^g^iigi^li
^
:¥=F
_©_-.
3szi:
-©-J T^-e--
WS^
'.■>^»
:N'EW TORK CM.
Psalm 4.
DU. ARNE. 131
^^i^iif!
liliiJ
s:rs~rs
(S-T^rF=@-
I
P^t^---R^-^'
isTTs:
mgisi
■° — ^-'^irzijs:-
Lord thou wilt hear'me when I pray I am for- e- ver thine. I fear be. fore thee all the day Nor would I dare to sin
zSi
i— V
Efi
pft
r^JS^:
rSifer
aaiaaiii
iigfegfe'ligiiiiS^^S
_s^ C^-
iiHiiii^iiiiiii
Mr. Cote calls tide " Hilton."
.j^ ^:?:_,^5:i-
ipiiiiipii^iii
I
NEWBURY. C. M.
Fsalin 5.
WILLIAMS.
P^liilligg^SiQ^lpiiEiii^SJSIiiS
S
5T-f-TFpT^3
iiii^ggiS.^iiiiilil^iiteiiii
Lord in the morning thou slialt hear My voice ascending high To thee will I direct ray pray'r
To tliee lilt up mine eye
iiiMS^iiirSigiiiiiiiiPliil?
li^E^Sii^m^^Siiililiigii
.YEJV llijyDKED. L. M. Watts' H. lOO, Book i.
5+=-P+2_I_4._— -^=_=.
— -:4--i4e-^T==^?"
Liiiilillli^^l=iS|^=;^
e-©
-♦
P
3=fP=?^=&:
^-^^^
Silii
^Tb-pT-F=s-^
^
Not to condemn lie sons of men Did Christ the son of Ciod appear No weapon in his hanih are seen No fiammg sword of thunder liiere
i:iil!^llESmiSil^l^iliilil^|i^li^iiii
XEfVIXGIMM. S.JL
WM. BILLINGS.
r:
:l=iliiiiigE|E|E^Si^Ej^^^l^Ei^l^^i
Deatli O the awful sound ^V!lat liorrors in it dwell The second death is here im pliM
Which sinks our souls to hell
i^bi;
JS*Efr JERUSALEM. C. M. WalW Hymns, 21. Book 1. ver. 2i.
INGALLS. 133
_ The
M^^-i
s^;
iii^fiiiiiiaiiiii^i^iii^iii
From the thiid heav'n where God resides
The New Jerusalem comes down Adopn'd with shining grace
"
That holy happy place The
tii^iiii=tiirs
^-4-
3crp:
i::
■p--v-,»-
The
iliEii^l=ElEE^Pil
f:
■B^=ft
I^I^E^I^JEJ^iN^^EgEg^li^E!
:gzi?:
iil!
J^
-£j-
Eg
ISi^
I^ZZfeZI
S=5:
ESi
*
The
A- - dornM With
shining grace
w.
mm
t:—^
K-
=S=V=i[
151
XEJVBVRGH. S.M.
C
^^
'^^n
Fsuhn 148. ^
9
MUNSeN.
1»-1»
s
m
Let e\'rj' crsature jcjia To praise th' etenial God Ye heav'nly hosts the song be- - g
Ye heav'nly hosts the song be- - gin And sound his name abroad
* Ve Ye
^~
^iMUliEl-llSiiPJiSi
1 2
fffi
0-P
^m
5izl=^=^rfi^
Iz-r
mim
Ye starry lights ye twlnkUng flanaes Shine to your Maker's praise
&=— T T T ' T =— T**l»^
S-
^mffiisssii
J_ 2_
And moon with paler rays
Y'e starry Sic.
HHiiiiiii^g^^^^^^S^i^iSgii
-^ 1 8
,iir
The sun willi golden b' ana
P^
m^mmm^^^^m^
I 2
'■^
.NEWPORT. L,M. JJymn il, Book 2.
D. UEED. 125
I^SI
?=¥=i
^rii^|2iiiil§E!iliiiiiillii]
ii^giSSiiiSiiiiiiliiiiiig:
I send thf jnjs of earth away Away ye tempters of tlie mind False at Uie smooth deceitful sea And empty as tlie whistling wind \our
ga^^i^iiiEgii^ig^iigigi^Eiipj
'Sliliiii
k--
i^^^^l^Siilglii^lSii
IEEE
ggiiiiiigi
ZWZZIW-
H^^te^Si^^-ii^
111
tzaz:
streams were Seating me along Down to the gulph of dark despair
And while I listeii'd to your song Your streams had e'en convey'd me there
5^e3ePE
£
Hii^^ie^^lSiM
mm^m:
»— »
zp
-1'^^-
p-t-p-
ffilg-iiBfflPi^l
136
J\'EJV FORK .mTlIEM.
rr:
Pi"5iiiiisiiiil=gi
Worils hij Fope.
Soft. Slow.
::e:csz:Esr^ci
'^m
Increase.
F^:^:
\ ital spaik of heav'nly flnnie Quit O cjuit this mortal fiaroe Trembling hoping ling'ring flying O the pains the 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: Ceaae lonJ nafjre cease thy EtrUe And let cie languish into life Hark Hark they whis- per an- gels say they
_Q ^"^ ^.^ ^"~~ Q Hark they whis- per an- gels say they
X flit piece is in some hoiku called " The Dying Christian."
JS'EW YORK .iJ^TUEM. eoniinncd.
isr
lliiiteii^iglhiiiiiSiiiiilii-g^i
I I t >
^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\
^iiiiiiiiiiiiggiisiigiiiiiigi§iii3ii3j
I I I I
:fEZ*:rh-~-2
ii^giiiiiliSiiiieiiiiiiiiiiiiii
sorbs me quite Steals my sen- fes shuts my sight Drowns my spirit draws my brealh Tell me my soul can this be death Tell me my soul can
gie^lgil^
ai^Eiiiis
128
p.
JN'Erf^ TOBK A.1^THEM. Continued.
Increase.
Vivace.
'iiiilliiiiiigl^iSgl^ia^
IS
-iiTes
^5^
3^-B
-M-
^liliHS^iiiiieBs&ie^i
tliis be death The world reeedesitdisappeus lleav'n opens to my eves My ears H-ith^sounds seraphic ring
Lend lend your wings I mount I fly O
liiilBiSiiliiiil
grave where
i|iiiiiirliiEiiiigg§iiiiisj^ii^^
;&1igil!?&!^iiii3i^i!g®liSiii^§S^S
i:ti3:
4-
:^l^ip|^iriig^lSHi§iiiiiiigg]
j istliyvictoiy O grave
O death wUcre is thy sting
Lend :^: your wings I mount I Ry
O grave ^c.
O death tie.
....^m'^,^t^^^^^^
^cs:
^mm
O grave where is thy
f;^
I mount I ftj
J^Eir rORK ANTHEM. Coitdmh-d.
129
^^sisiigiigiiiiiiiiiiiaii^iiii-iii
:t
ssiHi
victo- ry tliy victory O grave &e.
^^m
Lend :l|:
ilSi^iiiiii
O death
O death
SiS^
I mount I fly
R
If:
ig^iHitt
$:=}:
l^giiPBliiBgiil
L
Slow.
very slow.
•^^|g^i^^Epf^flF^^:a:;|s^:pg|^|pg;|lit
J^
mn^i^i^ii
-^-T-fe^z:
jnount I fly o grave where Is tliy ticlo- ry thy vieto- ry
O death
1» ♦
O death
K S
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 'Tis Christ the 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
iii§ggi!iiiiiiiiir^i^itlliiiiigiisj£
\Vhcn I can rcatl mv title clear To mai sions in the skies
I bid farewell to ev'ry fear _ And m ipe my weeping eyes
ligriiiPjE^iiiiiiiiEi^Egiiiiiii
I bid „ ,' N 1 2
iiiiiiiipiiiigii
Ibid 1
:z5T-^
iPilMiiS
J^EWCOURT. P.M. PMhn 1 17, vet: -i. uond. 13 1
|iiiiiP#iiiiiilJgiiiiiilil^^iil^i^
The Loid hatli eyes to give llie blind The Lord sup- - ports the sink- ing mind He sends the lub'ring con- - science peace
^iigiiiiilliiiiiSl^lgilgiilil
::szjj_
He helps the stranger in dis-- tress The w Wow and the fa* ther- - less
And grants the pris'ners sweet re- lease
iliiil-i
- -fesr-k-|f
PI
iilSliiil^i
JVOUrOr. Ji SapMc Ode. Watts' H. Lyrica.
iHiliiaiiiS
;^it
r — iT^
IT
m
p=^-
Eg
P-T&
t3
Mm
rrqr
When the fierce north wind witli his aiiy forces Ueai's ap the Daltic to a foaming furjr And the red lightnings with a storm of hail comes Rushing amain down
iHSiSSgiiiSii^liSSSiiSigS
sei
Skevihere ci\V.-:d" Judgment."
iigl^^iilifiiiSiiife^^iii^lliiS
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
Fly swifter round j« wht«ls of time And bring the w^lcoroe d»y
imStmmm^MmM^^^
giiiiil
tiiiS^iiiilSfilfllSPiiM^ilili^i
f-'ly Sec, Fly &c. And bring 6cc.
XOUWICII. S. M. JVatis' H. Lyrica. Kippon, 88. hibbard.
I 2
pi^iSiiiirE®liffilill^Jii^lgii^g^;S
rl*-=^*-
My sor- rows like a flood Irapnt'u'nt ofrfstraint
1 2
Into thy botom O my Gtd Four out a long uxnplnini Pour out fcc.
*^ '- ^ ^ Into '''~'*~- 1 2
;iiiii^iiiiliiieiiiiliSliSiiiliil^^
:3i
^s^"^:
J-H
'+i>Sii55
JSi'EIV SIBBATH. L. .M. frails' Fsulms, 103.
133
;^S£iE?EfeEfE^
::4=i
:5z^j
B-3-
'P-
-Ki—
g^
^^^^^S^i^^^iiiiiiiiii^
i-pd:-**^
TheLonl how wond'rous are his wajs How firm his truth how large his grace Ke takes his merej fiir his throne And thence he makes his glories known
i=:?2=rtfc5:
^tr. 1.(170 falls tliii " Caruvi-"
PI
^^il^^^ffi
W9^
J^'ORTIMMFTOX. S. M. Hymn 30. Book 2.
MANX.
iSiiliSgimS^ii^iii^iffiSiiiB
Come we that love the Lord And let cur joys be known Join in a iobf of sweet accord Let those refuse losing That nerer knew our God But faT'ritesof the henv'nly king
r.M.iy speak their joj s abroad
^i^^Si^i^^
£=S'^=>v-r
[May speak their joj s
And thusaurrouml 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 With alHhy quick'uing pow'rs Kinjle a flame of saered love lu these cold kearts of our's
'^E=i
zs^——-
-^-^
i
^4-, —
illi^i^iiiliiii^lSl
:^?si
lzz=^
iilSiiillgliiliiilil-lipliai
OLD HUXBJiED. L. M.
MARTIN LUTHER 01" DR. DOWLAND.
pji^iiiiiiiiSiiii^MiiSllli^iiliil
ggglgg^:
iiiigigi^ii
With one consent let allthe earth To God their cheerful voices raise ■ Glad homage pay with awful iniith And sing be- fore him songs of praise
^^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 hat rule the Loist'rous sea The sons of courage shall rccni-d Who tempt that <!ai)g'rous way At thy command the winds anse 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
swell
And swell
The men astonish'd mount the skies And sink in ga- ping graves
^Biiiis^i^=ii^=^igliisiiii^S^iH
iiHiii
ihe tBw'i'ius wa- ......
61,.
•"^r
iigllS^^^ii^iiil!
136
erOViTO. L. M. ,1 rortiiguese UijMn.
S. WEBB,
liEg|3^:|
■gr.:y-izaLZZji:
^-^E^g^grppsjg^^^^p-
|»:iS:
AVhcn I iui'- • vey the wond'rous croa On which the Prince, of Glory il'd My rich- e« gain 1
=:g^i^gii=ilii1^J^lMli§^iSl^'=^
iiiiiii^^iiiiili
2?-±=d=4i
v^^.^^
£^?^^i^E^3^£3Eg3B^ES^^^J:e^iES
I
i
T T S^ T-S
1^=::
il^iiiiiaiiiii^gg^JBi^ii
count but loss And pour *on- - tempt en a)l irry pride And pour Jte.
Hv «me caVrd " .Ideste Fiilelit.'
iP:il^ll^Jlll=^li^§^lilil^i
^■•fr' —
OMEGA P. M. or 8, 7, 4
Bippon, 575.
WM. JONES. 137
■TXZt
3
i^giii-lfflpi=^a^ilgiiPS^
Lo he Cometh countless trumpets Blow
Midst ten thousand
-•H:
saints
«*
m^^mw
P--
Blow :!|.
be- - fore tlie bloodj- sign -» _
Midst ten thousand saints and ajigels See
s
1^^-r
m
:B=i
-•p-^
-^-
^l^i^lgliii^iiiiilLli
P^ii^
I'i^iLiiJiiiilgimi.^
and angels see the
Hallelujah Welcome
iliil^iliiilipj^i^lESipgS-liiilii-l!
■ ^ -17 _ -»-» ^- k - _ ;!|: :«: bleed- -- in; I.amb
P^i^iil^liligliiiiiiiiliiliiiliiiiMf
the cruci- - fi- - ed
JiiS
OLD FIFTIETU. F. M ov iO^s t^ irs. Fsalm 50. blanks.
SiEiiigi|?liiSEg|i:
li^s^l
zh
'^--
The Gixi of Glory semis his summons foi th Calls the south nations and awakes the north From east to » est the lov'reign ordera spread
^^AR
T::
i?jE^i^g^si!iigigl
iiigiig3iiEfel
;silillliEfilsis[iiigiiEiiiiii^liliiliiei
Thro* tlhlant wot Ms and regions of the deail
The trumpet sounds hell trembles hea^•'n rejoices Lift up yoiu- heads je saints with cheerful voices
mMmf^m^mm^m^^iwi^^im
MiiiiiiiSiiii^iiilii^iiiii^iP
PARIS, L. M.
Watts- Fsalms, 24.
BILLINGS. 139
giglia^iilllgir^^liiil
mi
i»--f-P-p-T-©-
iiiiiSSiiii
-tr-^--t-T-h-->-T»T"r-gT<?'->TH-g
^tesl
s And gave it for tlieii- dwelling place
This spacious eanli is all the Lord's And men k worms & beasts k birds lie rais'd the building on the sens And gave it for their dwelling place
iiiisa^liiiir^gilPilSiiiiliiiiil
FECKHMI. S. M.
Watts^ Psalms, 19.
3I1_
J. SMITH.
f^^igiiiSip^igiiiSiiiEgigiii|iii
^^s^^m^m^w^fw^mm
^li
Beh»ld the morning sun Re- gins his glorious way His beams thro' all the nations ran And light and life convej-
iglpig^iiiiiiPj:^iiii|fiiiBi
ir- rp ^
TP^i!
E
33=£:
-6r^=F
iq:
Siiipiiigiiie
140
ve;n'itejs''cb. a m.
T. SMITH.
; pETfTjgigligEBbtl^S
-e-f-
S^^^
eS^^EsilEE
-^-
=p
iigii^
.a =_
£
=Si
To thcc O God my cries ascend O haste to my relief And with ac- cus- totn'd pi- ty hear The ac- cents sf my grief
ii^Eliiili-^^^^^^g^^i^^liiiai
^&^^!gE?a=;
i
rptrg+d
^4S=:5lEE^
^^^
=d-zF:
zzruazz
33:
S2
=^
;iii^
FLTXET. L. M. Watts' Fsalms, 89.
WILUAMS.
iiiPiliil*!^;
£
■+-
J
-B-E
K=^l^^Sii
Remember Lord our nici tal Elate How fi-jil our life hew short the date AVhere is the man that draws his breath Safe from disease secure from death
,^.^E5gz.E§-:|gg:
liiiiiiiiiE^iiiiiiig^^iEiiii^^ii^
PITTSBURGH. C. M. Watts' Fsalms, r^o.
141
plM^aii^M^fEgBSi^gElgiiil'ggi^
^-te^
^SEBEEtESSSEE
^H^^-Eiiiiili^Ji
Awake ye saints to praise your king Your sweetest passions raise Your pious pleasure while you sing Your
SB
*BEi^^
tzizjiz:
0^-0
%
— (&
S3=^-
ik ^
-V— t
li. L..
11
mi
K
HI
m
11^
s^~$— rizrrt:
^
k k.
a.. » ..„*
m
W-m
m
m
at:
pious &C0.
In- crtaaing with the praise Increasing he.
ai:
jg- s
ti Ck.
^^rf^
-e-
_.— ii
._ — ^
pi
iiriii^l-^pil-l
14g
FARAPHBJSE. L. M. Watts> Psalms, ar.
y=>—
From all that dwell be- - low the skies Let the Ore- - a- - tor's praise arise
%:
m^
^^
S
rtei^
i^i=t:=fs
Let the Redeemer's name be song Let the Redeent-
i^rff^k ifc jig^r ^T^ >rn"[>rK>j3
1 — ' — i H
Slow.
giS^SMIp^l^^i^l^ilii
iiliiS^^^i§iliiil^S§^§iSS
er's name be sung Thro' ev'ry land by ev'- - ry tongue Thro* Sec
E- let^ nal are thy raer- cies Lord E- ter-
FARAPHRdSE. Concluded,
143
Lively.
s'iiS^pEiilEiil^iSii
qz-pzlz:
53;l5?gSEfe
ze-
ii^i^i^iiiii^i^^Si
lyg-sSii
Dill Eternal trath attends thy word Eternal trusli at- - tends thy. word
-'^=^^-T--. F-T-1»
Tliy praise shall sound Tliy praise shall
'» , Ife
^isn^iiiii
K
'^m
Epp^i
:3_z:
W~~M
mzm.
'^^^^m.
azrs:
m
ti=,l=i3=i=t-:
Siil^
Eound from shore (o shore Till suis shall set and rise no more 'Till suns shall set and rise no more
m
3Ee
Kpi=^.
im:
k— tt
!^
±=fc:
CE-ZC
mm
:3EJE=:
liirJ
144
r LEI EL'S UIMX. L. M. Belknap's Hymns, S28.
PLEiEL.
Ver)" slow.
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 pleasure only blooms to die
i^iiil^iiigliig^lpiiili^feilgil
.g^iggggiS^IBigfati^igig^iia!
.iho called " Comlolence."
PEXTOXriLLE. S. M.
LINDLEY.
P-#^
lEpnimgnii^^i
:i^^liii^L^iiiil^=i^gi^pEia
\-^m^
^y_J. JJ_
1
To bless thy clio- - - sen race In mercy Lord in- - - cline And cause the brightness of thy face On all thy saints to shine
— 1 P 1 ■ 1 1 1— kr4=Tr-r /^■I- tr-
m^mmm^m.
fc::
*Mv. L.av} calls this *' Cohtmbla.^
m^
T2IU.
1
ZSZJJ-
^iii^sp^eis
POUTUGAt. i. M. mats' Fsulms, 68. 145
Lord when thou didrt ascend on high Ten thousand angels fill'd the sky Those heaVnly guards around thee wait Like chariols that attend thy sUte
sl^fH
iiliisi^ssiiilii^3
l^i^i^iiii^^ip^^igg^^ifi-miPPiiPiiPii
RESOLUTIOX. C. M.
II OLDEN.
With With And
i^iS^ii^i^^^gStgiiiiiliiii
Great king of Zion Lord of all We bow before thy face
With With
With grief we own our follies past ' And seek thy pard'ning grace
rilhr^
^ig^liiiieigii^^ielliliiil
NoTB. The treble of Tortrigal is different from the qriginal (by « Thorly,'"J which is by no means pkasi^ig to vvt ear.— By W. E.
>:^
146
liAPTUEE. 8, 7. 8, y. Methodist Htjinns.
OSWALD.
('^t^-h
-^-
liiiiilliii^lPBiiilii^liiii
Love (li- - vine all 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
^=S:
PB^^IseIISIe
(^^i^^
un- - bound- ed
iiiiPiiiiiiiaiSiiiisiiiillil
love tliou art
^"i- ait us with thy sal. vation En- ter ev'ry trembling heart
m^mwMm^m^^^^
3
,^lEeEElEgEyiE!il^E£l^bk=bl^
Hii^P
iuppa
BAI:N'B0W. C. M. IVatts^ Fsahns, 65.
SWAN. 147
^
^t^^-^^
m
a—
TZja
m:
iggfe=iiiil3liilg
ii
^-l»-|9
-P— »
l»-#
The sea grows calm at thy command And tempests cease to ro-
:he^
XT
'Tis by thy strength the moudtains stand
fei^
e^K
k k.
i»-i»'
God of eternal pow'r
ea
mm
^
The sea
The
=^=F
1©-
~ir~s-
Tcn:
Hl3i=H^iM
- - or ,—
J3=?:
i^l^:
»-•-•--#
^||pig;|p;pEig|p
_C-
-i — (-•
And
And
^m
5
;iiiBi
3iZS
^3:
^=s:
Et3St33t
~ : L^-;
tHig^rEi
sirs:
m
-If
g^gilSi^iiill
148
BEPE^TAJS'CE. C. M. Hymn 106, Boek 2. feck.
1^3—1=^
B^s
S
i^ilMb'
'Twaa
O if my soul was formM for wo How would I vent my sigh* Re[>enUnce should like rivers flow From both my streaming eyes
liii^jEigili^iEi^S
imm^^^m^m
i^iiiiES=Sii
*Twa8 for my sins my dearest Lo=
And groan 'd
i-SSiSi
I-^-■-^^-■-
^liiigigEigpigggjgigggggigigjg
For thee
iiiiiglisilgil^iiiiigSSiiig^
n:
iHl^liiiiiKiliie
- -id
Hung ou tlie lursed tree And gi'oan^I away a dy- i
life
£Elf=EE?EEic3ie=^?=&"
For tliee my soul for thee
REDEMPTION. P. M.
mLiLlKGS. 149
gg^ligiliigi
l^W^m-\
:!.p:1
iSEgSig
w^m
WE
yr^w
m.
nBBiiiiiiiiii
Th' etemsl speaks all heav'n attends Wlio that iinhappv race defends See natiiie tremble at tlieii- feet Heath with his iron sceptre waits
riiiiiWISiffiil«iii
While justice aims the blow
1 ^rzj3Z5s:s:£5
^-N'
Hell one's liei'
Icm:
liiil^SliSiiiliMi
^^iiigSfiSMi^^gii^ii^a
adamantine gates and triaraphs in their wo
-j 1.
■h
And &c.
:||: Hell ope's her adamantine gates And triumphs in their wo
:s:q
-ii^liii^Sl^g^l^giS^iil
kd,
SiS
ii
L JTE" k
wo
m^ili
mj^: icxxi: r
—I-
F-'F^
^50 BdCKBEtDGE. L. M. Watts^ K IB, Book 2.
A. eHAPIN.
siiiiggiii
H^P^liii^^lii
im
L|—
:t=tJ
;iiiifeii^liiiiilil^Sli^i
>-P-TP-f-f r-'
1
Far from my thoughts vain woild begone Let my religious hours alone Fain would my eyes tuy Saviour see I wait a vi- sit Lord from thee
iiiim^lgiS^ililig^
si^
g^^
EOCKI^GHJIM. C. M. Hymn 43, Book %. a. chapin.
iiiiirEiiiiPiii^^^gi^i
pzizazaq
My God what endle^pleasnres dwell Above at thy right hand Thy comts below how ami'- - ble Where all thy graces stand
LiliiigliEEiggiiigS
S'i^^:
llzzifz^
IZfi
--b~^
^f^Pifc:
iszEr:
X X
HS^l
ROCHESTER. C. M.
WILLIAMS. 151
Walls'' Psalms, 5.
'^m^^mm^^mr^^^i^mmfi
Lord in the morning thou shalt hear 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. Walts' Fsalms, 62, ver. 3.
D. REED.
l[^ililS^Siii^^iiiiiiiPiiiiaiSli
liii^lgiiiS^^^rEiiSiiEl^
ipztp
:Pz5:
prcT^zriiJ.
Ipstrai
l-t-pE3.3i
False are the men of high degree The baser sort are vanity
^-*N Laid Light Light
Siiiggiii^iiiPiiii^iiiigiiEiiiii
Laiil in a balance both appear Light v a pxS of empty air
15S
IWCKY XOOK. C. M. Hymn 41, liook i.
WM. BILLINGS.
^^l
■.ft' •:
E
ms
■V— Nr
iii^l!
»-v-^-
in
How
i^ip
These gtovious rainds how bright they shine Whence aU their white arraf
How
M^
— j^
i^^^^MUWW:
r\,.c=;=v
liiiiiiiii]
*
How
iHiasii
t=B~
How
How came tkey to the hap- - pj
hap- pf
Sii^ii
m
igmiilSli
^-
m
£
5=t:
m^m
of ever- * lasting d;iy
How
;|Sp=g^|i^pgi
E
7^:
iSgpgpiPlEg
IB!
Iwp- ■ - -PT
tfn-w ttit»^ they to the happy neat* 9{ e- - ver- - last- - ing day
ROSE OF SHAROJ^. Solomon's Song, t.
>VM. BIM.INGS. 133
I am the rose of Shar»n and the lil- ly of the valley
3&
gi^
ilMiii^iiiiii^i
I ara ice.
il
^!t^
lisilgliii-l^Eiiiie
ffiS
^ — 4+
u
;^iiil^fii^^^ii
^mnni^i;
11
^^liiill-=ii
m
A» the lilly among the thorns ao is my love a- mong the daughter! As the apple tree the apple tree a- - mong the trees of the wood
y^^lEfS^^S
^^SM^i^^^mii
^eIzzi^EzeI
154
i
ROSE OF SUAROX. Continued.
ill^l^giil^
•- — s
Mm^^mi^Mm
so is my beloved among (.he sons so is &,c.
liiilEiPPlig^S^iMlliiiiiiaigiii
I sat down under his sViadow with great delight
I sat down
i^i^iii^i^iiiiiiiiiiiiiSiii
and his fruit was sweet to my taste
IHiiliilililliigEgiiiiiiii^iiiiilir^
and his
lie biought me to the
and
-^-^Sidz^z:
aDcl
ime^ig^iii
giiisi
rT:
ROSE OF SHAROJ^. Continued.
155
iSliii-^igili
slay me wali Hagons
imillil^iSiiiiiii^l
banqueting house
he brought me
his banner
i=^ilgMi^
ta
ffZffzp:
l^^lili^lEisiyi^^
comfort me with
his banner •vet* me vas iove
i ba
:^^
^m
^'-\ J ^
for I am
^
-z^~:f
igi!ii^:iiiiPitel
«=*
m- •
fflimiiiii^e:
apples for I am sick
for I am sick
of love I charge ye O ye daugliters of Je- ru- sa- 1cm
B^SP^SSiiiiii^liS
iij^Elli^igli
mmmm^^
i56 ROSE OF SHAROX. Continued.
r=iii^^li^lig^S
^
♦— t-
i
fet
by the rocs aoil by the hinds of the fields that
that
a:
iSi^^iM^Sil
that ye stir not up
that
nor a- - • wake awake
ray love
tttt
Pigl^^
=i=iiil§itfeiiiPi^^igisSiiieiigSI
If:
iiiiiSaiili^liiii:
m±z^
till he ple:tEe
The voict: of my beloved
a^HSliS
skipping
i^liSH
be- hold he cometh leaping upon the mountains
siiii^l^^
leaping upon skipping up*
mHil^iiii]
biiitEMEEygi^lgilSi^feii^^g
skipping
ROSE OF SIMROX. Conlinued.
157
n-^
Efp^S^^I^^Pi^^E
liigSSli
aod saM un- to me
^H
1:
4-'
on the hilU
ay Foi
y love my fair one and come a- way For
iiiliiiilill^l^ll^^il^
iiMliiB^lia^l=^^ii"^S^i==^^^^
-*-
^^i^l^^^igp^"PiiMsii
lo the winter ia past the rsiin is over and gone For lo
the rain the
EE
4-
rzi^z^
-"sh^
Sif^l^i^l^i
>J.:
*-
gl==j^igiiig^fEgil^^giiB^
158
ROSE OF SHAROX Concluded.
■^—ri.
ilS
^EB
=s=^=
ipjLpz:^^.
-e — f»
-r-^
m
&=i
m
i
iilizllS
p^ — ♦-
4-
-^
^
_u
~r
the
iPHEE^Ii
F-^
^mm^^^
^^Si
For lo the winter is past the rain is o- - ver and gone
^— y
^^afegasHil
-T-&s-^ K-
*:
ifi^i^S^Si
sjv.9:s'Min. p. M. 8's.
WM. BILLINGS.
rr=;
pi^M^lsiiE
p=r
t^rr*
siyi^:iigiiisi
ffiiiiiigi§ggiiiiiiiiiSg^i^^^^5iig|gsgiE^ai
U lovely appearance of death No sight upon earth is so fair
Can with a dead body compare
±M
'mi^m.
Not all the gay pageants that breathe
Ii59
ipik^i?3
.~fi
m
SUTTOX. S. M. Watts' Psalms, 2.
iiSilil^iii^!
-©-a
;r:r^rp=:
l^llig
©T^P-
I
±z§z
Szi.-;^
£fc— zi
IHe
■b:-^'
-g-t--
liEil-^Pilliliiii^t
i- - dence con- firms thy word And answers thy de- orees
iig^i-siEiifiiiiiPJiiiiii^t
Maker and sov'reign Lord Of henv'n and earth and seas Thy provi- - dence con- firms thy word And answers thy de- orees
SVTTOX XEW. C. M.
liliiPiiEl^l^isl^lsiEsiilii
I sink
Tr««s' Fsalms, 69
GOFF.
*||FEg;Fi]fe°EBi
P
gigHgHlg
K-^-^
I sink 12
Save me O God the swelling floods Break in upon ray soul
I sink and sorrows o'er niv head Like mighty waters roll
— J 2
fli^M
g^S
Like Like
160
If:
ffl
iia.:
SJiLISJWIir. r. M. or 7's, 6's.
-t-
BROWNSON.
IM^iiES^ii^^ill^^^i^
^iilii^liii^5Siigggliiili!i^ggi
God of my salvation hear And help me to believe
Simply do I now draw near Thy blessing to receive Full of guilt alas I am But
iiii^n^iHi^i
•' • •
pgggggj^^i^
m^^^^^
ffzt
si^
E
iisS
iiigiiiiiiigi-i^^iiiliiiiiiiriiiei
to tliy words for refage flee
Friend of tinners spoUess Lamb Thy blood was spilt for me
liiril^^iiiiiiiliiiiffiilfJiliaiPl
2EiE:
&iiliiiiiiiaii^iiiil
I
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 3 our Crc- a- tor Gocl ^ Be-
■^ ■" "^ -'■==»' R,.rr,,,„ ■■ ■■
iE^5^5gg|E|j||^i^ii^iiai^iggiiigiiiii
lit;- ibfe tiie evil diiys C'>n>e on A\'hen tliou sbwlt
pjigiiiiigiliiiiiiiiiiiiiiii^iiiiiii
aiSlSliiiil^iiiiiiiiii^liiiaiir^
Before he.
^^^ilE^iigi_^ll|i
HHlilfff
jM
say my joys are
^TH*e
^S^iiiiilijSgii^^^
Imi
165
If:
SEE! UE lilSES. 7's.
piiilSiiiiiliiiill
liii
Bippon, 142. Belknap. 17,
;Sz:
H0LDE3N.
^fel^glS
— »— -
liiilliiyiiiiiiifegiiiiilii
Angels roll the rock a- - v ay Death ) ielJ i:p lliy
tiiiditv
prey
See lie rises iVom the tonib Glowing \\ithiriQ-
iiPiiiiliiiiiiiiiiliiiiliiSiiliSlii
sgi^ii^iiiiEiiiiii^^iiiiiiiiiiiiigiii
E^E^EpgEJpfe^Ep^ELZ|zEZ"Ziz^|zFzt3E^^^
njor- t;il
bloom
See lie
rises Scv-
i|=l^|=ii^Ji|E|ifefe3ii
-fc I -k • ^ ^ , .
=§iiiiiiiliiiiiiii^i^iiiiii^^iii^iiE;^
SATXTS' BEPOSE. L. .M. Evskine's Gospel Sonnets.
HALL. 163
^^^:F£iESSzfczEzz;flS=irt.E±JitEafE=S3E:ri&K
Dentil is to us a sweet repose The bud was spread to show the rose The case was broke to let us fly And build our happy nest on high
iiiSi^ieiiiiiiliiiiiJI§Siiig:iiilg^i^
iiiiiiiiigilgiiiiisiiiiiiigiiiiiiigii
Then said 1 O to
Then -A-A-» . -•£ -~~n ~-^ — ^ -»»»' ^ . •"'ll _ x "P 'I* - ■» '^'
ctEEErJzEr—
sa — K-
ipiricz
Let
Then
iiiSilSiliiSiigaiiiiiiSiiilg
iilli
ii
Igiliiisiiigililgiiiilitete
mount away And leave this clog of heax-j- chiy •••' t
Let wings of time more swiftly fly That T may join the songs on higli
This piece had been altered hi sojrte, and oalled " Civil .iimtsement."
i6l:
SOUTHWELL. P. M or «, 6.
CARPENTER.
r
P3illlii-|giiiiiei
iMmmmmm
eUTsiilliiili
E
srrfe
i^iill^iiiiigi
'Tis ftiHsl.M
fsiiiiEMiliMii^iiiiiiipiii
lite Redeemer said And meekly
tEE
^:;?^:
^z||=^EIrE:rt^-s^JiiiL=£:&:i
^IfzSEp^fE^EF
ii^i^liiiili^il
:^
-P-
i
iiiiiiiij§iiiiiiEiiigiiiii|E|ggiiigi3ii
-e-
^zZpZeEl^H^flr^iEpE;
4=E^t
pE^PEiiSiii^gliElil
bos J liioiliii.g ln.a>t ^^llilc we the sciilcnce Stan Cunic slum is ami observe the work Bi-ljoUl tlie cpr.tiuest of ihe LoiJ Corcplcte for sinful i
lEgElia^iEliiiiiiiigiPilli^iii^iilii
-^=^
p[^iiijiiiiiiiiiii^g|E|iiiiiiii^^iii
165
i< 1-
=t==?:t
Hii^i
aOVTllWELL. Convhiihd.
Com- plete
---©■
z: :nxj^:
Com- - plete
■]■ :||: Cun]))li;iB Com- -
Com
^^ ' Complete Comiiktc t-m. Complete tor :F,i
Com
-©-
ClJi'i- - 1>1 te :||: for
ClJi'i- - 1>1 te
;Eiii^iiiJii^iiiiiiiiiEiiiiiiiipiiUf
Complete
Com- - - jilete
llzrr=rfc
.||. ,11. ' Co!i'i>!ete lor sj!\- hil man
i^lliiPiii^iliiil=iiifeiill^*
166
SUFFIELV. C. M.
Wtdls-' rsalms. 39.
KING.
ps^iiiiii^ESiiiliiSiitaliiliiM
Teach me the measure of my days 'I'liou maker ol"my frame
I would sur- - vey life's nurrow space
And Icam how fiail I am
1 2
iipiiimiiyiii
as
z:'::;;zxrD:
E^EFEP|EiEi£p|EEP|^E|EE^
trrziriK
I— IX_'2_ISZ
iiiiililliiliiilBil
KING.
SOrmWXLL r. M. or lO ^ S. rVords by Watts.
(!=-
^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 My life my joy my comfoits dead
^5iii§iSiiiiigi5i;i^ll|3ffl^^
:i
liiliiiiiiigii^iiliJEiiigiSii^iiaiSiiat
ifir
-7v:
SlIEFFIELL. €. M. fValts' Fs(diiis, ys.
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 world the LorJ is come
Let
Joy to
^ Jit- Ijet earth rccjiv.- iu-r kins Let
Lot
iPJ^ifeii^miglii
E
:tA
■fSrs:
3E5H
lii=igiliiililil!
t' c e nh t .«' S'v'.oui* feigns L t m( n their sonps employ While tleWls aiijl floods rocks hills and plains Rt-pent Uie soiinilingjoy Repeat &c
5glii:#1#iiiggl^jilSlteliii!ii=iiSiy-g^^^
R- pe;tt
R.'peat
51
:P
:r^
:t:
©-©-
ml
While
iliSl^iiiil^iiiiii^liilE
Repeat
Repeat
168
SILVER STREET S. M. JVatts' Psalms, 95.
J. SMlTIt.
^iini"riliilliiESg?^
^k^:
i^m^i^
E=:Si:ei^-i=5=F:
miiii^
Come sound his praise abroad Andliymnsof glory sing
--B-
=E
iglgiliil^g^lll
Je- hovah is the sov'reign Lord The u- ni- - versnl king
ilHTiiiiiiiiiliSllS^iiii^^ii^
Lli-lilliiiilil^:^iiiiiiiiiSi»il^l^
— H
mmmwm^^m^^mm^^^-
iHy=blEi|li==i=5
H:,ll. luj;<h
HaUelujah :)|:
[llilillliiiliiiliil
Praise ye the Lord
Praisi- ye the Lord -|* * "t "k" "V ^ -•*" ♦ - , ^_
Prwise ve the Lord
JJ. XIEEO. 109
SHERBUBX. CM iraUs' I'sulms, lil.
J
iE
•y — V~
Hiilil^
5
'— ♦
gElii^iEHiiiiiii^iliiiii
Sonjs of immortal praise belong To my Almighty God He lias my heart and he my tnngae To spread his name abroad
-t—
i^iailii^igi^liiiiiEiip^iii
— i~z|z
m^
X
If:
z^dt
iiiiiiiliglliiiii3ii!ll
To
2 ^2 _
To spre :icl
He has
!i^
e
.k_k_i.
ii^imiilli
liii
He
-r= — -J^~+-
'—■ •-•-£)■
' ■ ' zdJr-^
23-
«l-
g^
s.Tirtrr'^ ' ^to ^ ^ -lo ^ ^ i^ ^ 2^
ii^iliiipiH^iil
He lias my
^SEEfe^S
170
SPRIXG. C. M. Walts' Psalms, 147, rev. 7.
piiiE?=iNSgiiiil=l^i=Eiggi|li^i==iil^^
H^Hiliiiig;
_^ D ^_P ■.
gj^ggggi^ggiEg
Il« sends his woi-d and rnelis llie sr.ow The fic-lds no long- er mourn
He
Eiiii=!=ii"iiiEiiEig^y^l3
i-iiiiiil^y^ill
If:
il^lliligimiliiil^Siiiiiir^ii^iiii
He calls
h\ri- w And
P- ?»■
Mmm
calls the -warnier g;des to blow
— r-^^p — L^"*^' — — ^~ — r
I bio-
:iPliili^feifeilhlil
And bids the spring re- - turn
*
And
±
lJ=t==i:
calls
U»-
'^mmim^^mm^.
SPRl^'GFIELD. P. M. 7, 6.
BABCOCK. 17i
iiJigiiil^i^^iii^feii^iiSH
Jesus ill bikstl.e bitter cup The wine press treads a- lone Tears the graves and mouMtn^nsjip By his ex- piling groans
iSpL^igliigSiiiiiigiligliiig
gpiilliiiiiliiliiiiil
^liS=P1^
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 Let ev'17 trembling tlio't begone Awake & ran the lieav'nly road And put a cheerful courage on
iSISlffil^l
Sw'.ft as the eag!e cuts the -.nv We'll mount
iliiiilMiiiSlii^iSiiii;^^!^:
VU UIML
Oil WlliLS
.^»»-
^l»|fr»-»-|«-»f9i
igiiSilgsiiiliieiiiiiliiiii^igiggi
aloft to thine abode Nor lire ainii'st the hea\'nly road On wings
M
Nor tire
0.1 wiii^sot' Io\U O'li- ill ulshhiill liy
On wings
HiieBitti^ztdzg^
liiiiiSiiiliiii
'W^Z
kkF^
srF-n — I
Nor
SlMrHO:N'Y. p. ell. or iO-s. Walls' Vsulms, oO. morgan. 173
'^"^fel^r^tt^
liliiiPii^iEiiliillEiiiilil^ii^S
gali^pgpgjgigiSlp^iiligg^giiB^lgi^^^
BehoM the judge descends liis guai-Js are nigh Tempests and fiie atUnd him down the sky Hea»^n eai th and hell d.av,- near let all things come To hear his justice
«: rr'=^ —
L'
fpggipjJpgfPipjggF^Siispifi^^^JilpE^lSig
But gather first
and the sinner's doom
my saints the judge commands ^ ^
Bring tlieai y
vu s,u-
■ Siels iVoiii. tbcii- distant lands
i74
TIIIKTr.THIBI). C. M.
Watts' Fsalms, 33.
TUCKEY.
^plP^|gpfigppippgaipp|gi|ip^^^ggii|ppigg
Re-joiceye righieous ia the Loid This work belongs to yoa
Sing of his name his ways his woixl How holy just and
ilgl
»*-
ffiES
-V
^
EB
int
i
fcri*+tr
.-^
iiilligiiili^liaiiiiil^Slig^iiii^
r==:
ifeiggiigsig^iiii
ligiE^Eeiiri
,___t ,* »> , • • • • • • o
T?*
e «,
+
o • •
1 2
rtnp
true His aiercy and his righteousness Let heaVn and earth proclaim
1-4
4=:
aaJ of grace Reveal his wond'roas name
■ 1 -m-r 2 -ru—
^gEj§iiS?jE|||gjiii
n=e
ii.1iiiilliiSiiigfeiiii^iliiiiiiil
Hii «'orka of oa- ture
THIRTl-FOVRTII. C. M. Psithn 34. Tate £5? Brady.
STEVENSON. IT-J^
«:
HEgiiiiiiiil
umiiiiiiiiliiiii-mi
The pr^ists
^
1 hio' all the changing scenes of life In trouble and in joy
:fe=pzq
pjglpig
The praises
Tde
illi^3S^4iiliiiil
siiiiiiiiii^ii
s?
a
I'he jiraises
SiSH^gipliligiii
The piiiises
-^—
gS
The praises of mj Godsliall
siill
^
l^gEiil^tt
ig|l|Eji=ili^
^g|giapg^^ipgi^^iifeg|^^im-^^P^Ji
My
heart
liimiii
and tongue em- - ploy My heart &c.
^tt:
-\^-
|9-|»C—
Hii^ii
EEEi£^
Elseieliere 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 age contracts within a span I|e blooms and dies like grass
^iSiiiiiiliil^iiJliiiii^liiiiisiill
^Et
.z 1 — pi Iz_5itz_i4i_^ — , — t_-i Z-irg.! i-Zpi-a-^ — I — j-t-vrv--^—^— ^-J — 1 — ±_azx
^ipagjiig^gjigiggi^iiaaapiggp^g
mm^i^mm^m^MM^mmmmm
And must my minutes thus decline And must I sink to death To thee my spirit I resign Thou maker of my frame
^liliiiliiiiiiililigiiiiiiiiiililil
I ^_p 1— » ^r-nr — T~r~l*"
l^l^g^Wigl
THOWBMILGE. 8,7. liipi)on,295.
tr.
HANDEL. 177
tr.
pSiSSpiiiSE^flfeyHsilaijI^yil:-!^
Jesas full of all compassion Hear thy humble suppliant's cry Let nie know thy great salvation See 1 languish faint and die
tr. tr.
■^-
-s.-'
Y
fr. P.
SS^I^igiE^iS^^^ipiilii^liEiiyisti^Sai^^ii^H
ISi^
!?=E=E='
Sil?llisl?i~^iiiil=3liiiSiii
Guilt! bat with heart relenting Overwhel BiM witJi helpless grief Prostrate at thy feet repenting Send O send ne quick relief Send &e.
.^lilliPjfelilglijiiiiiiSiSillf^^
178
ST. THOMAS. S. M. Bymn 92, liooh I.
WILLIAMS.
iiiiigiiiiii5Eiiiiiiiiiiiiiigiiiiiiii^
liiiiMIISiililiililiiiiiiig^iiteS
Sh;Ul wisdom cry a- - loud
And not her speech be heard The voice of God's e- ter- nal woi-d Desi rves it no re- gard
ESE^lliiiiimisii^Pll^iiiiigiiiiliS <
^ii^iiiiiliilllil:!
,3/r. Law calls tJiia " Jlever/i/."
fezfeizsz-i:
TnEXTV-FOVRTII. C. M. Hymn 88, Pwok 2.
A. CHAPIN.
piiliiiii
t-----
n
iligiiai-filil^iiglgir^
iiiiiiiri
iilfSiiiitiiiiiiiigiiliiiiii
Salvation O the joyful sound 'Tis pleasure to our eaifl 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 relief will surely appear By prayer let me wrestle and he vfiU perform With Christ in the vessel I smile at the storm
MliiiiilBifeii^lgllliiSllli^:^
ffiSS
Z22:ZIi
P^'S^r^:ttr:
mMMwmMMm^B
jh
■v-t
li^iigiri
Cheeiful.
TRURO. L. M. Hymn 47, Book S. williams' collection.
I Now to tlie Lord a noble song Awake my soul a - wake mf tongue llosan- na to tli' eter- nal name And all his liiwndless love pi-oclaim
piilSiiiiiiiiiiiifiliiiiiiSliia^
liigiiliiiliilieiiiiiiigiiiigiiiiS^i
180
GIARDINI.
TRIXITV. 6, 6, 4, 6, 6, 6, -i.
Come thou Almighty King 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.
DR. MADAN.
[3?:=J
Forte. P. -ts
iiiiHiaiiiiii
Son of God lljy bless:ng gi'ar.t Slill supply my every want Tree of I'.fc thy influence shed With the sap my f 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
Once more my soul tlie i:s- ing day Suliites thy wakiiis; ejcs Oiice more my voice thy ti-i- - bute pay To 11 im that rules the skier
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.
O ti'll me no more Of this world's vnin sloi-e The lime for such trifles with me is now o'er A ccuntry I've found Where Hue joys abound
>«4
.iiiiiiiigii
-J— L. I — j — |-;^r=k^_ — . — -^=^-3
-^^±2
Etz^cE^^a,
^:i:
F
liB
To divcll I'm determined on tliis happy ground
igiiiiiiiigiiiiiiiiiiiijg:iiiiiiiiiip
18S
P^E^^iliJ^liSI
riCTOltl. c. M.
D. REED.
'-^
E-H
§::©.t:;»»J^
J ■-— r— *-
I- —^
i^^§
5^g^SE3J^SiE5E?i?E£
1
sizi:*p|±j5:^*iii*g:|
sour.'^ \\ ubin kc.
p- pefo-
1
H-+
Now shall my head be I ft d high
igi^^giiigiigiii
Anil songs of joy aad victoiy
A\'it1»iu thy t- mp[t sound
iiligiiilillig^Slg^Eiil®li^=lliilliii
btXC— 1-
±ii
-^- Above my foes aiouiid
\\ itiiin thv leniple sxjnd
— §ii|±itEt
■s-
Fsrr:
sr^qcff:
rttt:
JIBGLXLl C. .M.
Watts' Psalms, 89, rev. 4.
BROWNSON.
iiitt|^*^[ii|igi^ii§|i3l|^&^gii|ig|5=§ilHai
iiiigi^igiiiiiiiia^iiiSiiiii
Thv « ords the ragiug winds control And rule the boist'rous deep Thou mak'st tlie sltt ping billoTS roll
'Ihe roll- ing bdliws sleep
gi_^gE_£^j^j^^^ilSiil^ggi5iiigai
The roll-
y.i^ bi'Iow-i si ►■p
.iiiisiSi^iiliiilliliiiSiaSliii
JltRXOX. C. M. Rippon, 5:^3. Unnght, 243. t. olmstead. 183
AflVtlnoso.
Ffer-ftT=;^ "'^"^
±p^=lpzi
ia+"-
StliSiSiiSll
E3-Ed£iiii
loiirH^zz
iigiiiiliiiiEiii^|ig|iiiiiiiiiiiiiiii
-^~~ "I ^' ' ' -.. . ' .... . . ^ ... . .- . • . '•'I . II -. L- ia„i .1.,-* T_
Ye mourning saints Whose streaniins tears Flow o'er jour children dead- Say not in transi>"rts nrdcspair That all yourhopes are fleJ
dust In
s
\^tz^2
^iS^^
t^ngtf2
i — ^^-L|-
:z=r: =!!::$
-^ _k — A-__ ■ —, When cle:iv n^ lo that ilrirlini;;
=^"-T5:— T~n~~"T~P~i'T~'FTrFT*p-FTnT — T T ~T
gp^g|EpEpjEF-gj^g^ft£gST:r"!;Tii5
izpzi:
lliliii^Ei^li
Wlitii cleaving
^^^^iiiiii§iliiilgi
P P—
fond distress ye lie
In food dis- tress ye lie Rise and with joy and revVence view A liein'nlj' Father
nigh
\^M
When cleaving fee.
sPlifigiiigliiiiiiPliiiii^iipi
^^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 I vent my sighs RepenUnee should fike rivefs flow From both my streaming eyes
^ii=l=iilligila|iiiiiliiiiliiilSiililili
Hung ou the cursed tree Ar^d groan'd a- way a dying life For thee my soul for thee For tliee my soul for thee
glgfilgiiilgQlll^li^ii-^iili
.zE=gB^Jt=EPFi^i£E~g^gE
==-T^jtTpze:
'Twas for my sius my dearsst Lord
tpz^if^t
-#ll
m
^Ci
szEtiii:
tff::^
^^mm
WALSAL. CM. ?r««s' i'sa//i(s, 119, r«H 4. wilm.vms. 185
S^iHiiiiiliSi^liiii
S=is:
igillliii
How shall the young; secure their hearts And guard their lives from sin Thy woid the choicest rule imparts To keep the conscience clean
^iiiiiiii§isi^ii^giiiiiiiiiigiigiiii
z
rf:
i?v some called " Durham.^
WELLS. L. .1
^iEa
m^
zzzIzszDzJm:
Jlijmn 88, Book \.
IIOLDRAYD.
^-m^'^wM^m^
-o-il
z^zetc
sz?i:p;±Z'
-I —
=S35f
-rf*-|»-
efeiiiigiiiii^illiiiliiiriiiiliiiiiiiBi
Life is the time to serve the Lord The time t'nsure the great reward And w liile the Lamp holds out to bum Tlie vilest ciuner may re- turn
—szizs
iiilSigigiiliilliliii
^:
-idznzziij-
>feTB. — H'aieai hat underffone some alteratienfrom the original for the purpose of making the treble and connter more musical.
186
WATBRILGE. C. M. Fsulm 139. ver. 6
DR. MADAX,
T—j-l
1
4iXk[i±S3=3
— ; 1-, (- J—, , 1 ; ^
^
1 — r
^f^-
L^id irhere shall 5,ui;t.v sculs ret re Forgotten and unknown In hel! ihev meet thy dreaifa! ire laheav'n i!it rfo.Lusthrnre Inhiii'n&c
~r/ '^ *"T~^~Tr r — ! — ii — h- '-:r-rT 1 i-i r— — i — - — ^-r— ; 1 ^i
isg^ifel!?§iig^§i
^^O-G-
23!
^^iii^s
^i^^ES^
K
^-
e-f-e
:=E
-r— J J_J 1 L, L_J L^_,_-^JUi — I, i-..— L-l 1 1-=5J
rriLDEILXESS. L. M. Jfipnn :s. Book 1.
1,EACU.
^^
t=S3:
5S
g _
iPiggiB!
■^ATio i; this fiir one in dUt'ess Thatfave's from the «-il.!erDess AaliTeis'dwHhsorroira ani with s;ns On her belo- T;^ Lord she leans
p-s-
iSHH^iliiiiilSl
WAREIIMI. C. M.
Walts'' rsdliiis, 27.
DR. AUNOI.D. 187
Soon as
I 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
iiE^iiiPiiiiiiiiiiii^i
^F
liHiiii^l
iiiiiiiiliiiiiiSiiiil^iiis^iiiSiiiS
Hi
^^—hz
— b Ss— T— ^'
v. ^ ^^_^ — . — -CO-
^mmmmmmms^m
out lie- lay " I'll setk my Father's face" My heart &c.
sF^'
;-THv,»^-
=i=$nf!^zi:— zdrizm;
ifl^l^^iPigtiliiiiliiliiMliiliilil
=S5=P^:
EiiiiiiiiE^iPiiliiiiiiiiiiiigiiiipi
Air. Cole calls t/iis piece " ^Mill'jn.'
188
IFIXCHESTEJi. L. M.
WE^mm
-©-+T!
3
^^ii^lili
Traps' Fsalms, (1.
WILLIAMS.
te-p.
^
e-pT=-F
e-p
e
ii
My refuge is t!ie God of love Wljy tlo my ft ei insult and eiy "Fly like a tim'ious trembling dove To distant woods or moantains fly
m^:
—e^-'—'f-G-'^
m^m^^^ss^m
f=-o-
m
m^^mm^^M
--z^:
Sq-J.S
-^iJir
Pv
r^^ii
Soft.
irLYCIiESrER XEW. 7s.
Lcud.
^Methodist Coll Jfymns, S96.
^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
:P:zqzj»z|ci5:zzz:ft:^~iiij:zn:irz:^zzizszaztzcrscziiziffizrrirtii:it^dr:"
L^iiiiiiliil^piei^i^iiiliiiii^^Fi^i
WIXTEH. C. M
Watts' rsalms, 147, rev. 5
TO. IlEED. 189
1 2
^
iSigil^Si^iliiii^^i^gEsliliEiiip
::iiliiilliiiiiiiiiiiiiliiiiiillM[li-li
Hislioaiy frost liis fleecy snow Descends aod clothes the ground The liquid stre;iuis lorbeai- to (low la i- uy fctteis bound ^
iSlsllig^ra^liiiliai^iliiliil^
liiiiiiiiiiiiliiEii-^iiiiiip-iiiii-i^yi
HoTC—'J'/iis tune mutt I": bi;at as the 3 J\l<iodin veri/ s/cw time, or vjilh a beat to each crotchet, ulbising near lite leiigih oj a nhuini ( ia allegro J to each.
Wm^BUAM. L. 31
JIijiiui l;j8, Book 2,
-T Pi
P.KEU,
EEF?-FEEi3iE_^
Broiul is ilio mad thiit leads to death And thcusands walk together there But wisdom shows a nan-cw'r path \\\lU here ami there a traveller
iS^liiiiiiiiiiiiilgiipiiiililgiiiiEil
•190
•^feai^
-^i-^fz3-^±=E=tzi£-ttz?Qzz
■a»--KH-
WESTO.YFAVEL. C. M. Hymn G5, Bcok 1. TriLLiAiis.
-I — -— d" — i~itzir]
^^— \ li ■ ' p__— HKK^ ^_ |.__-J
eiii^lliiiiiliiiliiiiiiH:
SiEil-S-3
Come let us join our cliceiful songs With anje'.s round the throne Ten thousand thousand are their tongues But
^j±-""
!3dz-
iiisgiiEiiili^^!liii_3iiiS^iii
li=rjfc:
l^ii^jiigii^iiglililili^iSiiii
jiiiiil!#iiii!iiliipiiSliliiiiiiiiii
^=t?=t=^:
1
liiiliiiiiiEi^liif^iiilliiii^iaiiilliiiBi
all 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 1 ; ^-|- — J ' ^ 1 '"I — H I I ' ■ I — — ■
cfeS
Thou greut and sov'relsn Lord of all AVhom heavenly hosts obey
A round
-B-
SggffiS
aiiEigiiniiiiiiii
Around
And
Around
iS^liiiii
Siilliieiiiiililiilgii
Around whose throne dre:id 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
3!^
nESTFOEB. L. M. irijmn 15, Book 3,
fe^
i
fer^
U31
m
\
^i
z^
Far from my thol's rain world begone Let ray re- li- gious hours alone Fain would my eyes my Saviour see I wait a visit Lord from thee Fain would See.
-tr—T 1 T T-i 1 — ''^^F^^^^-i 1 ^-T — -^ '- — ' T— -I- 1- k PtPi
iH^^Hi
5»:p»:*^tpi
Jii&^axzff
E
:s=C=i=4
lirzfc
i^gjHii^^^jjgagpEigma-jp
■'^T5»-
p-"-l»»
_:i^
^^
^fgsgi^ii
r
^l^^g^^^
E^Ei:
!-I~--J-
:tpzrzp:icii:rz*zdz±zdzz«zit±;
^?^^
-•-•i
t=Bzx:
^=F
^=iri-t±:
sraz
S^^T
• • ■
i:;
-y-F
4—
?^^
nr:
My heart grows warm v. iih holy fire And kindles wiih a pure desire Come my dear jesus from a- - boVe And feed my scul with heav'nly love
1 CJdlZi — ^— t^I|Z-p-P-.^l! — ' — ! — i-XZTI_p_pZl-'_ I- ^ I -^-raZtI-^_III-_; — ;_ Z5-IZ«_fI^C_^ — JZ L
s
WESTFORD. CoucUided.
193
BUst Jesus what (It- liclous fare How sweet thine enter- tainraents are 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. Belknap's Jly.nn. i63. iiolyoke.
i^SliSiiiiSi^iliiil^liiSiiiliiJ
Loud to the prince of heav'n Our cheerful voices raise
With conscious worth All bright in charms Ail clad in arms lie sallies forth
gi^^SSiiil^Sl^i^iiliiiiSi^iil
:g^|gggg
hr-k-P
Sffisegi
To him your vows be giv'n And fill his courts with praise
dfe
piiSiiiiilfe
194
WILLLIMSTOWX. L. M.
Watts' Psalms. 51.
BROWK.
pSisS^lg
4-i-
img^i^gfeE^^ig
misi
'-F-PT!»-=r'»-»TF=n^
11
fids
i^iiiilriissist
I Show pity Lonl O Loi-d forgive Let a repenting rebel live Are utt tliy mercies large and free May not
-- :zi:ijq— r — it-cth — r-»Tr r^
i^lEiligii
May not a sinner trust in ihee
— ] 2
Jifii^ligiii
+■
=^
JKK
Fp:=^
zff
iSSiiil
=IT¥
Are not
WIXWICK. 5's c^- 6s.
MAD AN.
.-t
•_ •'
^^-^-^
F.
*ZBI
IjiiiiiiSgiiii
za=3
i^^mi^s
APPENDIX.
195
IN 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 pub-
lications, which 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.
.Sccent, 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 window-
harp.
Jlffethioso, tender, affecting, mournful, plain-
tive.
Airietta, a short air, a short piece of music.
•Sir, the tenor part, the inclination of a piece
of music.
Mlegro, lively, quick, the character 3.
Mlegro-picu, quicker than allegro.
Mlegro-poco, slower than allegro.
Alemain, or Mnmnda, a particular kind of tune,
usually repeated in one part only.
Alexandrine, a kind of verse, having twelve
syllables to each line.
Alt, high, above the stave.
Alto-octavo, an octave higher.
AUo-repieno, cliorus by turns.
Alto, or Altus, high, counter.
Alto-viola, a small violin.
Anacreontics, light airs, lyrical pieces.
Andante, moderate.
Anima, vivace, lively.
Antiphon, or Antiphony, an echo, a response,
alternate singing.
Antistrophe, a second or intermediate stanza.
Appetone, between a tone and a semitone.
Appogiatura, a small note of transition, a lead-
ing note.
Arciluto, a large or bass lute.
Arco, a fiddle bow.
Arpegio, conchords succeeding each other.
Arsis, or Thesis, the contrary parts of music
crossing each other.
Assay, steady, regular time.
B.
Bagpipe, a kind of wind instrument, made
with pipes and supplied with wind by means
of leather bags like bellows.
Band, a large number of musicians performing
together on instruments of different kinds.
Bar, a division line crossing the stave.
Bass, or Base,the lowest part or stave, the foun-
dation or ground of music, low, grave, solemn.
Basso, the bass.
Bassoon, a kind of wind instrument for bass.
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.
„ I . C for eombinina; the sev-
Brace, a character -J 1 .^ i- •
.t.i«i.c, a. wiaiavici ^ gral parts ol music.
Brieve, an ancient note xi equal to two semi-
breves.
C.
Cadence, sinking in sound, closing a straiir.
Camera-music, private music.
Canticles, divine or pious poems, songs.
Canto, a song, a short piece for treble.
Canorous, loud and harmonious.
Capelltt, a musician, a cliapel clerk.
Cantus, high, counter-tenor, alto-tenor.
Cannon, a piece in whicli one part follows tlie
other in the same stave.
Canzone, cantata, sonata, allegro.
Canzonette, a short poem.
Carol, to sing, a song of joy or praise,
Catacoustics, reflected sounds, echoes^
Chant, to sing, sing praises.
Chanting-piece, a set piece, a piece of music of
considerable length, confined to particulaif
Vvordsin metre, a kind of ar-tbem.
19C
APPENDIX.
Cliave, a clift'.
Cliacoon, a piece in triple time, for treble and
bass.
C'hiesa, public, church music, contrary to ca-
niera music.
Chime, sounding like bells, conchord, an ac-
companiment.
Chillies, a kind of instruments said to be made
of shells.
Chord, a sound, a conchord, proportional vi-
brations.
Chorus, all the parts together.
Chroma, a trill, a turn or shake.
Chromatic, having many semitones.
t'hurms, confused sounds, dischords.
Clarion, a shrill sounding wind instrument.
C'arioneite, a small clarion.
Clavichord, an old kind of instrument, ha%-ing
5 bridges, 50 stops and TO strings, a mansi-
chord.
Clnrio, a harpsichord.
Cliff.<, or Clfffi, characters rcpresentin; par-
ticular sounds or decrees on the stares.
Clone, a character composed of 2h double bars,
the end of a piece of music.
Comma, a small part, as ith, itii, &c. of a tone.
Comesupra. repeat the same.
Common time, duple time, equal divisions, as
&^&, 10, ^-c. oi-S
■4f
^•c.
Common metre, having 4 lines to each verse,
of 8 and 6 syllables alternately.
Compose, to make tunes or pieces of music.
Compositor, one who sets notes to tunes.
Composition, music prepared for use.
Compound time, coraraon and triple time com-
bined, as 6, 12, ^-c. or SS ^-c.
Con, with, as con life, i. e with life.
Cowcer/, many singers or instruments together.
Concerto, many singers and instruments to-
gether.
Conchord, a proportional number of vibrations,
an agreement or union of sounds.
Concinous, between a conchord and dischord,
but not properly either.
Cord, the string of an instrument.
Consonance, an intermediate conchord.
Counter, the third stave, the third part.
Counter parts, or Contrary parfs, the several
different parts, or all the parts included by
a brace, or used together.
Counterfiige, a contrary fuge, the other part
beginning fust.
Counter point, figures placed under the stave
shewing the conchord, &c. for the organ.
Cresendo, increasing in sound, becoming loud-
er.
Crotchet, a note, the i of a semibreve.
Ctjmhal. a kind of instrument.
Cylhera, a kind of triangular instrument.
U.
Da, for or by.
J)a capo, repeat tlie first strain for the ending
Bactyle, one long and two short syllables al-
ternately.
Demi, half.
Demisemiquaver, a short note, ^V of a semi-
breve.
Diagram, the gamut or rudiments of music.
Dialogue, a composition for several voices by
turns.
Diapason, an octave, an eighth degree.
Diapason-dittdex, a compound conchord, in ra-
tio, as 10 to 3, or 16 to 5, nearly.
Diapason-diapente, a compound consonance^
in ratio, as 3 to 9, &c.
Diapason-diatessaron, a compound conchord,
in ratio, as 8 is to 3.
Diapason-ditone, a conchord, in ratio or pro-
portion, as 5 is to 2.
Diapason-semiditone, a conchord, in propor-
tion, as 12 is to 5.
Diapente, a conchord, a oth degree.
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.
APPENDIX.
197
Dot, two, twice.
Doux, soft 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, some-
thing to be acted.
Dramatic, tragical, mournful, actionable in a
mournful, sorrowful manner.
Duet, two parts only moving together.
Dulcimer, an instrument like-a harpsichord.
E.
Echo, a soft returning sound, a sound vibrating
back.
Echombter, a scale for measuring the duration
and ratio of sounds.
Echlogue, a song, a pastoral or rural poem.
Ecliu^, soft, like an echo.
Elegy, a funeral poem, a mournful piece.
Elysian, exceeding delightful, sweet and plea-
sant.
Eolick, verymajestica particular mood of time.
Epic, heroic, actions related in poetry.
Episode, a digression from the main subject of
a poem.
Epigram, a short pointed kind of poetry.
Epilogue, a concluding piece.
Epiphonema, an exclamation, a conclusive
sentence.
Epithalamiwn, a nuptial song.
Epicidium, an elegy, a funeral poem.
Epvde, a pindaric ode, a kind of stanza.
Epopee, an epic or heroic poera.
F.
Fa, or Faw, the second syllable applied to the
notes.
Fantasia, according to fancy.
Fin, the last note, sostinuto.
Flageolet, a kind of small flute.
Flute, a kind of wind instrument.
Flat, a character b low, dull, mournful.
Flourish, an overture to prepare a voice, 'or in-
strument.
Forte, loud.
Forte-piano, yi kind of instrument.
Folia, a particular kind of time.
Fortement, loud and strong.
Fortissimo, very loud.
Frets, stops on an instrument.
Fuge, or Fugha, the parts of music following
each other in succession.
Furia, quick, violent.
G.
Gamut, the scale or rudiments of music.
Gavot, or, Gavotta, a lively kind of air in com-
mon time, sometimes repeated.
Gay, brisk, lively.
Genus, a particular part or division of melody.
Gigue, or Jig, a lively air in triple time.
Grand, full, great, complete, pleasing.
Gratioso, agreeable, suitable
Grave, slow, solemn, mournful, most slow.
Gravity, lowness, a low sound.
Guido, a direct.
Guitar, a kind of stringed instrument.
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
harmony.
Harmonical-sounds, a certain proportional
number of variations of sounds or degrees.
Harmonious, pleasing, charming, melodious.
Harp, a kind of triangular stringed instrument.
Harpsichord, a stringed instrument.
Hautboy, or Hoboy, a kind of wind instrument.
Hexametre, having six lines to a verse.
Hemitone, a halftone a demitone.
Hocounter, counter-tenor or cantus.
Hodesis, the first or upper treble, where there
are two.
Hold, a character /^ used by some authors to
stretch the time of some notes, a surprise.
Hosannah, an exclamation of praise to God.
Hymn, a sacred or divine song.
HymeniaL a marria-^e song.
Hymnernphon, a very extraordinary kind of in-
strument invented by Keffelsen at Copenha-
gen, 181S.
I.
Iambic, every second syllable accented.
Idyl, a short poem, an eclogue or pastoral
poem.
Index, a direct.
198
APPENDIX.
Tnno, a hymn or song.
Iiiscanna, a rest instead of a concluding note.
Intonation, giving the pitch or key of a tune.
Interval, the distance between two degrees or
sounds.
Inlrada. a prelude or beginning piece.
Ionic, light and soft.
Jacks, pieces of wood under the keys of in-
struments.
Jar, a liarsh sound, adischord.
Jargon, a confused mixture of chords and dis-
chords, or dischords only.
Jubilee, a time of rejoicing, a festival hymn.
IV.
Keyf, pieces of silver, brass, ivory, &c. for
placing the fingers on, to strike the semi-
tones truly on an instrument.
Key-note, the principal or leading note of each
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.
Largo, a movement one degree quicker than
grave, the character -{^
Langtiido, solemn, slow, sorrowful.
Lima, the difference between major and minor.
Lintement, the same as largo.
M-Libitium, as you will.
Linto, slow.
Long, the name of the second note formerly
used, equal to 4 semibreves.
Long-metre, having 4 lines to each veree, of &
syllables each.
Lucto, a lute.
Luctuous, mournful, sorrowful.
Lute, a kind of stringed instrument.
Lutanist. one who plays on a lute.
Lyrement, lightly, gently.
Lyre, a kind of instrument, a harp.
Lyrist, one who plays on a harp or lyre.
Lyrick, suitable for the lyre, poetry suitable to
be sung with a harp.
Lyrical, pertaining to the harp.
Lydian-measure, or Lydian-mode, a mode of
time, or particular kind of movement, soft,
sweet and pleasant.
M,
J^Iadrigal, a love song.
Major, or Major-mode, the sharp key com-
manding, including the greater third, high,
cheerful.
Major-chord, an interval or conchord, having
more semitones than a minor chord of the
same number of degrees.
JJ/i, or .Vee, the first syllable applied to the notes.
Mansicliord,a. kindof instrument,aclarichord.
Maestoso, majestic, grand.
Magiore, major, greater, higher.
Mainpart, the principal part, the tenor.
Medley, a confused mixture of sounds.
Medeus.the treblean octave lower than natural.
Messa, a particular kind of sacred music.
Melodious, musical, pleasant, sweet.
Miiiim, a note, one half of a semibreve.
■ Minima, a minim.
Minor, or Minor-mode, the flat key command-
ing, low, mournful, having fewer semitones
than major
Mood, or Mode, method, position of a piece of
music, shewn by a character.
Monody, a mournful piece, an elegy.
Monochord, an instrument commanding 48 de-
grees on one longcord, for proving intervals.
Moestrw, a guide, a direct.
Moods, certain proportions of time, &c.
Motets, short anthems.
Modulate, to regulate sounds, to sing.
Modulation, the regulating and connection of
sounds in a pleasing manner.
Music, a succession of pleasing sounds one of
the liberal sciences.
Musician, a person skilled in the science o4
music, a teacher of music.
N.
JVeginoth, a kind of stringed instrument.
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.
ut re mi fa sol la si
C D E F G A B
12 14 5 6 7
or
or
APPENDIX.
199
The syllables used by tfce English are
Mi Favv Sol Law Faw Sol Law
instead of these three last, Mr. Adgate uses
Ba Do JNa, but his plan has not been final-
ly adopted.
O.
Obligate, very necessary.
Ohoy, a hautboy.
Octave, an eiglith degree, 6 tones and 2 semi-
tones.
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.
Panharmonicon, a kind of instrument (or rath-
er a combination of instruments) lately in-
vented in Germany : it answers the purpose
of a band.
Parody, a burlesque on something serious.
Pavula, something formed, or to be formed in-
to a song.
ParlL- alar-metre, a measure different from
those in common use, not like long, common,
or short metre.
Pause, a rest, an interuission, silenc«.
Pastoral, rural, a shepherd's song, something
pertaining to shepherds
PassaciUo, slow, the same as chacoou or cha-
roon.
Pettica or Pointee, exactness in time, true in
sound.
Phimicks, the doctrine of sounds.
P/ionacumtick, having the power of turning or
altering sounds.
Phyrgian, lotty. sprightly, warlike.
Pentaatick, consisting of 5 verses or of 5 lines,
&c.
Pindarick or Pindaric, a kind of measure us-
ed by P. Pindar, a Greek poet.
Plana, or Piano, soft and sweet, a kind of in-
strument.
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
acconling to certain rules.
Prelude, an overture, a beginning piece.
Prima, the first or principal part.
Presto, quick.
Presllssimo, most quick, very lively.
i'risa, a repeating character :ll:
Pronto, quick, lively.
Prolatlon, forming a trill or shake.
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.
fiacetavito, or 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.
llepianno, chorus.
liesurge, rise again.
RHornal, a short piece for the instruments
while the singers rest, a symphony.
R petatur, repeat the same again.
Respond, or Resound, an answer, a reply, an
echo.
Roundo, or Rondeau, a tune, the first part of
which is to be repeated. Da Oapo
Rueful, sorrowfuljmourniul, dismal.
.?rtO
APPENDIX.
Shymet the correspoiitknce in souml olihe last svllahle in
lines of poc'tiy
7?^//jm,,h:irniotiious nieasHres and pTOi>orlions.
JitquimUy rest, a kind orinouitong hymn.
liuralj wild, woodltkc, pertaining lo the counti'v-
S.
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.
Semdiiipente, a lesser tliiid, a minor third.
Seuza^ witliout.
SepUino}ic.y adiscoixl, a "th.
Scstcito, in 0 paits.
i)iere?iadr^ a night sau?, music 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.
Sharp, a ciiarscter ii for raising a note?.
Shurp^hetfy [the syllable faw bt.ing the key note, the major
mode.
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, S'AuSy one pait only.
S<ma^ a sriund.
Sonorous, loud and stroii;*.
Song-, A pi'Wjni cnrnpoaed for the voic€.
SanatCt a piece iu various pans, a tune
Sonnet, a kind of short poem, 14 rerses.
Sospira.^ a i-est.
SostinutOy held out to full time, a concluding note.
SpicatOy proper divisions and tUstinctlous.
SpiritosOy vei-y lively.
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', disjointed, contracted out of tlie
usual order.
Si/ncopation, notes joined in the same degree in one position.
T.
Tacit, silent.
Taciturniit/, silcntness, liabitual, silence, attention.
Taviboriupy an instrument with^nall bells
Tenor, ih.e second stave, the piincipal pait, the natural
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.
Time, ^'ue proportion in the length of notes, &c.
Tt/iitroso, with great care.
Tocato a voluntary piece by one performer.
Tnin-iti'm, nio\ing across the Btave,aa intermediate note,
a slurred interval.
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
S
^•c.
Trageily, a 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.
2\-i!ett0t a short trill.
Tnimpet, a kind of shrill wind instrament.
'J'l/chet, a prelude.
'i'utti, chorus
Tympanno, kettle-drums used as bass to a trampet.
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.
Viohm. a large, or double bass viol.
Visto. or Vistaments, very soft
Vivace with life, sprightly
VoUisubito, turn over quickly.
Volvntan. descant extempore, played at randoni
W
Waltz, « kind of military music, a kmd of rasi'ch far dra.
goons.
• a •
Live Music Archive
Librivox Free Audio
Metropolitan Museum
Cleveland Museum of Art
Internet Arcade
Console Living Room
Books to Borrow
Open Library
TV News
Understanding 9/11