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MMRMDAITSTC
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The second Edin wnproved & enlarged hy the additen of upwards of to hines indludina Anthems & picees.
a , 7 . 2
Philad “Sold ly WWWoodward corner of Chesnut & Second streets and by the EditorN°162North 5? Street
by)
DISTRICT OF PENNSYVLVANTA, v0 wits”
BEGIT: REMEMBERED, That on the twenty-eighth Day of September, in
the thirty-fourth Year of the Independence of the United States of America, A. D. 1809,
CHARLES W oopwarp, of the said District, hath deposited in this Office, the Title of
a Book, the Right whereof he claims as Proprietor, in the Words following, to wit:
“‘Ecclesiz Harmonia. A Selection of sacred Music; by Charles Woodward. The second
“‘ Edition improved and enlarged by the Addition of upwards of 40 Tunes, including Anthems and
** Pieces.”?
In Conformity to the Act of the Congress of the United States, intituled, “An Act for the
_ Encouragement of Learning, by securing the Copies of Maps, Charts, and Books, to the Authors
_and Proprietors of such Copies during the Times therein mentioned.”? And also to the Act, enti-
tled “An Act Supplementary to an Act, entitled, “An Act for the Encouragement of Learning, by
securing the Copies of Maps, Charts, and Books, to the Authors and Proprietors of such Copies
during the Time therein mentioned,” and extending the Benefits thereof to the Arts of designing,
engraving, and etching historical and other Prints,”
D. CALDWELL, Clerk of the
District of Pennsylvania
& . TO celebrate the praises of God, is a duty which it becomes
every reasonable creature frequently, and with fervency of heart
discharge.
In every age of the church, praise has employed a great por-
ion of the devotions of holy persons. Moses and Miriam, Da-
and Asaph, Christ and his apostles, have successively enga-
in the delightful employment. While the economy of “Jewish
_ ceremonies was in existence, psalms and spiritual songs were
more es to God than the offering of an ox or a bullock ;
and when those fituals were abolished, the praises of Jehovah, be-
came a part of moral worship and were still sung by the thousands
who believed in the Redeemer’s name. A charge against the
Christians, stated by Pliny in a letter to the emperor Trajan,
was, that “they used to meet together before it was light, and
sing a hymn among themselves to Christ as God.” Happy for
the church, if occasion for such a charge existed to a greater
AC 3e.
obvious, indeed, is the duty we speak of, that Heathens,
guided only by the light of nature, have been influenced to per-
form it. “If,” says Arianus, a stoic philosopher, “ we are intel-
Bs ig creatures, what else should we do, in public and private,
a hymn to the deity? Were I a nightingale, I would
act as a nightingale ; or if a swan, as a swan ; but since I am a
pone creature, I ought to praise God, and I exhort you to the
elf-same song.” Plutarch asserts, and his assertions ought to
}
en blushes on the cheeks of many who are termed Christians,
among the ancient Greeks, the whole science of music was
employed in the worship of their gods. Alas! with thousands in
PREFACE TO THE FIRST EDITION. ;
Christendom the whole science is devoted to carnal and destruc-
tive amusement.
Praise will be the everlasting employment of the redeemed in
glory. Its utility to the good man as he travels thither need not
be demonstrated. Many a Christian has found his experience
correspond with that\p[f the excellent Austin, who says, “ How
much have [wept at™ly hymns and songs, being exceedingly
moved at the voices of thy church sweetly sounding. These
voices entered my ears, thy truth melted into my heart; from
thence pious affections were raised....the tears ran, and it was
well with me.”’
From such considerations it is evident, that an acquaintance
with music is worthy the exertions of all. To facilitate the ef-
forts of the lovers of psalmody, they are here presented with
what is believed to be a selection of sacred music, of real merit,
suited to the solemn worship of God. Some tunes are inserted,
because they have gained admission into worshipping assemblies,
anc that such as are averse to new ones, may improve upon the old.
This selection will be found to contain most of the best tunes
in use in different churches, as well as some that are original.
Asteaing has been long in high repute as a mode well calcu-
lated to progress the pupil, and principles are introduced. into
the work which divest the system of its obscurities. The advan-
tages will, on a fair trial, immediately appear.
The compiler has only to add, that should he enjoy the patron-
age he has behoved to deserve, he will spare no future exertions
to enlarge and enrich the selection, as genius or piety may in-
troduce new tunes te his observation.
6 ADVERTISEMENT.
A former edition of this work having met with a fa-
vourable reception, a second is now offered to the lovers of
sacred music, considerably enlarged, without any addition
of price ; some few of the tunes in the former edition have
the counter-parts omitted in the present one, (and it is be-
lieved without injury to the music,) to give room fora
greater number of tunes, a part of which by desire of a num-
ber of friends, have been carefully selected to suit the va-
rious metres in Dr. Rippon’s, and the Methodist hymn
books. This arrangement it is hoped will render the work
generally useful and meet the approbation of teachers also,
as it considerably adds to the variety of the music; an im-
proved index is also added for the convenience of those
who are desirous of finding tunes to particular metres, and
of these an assortment w ill be found exceeding 40 in num-
ber. Some few alterations of the parts were ‘also desired,
but as these are but few, it is hoped they will not be taken
amiss; in some instances choosing notes only have been
added, so that those who prefer the former parts can use
them ; itis requested that where the new passages are used
in one part, they may also be used in the others of the same
tunes, as the harmony will not in all instances, be good
without them.
The tune called Milbourn Port, in one bar, was said to
be incorrect in the former edition, this 1s also altered.
Such tunes as have choruses at the close of them, when
sung in public worship, the chorus may be omitted or sung
at the close of the last verse only, if the subject matter of
the hymn or psalm will admit of them, of such are Ashley,
Falcon Street, Kedron &c.
The peculiar metre of four lines, 10, 12 , may be well
supplied by Harwich tune, by dividing the minim into two
crotchets in each place where the word “Come” occurs.
Also by Hanover tune, by using two crotchets instead of the
minim in the 5th, 7th and 13th bars, and by slurring the
first and second minims in the 10th bar.
Maxfield tune may also be sung to the same metre, by
using two quavers, instead of the crotchet in the 5th, 13th
and 15th bars, and by slurring the first and second notes in
the 7th and 11th bars. The metre of 6 lines 7’s, may be sup- —
plied by any of the four line tunes of 7’s, if the music is re-
peated, to the 3rd and 4th lines of the words in each stanza. "
INDEX. y
C. M. denotes Common Metre, L. M. Long Metre, S. M. Short Metre, P. M. Peculiar Metre.
each line, and the number of figures show the number of lines in each verse.
- adapted to each of such Metres inclosed.
The figures show the number of syllables contained in
Those Tunes with the brace inclosing more than one Metre, denote they are
Phe Air of the tunes will be found next to the Bass, except where the word ‘‘Air” shows to the contrary.
Arlington - -
~
- : Brewer - - 77,L. M. Hayner - - - - 48/S. M.
Bo, Be iat fp Fs | Cambridge he 15|C. M. L. Via
) Adeste fideles, - 37) 9 44 41.:11,10 Pieenndn r 47|7,7,7,7 Hanover’ - - - 84/9 40 10,11,11
ee Hymn - 47|L. M. Crowle - - - 43|C. M. Helmsley - - - 79/8,7,8,7,4,7,
lesbury - - - 16S. M. Coleshill - - 221C. M. Hope - - - - 411/5,5,5,5,6,5,6,5,
" Absiige ars 216. M. Canticles - - 60)11,11,11,11 Hepzibah - - - 40/C. M.
i wee - 32 As the 148th. ARNE 3 e 83 ae M. Hotham - - - 55!7,7,7,7,7,7,7,7
6666.88 ht 8888,88 TOD SORE ae a Stadt
Ashley - - - - 48)C. M. Chatham - - 89] 886,886 55655565
Amsterdam - - 87|7,6,7,6,7,7,7,6 Calvary - - 90}8,7,8,7,4,7 Horsley - - - - 93\L. M.
Agnes - - - - 87|66668686 Clarkes - - - 92!7,6,7,6,7,8,7,6 Hosanna - - - 99/C. M. Double.
Brooks Ss = oh SBI. MM Dauphin - - 46S. M. Hatts! =, - - sear 63)7,7,7,7,
a = 3 SCE Dunstan®© = - - 321L. M. avant - - - - 100 85,5
- -.- 42/C. M. Derby - - - 36|L. M. Irish -- a 241C. a
- - - 43/L.M. Elenborough - 34|C. M. Islington - - - 35|/L. M.
- - 78\L. M. Everton - - 82\6,6,4,6,6,6,4, Irene - + - - 92/6,6,7,7,7,7
h Chaple - - 38/C. M. Klim - - - ggiC. M. Italy - = - + 94/8,8,8,8,7,7
we” {a M. Falcon Street - 49\S. M. Jewin Street - - 39/8,7,8,7,8,7,8,7.
. ASNT... ee Feversham = - 59 Nee Johns - - - - 38 Mes: er oy
, ie ft. M Fyatt -- "= - 46) 7,7,7,7, Jordan - - - - 79/8,7,8,7,4,7 "
8888,88 Firths - - 91\7777,77 [Kingsbridge - - 44 Loot Ss
> - 81/6,6,4,6,6,6,4 Greenficlab 45 As the 113th. |Knaresboro - - 98)/C. M.
« - - 94L. M. 888,888 Little Marlbro - 25S. M. |
Hill - - 97|Sapphic Ode. Germany - - -17\S. M. L 43 As the 148th,
- - + 101|5,6,5,5, Georgia - - 17|\C. M. NOX ate 1) COGEEEE
8 INDEX,
Lily - - - - 41/L. M. Peckham - - - 18|/S. M. Wells - + - = 21(L. M.
Ludlow - - - 49C. M. Pelham - - - - 80|S. M. Double. Wareham - - - 38/L. M.
Love Divine - - 8758575857 8545 L. M. Williamstown - - 42)/L. M.
Lock - - - ~- 81/8,8,8,8,8,8,8,8 : J 10,10,10,10, Weston Favel - 444/C. M.
Lambeth - - - 9318,8,9,8,8,8.8,8, | @¢GTove. - = 82/4 1940101010 10}Walsal - - - - 221C. M.
; 6,6,8,6,6,8 10 10101011 11},,,- vee As 148th.
je ee 6,6,8,4,6,6,8,4 |Prosperity - - - 88)8,8,8,8,8,4, Wallow Grove: ~ B01) -¢ iavaun uaa
Mear = - =) = )2a/Cy M. ;, As 1 48th. West Street - - 95/6,6,9,6,6,9
Mulberry Street - 19/C. M. Ree aOU 2 5300 ‘f 6,6,6,6,444,4,4 Lwaivorth ere Psalm 50th.
Missionary - - 39/C. M. Rochester - + - 24/C. M. Ce ae ae a 1010101010 10
Mansfield - - - 52/8. M. Russia =- - - - 19/L. M. Warsaw - = - 98:10,10,10,10
Milbourn Port - 30)C. M. Romain- - + - 26/7,6,7,6,7,6,7,6, Zion - «= - - 7518S. Mz
Martin’s Lane - peda. Tie be ah ae oe ey Axstuems & PIECEs.
Maxfield -.- = 78|5;5,5;056,5,055, St. Thomas - - 25/8. 8 Anthem from 24th
Mile’s Lane - - 'M. Suffield - - - - 43/C, M. Psalm - - - 104
Mariners - - - 79/8,7,8,7, Sutton - - - — 47/IC. M. Anthem from Rey.
Madrid - = = 107/11,8,11,8 Salem, - -,<7%),31/C. M. 14th Ome 96
Maidstone - - - 91/7 175057575757 of Savannah -~“-7~- 46/8,8,8,8, Avon - - - 58
Newton- - - - M. Southwark -°- - 90/6,6,8,6,6,8, Arabia - - - - 84
New York - - - 23/C.M. Stepney - - - + 85/S. M. Double. Denmark - - - 53
New Sabbath - - 29/L.M. Supplication - - 66/7,6,7,6,7,8,7,6 Dying Christian - 50
WE Colt G&S 20 L. M. Snowfields - - - 89/8,8,6,8,8,6, Denbigh - - - 108)L. M. Double.
888,888, Spaldwick - - - 93)/S. M. Exaltation - - - 67
Nottingham - - 57/8,8,6,8,8,6, Surry or Dery - 100/5,5,5,11 Easter - > ~ + 105
Old 100th - - - 27/L. M. Springfield - - 95)7,6,7,6,7,7,7,6 Easter Ode - - 102
Otford - - - - 35/C. M. T Harmonia - - - 61
Portugal .- - - 18\L. M. emg aie” esdese Kedron - - - - 56)11,11,41,117
Portugal - - - 77S. M. Virginia - - - 49/C. M. Preparation - - 71 tan
Pennsylvania - - 39/C. Me Vienna - - « « 97'S. Ms Sheffield + + - 64 ate
4 - INTRODUCTION. y
OF MUSICAL SOUNDS.
here are in mufic feven different founds or tones; five of which are
whole tones, and two are femior half tones, the eighth compleating what is
ed an octave, in the {pace of which octave or eight notes, the whole com-
of mufic is explained, for whatever number of notes it may be poflible
to make ufe of, the whole is but a repetition of the firft eight. Thefe founds are
communicated unto us by the medium of five lines and their fpaces, on which
ufic is written, and are called by the {even firft letters in the alphabet, viz.
ABCDEFG, a more particular divifion of which are thus ufed Cc,* fharp,
Dd tharp, E,+ F,f tharp, G,g tharp, A,a fharp B,{ thefe additional tharps are
affixed to the whole tones, the two firft mentioned half tones, continuing the
- fame,§ nor can eight founds be correétly made without the ufe of thofe two
q femitones. The natural place of the femitones from G the firft note of the
feale or gamut are between B, C, and E, F, as demonftrated by an octave
- of the keys of a Piano Forte.
In order to obtain good mufic it is neceflary to attend to TUNING
THE VOICE this confifts in good tones in proper tune, to produce which,
the teeth muft be moderately extended or kept apart, the throat open, and
the founds fhould proceed from the fame, with freedom, eafe, and foftnefs ;
care fhould be o (particularly by thofe who have {trong voices) not to
1g too loud, itis frequently the cafe in worfhipping affemblies that the clerk
eader (if he would keep the voices of the congregation together) is necefli-
xert his voice to overpower fome diffonant finger, or one who will
in; , too faft, or too loud ; we fhould perhaps be fafe in laying this
lown as artule for fuch, that they be careful never to fing fo loud, but that
ey can diftinctly hear their leader. The tones ought alfo with a few cx-
ions to commence foft, {well towards the middle, and then gradually de-
harp is the same with D flat and D sharp the same with E flat, and so also with the other letters.
+ B and C stand im the same relation as E and Fs
ter will make it F.
ir, ‘and rise high are generally intended to be sung by tengr voices,
creafe. Sounds fingly, without the addition of chords being united therewith,
is what is called melody, and next to this we remark; that HARMONY
confilts ina variety of founds, being properly combined by perfect and im-
perfect chords, for which purpofe, thofe feveral parts contained in the brace
at the commencement of mufic, fhow they are to be fung together, care ought
here alfo to be taken, that fuch parts as rife above the air of the mufic (which
is always the principal part) are not fung fo loud as to deftroy the air, for
example, when the air is runnifig on the low founds, the bafs frequently rifes
a third, a fifth, or an octave above the air, in fuch paflages the bafs ought te
be performed very foft, hence the propriety naturally arifes of giving the air
of mufic to treble voices, becaufe they are acute and diftinguifhable, and ren-
der the mufic intelligible, even to thofe unacquainted with the nature of har-
mony, this arrangement has been partially noticed in this fecond edition, with
thofe tunes which were not contained in the firft, yet every teacher has cer-
tainly a right to make choice of his own method, it is neverthelefs unknown
to the editor, if there is one tune where the air is placed upon the top ftave,
for the treble voices, but was intended to be fo by its author. It is however
wifhed to be underftood, that treble voices/may alfo be put upon thofe
parts, which are immediately under the air in many inftances,|| yet ought they
to be fo proportioned, as not to overpower the air. THE ACCENT in
mufic we would next notice, and this confifts in a greater ftrefs of the voice
upon a certain part or parts ofa bar. In performing the firft and fecond modes
of common time, the firft and third parts of the bar ought to be accented, as
fuch contain four crotchets, or their quantity, in a bar or meafure, the fir(t and
third ought to be accented, the fecend and fourth unaccented, but it muft be
remembered the fecond accent is lefs in itsdegree than the firft. The third
and fourth modes of common time are accented only at the beginning of each
t From E to F is only half a tone, therefore to sharp
§ The natural key of € is bere spoken of. Such parts that accompany
10 INTRODUCTION.
bar. The firft and fecond modes of compound time are accented on the firft therefore raife the natural note C half a tone by placing a fharp on that letter
and fourth parts of the bar. The modes of triple time are accented with the and then we have a fharp third. The next governing tone is the 6th degree,
‘irft beat in each bar ; the accent ought to be performed in its degree with which from A will be F, this alfo being a minor 4th to the tharp key of C, will
reference to the importance or unimportance of the word fo occurring, this bea minor 6th to the key of A, we mutt therefore place a fharp upon F, and -
will increafe the beauty of the mufic, and tends alfo to keep the various parts fo make the 6th degree of the key fharp; we have next to make the 7th
better together. SOFT AND LOUD when properly noticed, add confi- degree of the key fharp, by placing a fharp upon G, and then we have the pro-
derably alfo to the beauty and variety of mufic: of this little more can be per order of the tones,and femitones, tranfpofed into the fharp key of A which
faid as a rule for its performance, than that where fach words are affixed before was in the tharp key C, namely a fharp 3d, 6th and 7th degrees to the
over certain paflages, care fhould be taken tommoderate, or increafe the power key, the 4th, 5th, and 8th degrees, of the key, being in both flat and fharp keys
of the voice agreeably thereunto. THE KEYS are alfo of the greateft im- the fame, this plainly fhews the ufe of FLATS § AND SHARPS.
portance to be well underftood, of thefe there are but two in mufic, the fharp The following table will thew all the flat or fharp keys now in ufe, with
or major, and the flat or minor, and are always determined by the laft notein the place of the Mi, or mafter note.
the bafs, w! ich, if a fharp key, will be known by the plain oval note, if a flat FLAT KEYS. SHARP KEYS.
Key, by the half moon, the latter of which is fuited to fubjects of petition, A, the natural flat key, Mi in B. | C, the natural fharp key, Mi in B.
confeflion, and forrow; the former to fubje&ts of praife and thank{giving.» B, 2 fharps on F&C Mi inC, D, 2 fharps on F and C Mi inC.
a
Thefe keys are called natural when there is neither flat nor fharp at the begin- C, 3 flats on B, E & A Mi in D. | E,4 harps on F,C,G & D Mi in D
ning of a tune, and will then be either in A or C, if in A, the tune will be in D, © flat on B, Mi in E. or 3eflas on BBE & A .
the flat key ; if in C it will be in the fharp key. E, 1 fharp on F, Mi in F. | F, 1 flat on B, Mi in E.
TRANSPOSITION fimply confifts in the removal or alteration ofany I’,3 fharpson F,C,& G Mi in G. | © 1 tharp on F, Mi in F.
key, to one taken upon another letter, either higher or lower; for example, fup- or 4 flatson B,E,A,&D orgs A, 3 fharps on F, C & G, Mi in G.
pofe a tune to be in the tharp key of C, and fome of the founds fhould afcend G, 2 flatson B& E, Miin A. B, 2 flats on B & E, Mi in A.
above the reach of common voices, and it fhould be thought proper to lower the : ;
key note to the letter A, it will then be neceflary to add 3 fharps* which will OF NAMING THE NOTES. 9 ih
remove the tones and femitones ta the fame order as they are found in the natu- 4 ee
val key of C,+ to be more paiticular from A (the fuppofed tranfpofed key note) The old mode of fol-fa-ing, we confider fuperior to any other yet difco- —
to C, (the former) there are only three femitones} contained, it is confequently vered, this confifts in the fimple fyllables of Mi, Faw, Sol, Law, the laf
a flat third, inftead of a fharp third which belongs to the fharp key ; we muft three being repeated to complete the octave. Others have feven names, but
* The same may also be done by 4 flats. +See pages13and 14. ; By this it will be seen the shar
degrees, than the flat key. § Flats are added by 4ths, sharps by 5ths, w
the same letter through the tune, or to a double bar. Accidental sharps ¢
where they stand.
p key, contains one semitone more in the Sd, 6th and 7th S|
hen flats or sharps are found at the beginning of a tune, they influence every note upon
ind flats are such as are found after the beginning, and only affect the notes in the ar
of
. —.
“weare obliged to object te them, if we can produce no other reafon for it,
than the unpleafant founds of fome of their names, and the more fo, when
not only the bett in itself, but is alfo the eafiest ; If we were to afk any can-
did perfon, whether feven or four names were the eafieft to bear in the me-
ry, the latter is obvious, but others contend that by the application of a
ne to every letter or found, it is best calculated to produce the defired
id; but we anfwer, the name is by no means fufficient for this end, for
nothing is plainer than that any perfon who reads these remarks may repeat
the fyllables mi, faw, fol, law, and a thoufand others, and continue through
' the whole with one and the fame tone of voice, but we aflert, that the degree
: INTRODUCTION. 11
or diftance of found from the key, is that to which the tone mutt be directed,
aod then the {trength of the argument for the other mode is removed. But
furthermbre, the advantages of the old mode, as it refpects paflages from the
fharp key into the flat, and from the flat key into the fharp, is more than all
the fuppofed advantage of the other mode, called by fome a new one, but
this could foon be proved to the contrary, if it were difputed. After what,
we have faid, we do not expect to perfuade fuch who have made but little
progrefs in vocal mufic, and have received their inftruction through this dif-
puted mode, to renounce it and adopt the old; yet whilit others would lead
the uninformed aftray, we with it to be feen, that we have arguments in out
favour, more in number, and far more important than they.
| EXPLANATION OF VARIOUS CHARACTERS USED IN MUSIC.
A Flat | a sinks a note half a tone. inthe time of two of the same kind.
A Sharp Dn! Thteaa h ridte halk were Figures 1,2 show that the note under 1 is to be sung the first time,
Natural h restores a note to its primitive sound,
; =e
ewes —— Shows the tune is to be sung again, from that
oer part to a double bar or close.
yeat of words :||: shows the last words sung are to be repeated.
is five lines with their spaces, on which music is written.
~ shows how many notes are to be sung to one syllable.
d“> shows the note over which it is placed to be held be-
d its usual time.
1é — is added, when a note ascends or descends a line
> of lave.
a the right hand of a note makes it one half longer.
over or under any three notes shows they are to be sung
eM
that under 2, the second; i slurred, both are to be sung the se-
cond time. Q ,
ee Ais’
shows how many parts are sung together.
Preparative, or grace notes are small notes intermixed with
others, and when they are found at the beginning of a bar, or in an
accented part of a bar, are generally intended to borrow one half ot
the time Px the note which follows them, if they precede a dot-
ted note, are intended to borrow two thirds of its time, in other pla-
ces they are used to ease the passage from one note to another,
Staccato ' shows a note is to be sung distinct and emphatical.
A single bar | divides the time according to the measure note.
A brace
——— €
12. INTRODUCTION.
Double Bar —Faows the end of astrain and the endof a
cae tune.
Glff G is used in the treble, counter, and tenor.
Cliff F is used only in the bass.
Driving Notes
named in singing by note.
Choosing Notes either may be sung.
&
on
are those driven through the bar, upon the
same line or space, and are only once
MODES OF COMMON TIME.
First mode is expressed by a plain C,hasa 1234 1234
semibreve, or its quantity ina measure, sung
in the time of four seconds, or while you may
leisurely count 1, 2, 3,4; four i :
-isurely co , 2, 3,4; four beats in a bar, two OS ee
down and two up.
Second mode is expressed by a —>[— witha perpendicular line
through it, has the same measure sung in the time of three
seconds, four beats in a bar, two down and two up.*
Third mode is expressed by a g inverted, 2 ee
has the same measure sung in the time of two
seconds, two beats in a bar, one down and one
up.
ro Pe SU: Sa
Fourth mode is expressed by the figures2,has 12 12
a minim for its measure, sung in the time of one
second, two beats ina bar, one dawn and one up.
du du
MODES OF TRIPLE TIME.
123 123
First mode is expressed by the figures 2, 123
has three minims for its measure, sung in the
time of three seconds, -three-heats in a bar,
two down and one up.
P ddu_ ddu ddu
123 123 123
aac
? 2 @ 4 Pe Ph
pape]
ddu ddu ddu
N. B. The figures over the notes, as above, show the place of the beats; the
letters d u,under them, show the beats down or up.
MODES OF COMPOUND TIME.
First mode is expressed by the figures $, has six crotchets for its measure, suny
in the time of two seconds, two beats in a bar, one down and one up.
Second mode is expressed by the figures $, has six quavers for its measure,
svng in the time of one second, two beats in a bar, one down and one up.
N.B. Notwithstanding the preceding statements of time, the words slow,
cheerful, lively, &c. must always be noticed, as also that some subjects to the
same tunes will require the music sung something faster or slower than others.
MODE OF BEATING TIME. : ?
The methods of beating time are various, but may be performed by those
who choose in the following manner.
First and second modes of common time.—Ist beat. Let the ends of the fingers
fall upon the thing beat upon.—2d. Let the heel of the hand fall, and the hand
become flat.—3d. Shut the hand and raise it a little towards the breast—4th,
Bring the hand back to its first position, ready to commence another bar- Ltn
Third and fourth modes of common time—I\st. Let the hand fall with the fine
gers flat on the thing beat upon.—2d. Let the hand be raised to its first position.
First and second modes of triple time—Let the two first beats be performed as
the first and second in the first mode of common time.—3d. Bring the hand back
to its first position. eo
The hand falls at the beginning of every bar in all kinds of teme —
N. B. Allnoise ought to be avoided in beating while singing-
* This mede by some is sung to two beats in 4 bar, one down and one
Second mode is expressed by the figures
3, has three crotchets for its measure, sung
in half the time of the first mode, three beats
ina bar, two down and one up.
ieee ¥
Be atest
Ve Ss
of dat RE i ) ——_—_— ‘AS
Sol.
Faw.
Law.
Sol.
Faw.
M.
Law,
Sol,
te star iwMi. The Oval note Faw. The Oval nete with
Fou characters are here used towit 445
done the half mem Law.
° Bass, | The perpendicular line throigh it
fa)
go time
linds
Senibreve rest fills abar
Tn atl
oh a
ete
ite
Or 32 Demisemiquay:
MASE SES
Or 16 Semiquar
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|
ar aro So oor ot oT oo oo tt oor Se eS a — '
a steht fw tt | | 1) 1) | Ee
Sing to the lord ye distent lands, Ye tribes of evry tongue. His new discovered, grace donandsAnewknobler Anew kc A new and nobler — song.
HR re et a ee eT
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Tong: :
MISS: “LANE, C.M. Shrubsole.
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S.M.
GERMANY.
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All heal redeeming Lord.
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18 FROCK HAM, OM. Snuth
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19
oc veil the sky. And dec.
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Over the heavins he
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SLREE'T.
Laid au the Manee both appe
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Address the lord on high
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RUSSIA
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men Whig deqreeThe baser sort are vanity pf
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Ye that delight to serve the Tord. The honors cflis name record. His sacred namefor ever
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TAMIL | POU @ 2.3 aa > RSE SL
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This tune may be sung to L.M, hy repeating the Mae and fourth lines. “ofthe words.
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4 Se Bg
Now wrthe heat of youthijil blood. Remember you ve
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Ye clistrart lance, te tribesofev'ry tmagne, Fis new disewell grice demands,
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Sid whatts yea poor
His life a shadow light and vain,
the earth at first,
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chain.
Fast wm his slavish
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LITTLE MARLBORO, SM. | Villiams 25
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. Ts this our mortal frame. Our life haw poor a trtfle "tis Thet svarce deserves the name.
Fe ie
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Raise your érivuanphemt songs x
Let the whele earth resound the cleeds Celestial grace hath Bone,
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Regs nun ’ rT] (+44
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S [TE ine Te? Jo.
27
shine, Toprovethe doctrineall divine;
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Rwame
Martin Luther.
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LOQ. LM.
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BEDFORD. CM.
OLD.
=
=
hymns of 704:
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Praise ye the lord with
= a
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BROOKS.CM.
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O that the Grd would guide ato keep his statutes still,
N E WwW SAB BA TH e 7. e H Phillip s. Qu
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Sinotothe Lord. that halt the skies. Thelerd. thatreard this derishy, frame. Let sheeted dnd lands unknown fs ge €.
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NEWT ON. se Banr tty
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wma JY shall
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of all he names
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Jearest
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DU Neer A SY. LM. Dr. Madan,
SEs eae a SS eS SI a SS a Gd i ae oe ee a GET TS
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v Jesus shall reign whereerthe sun. Does his suc cessive Journies run, Hts kingdom stretch from shore to shore. TAL noone shall
ee ee ee ee eee 4 = ae SEs Se SS ee SS CES Mee ae
ey te = Cet Seema eae me 2 BO Be Res | EE Se SS SS SO “ > ee a a i [ay =e —— cred
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SES A GED AR 8 OS RS SD GS ND OR oS Sw GS SS > oe Tin SS . St See ee ee ee ee eee «a
SERRE ee See a
Hispraise your songs employ. dbove the starry freane Yourvoices raise ye cherubim And seraphim Tosing his praise
~ * x S Oo a ~
a a en “Se a SES Be Sea OF Te ENN ee ee A ne
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BRID GEWA.TER. LM,
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1 From all that dwell below the skies Let the createrspraise arise
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SS a SS BRE TS Sh SB wae 2s CaS a re Ir
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Lat theredeanersname be. vag] here’ evry land by evry tongice
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ut the bright-wortd to which go Hathy vjoys substantial & sincere. When shall Twake When shall Iwake. andtind methere.
a
re
7 wei ot eet w Bes ES SE at WES a) mea et T_T Sn mes &
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MESS: =
wre aon =
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rt sth et at ot et tt ae tt
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Let evry heartprepare him room
: ) fEPSPs ee o> ye oa
PtH = ees oe) PT oi Rw
= ee =o = Ee Cs) 2 Oe rr -_- 2s
BU ee Le ee oa a a Sa LO AY So ho = eo Oe
t Joy} "0 the world the lordis®”.ctearth receive harking. Let ev ry heat Let evry heart prepare humrown. And. heav'n denature sb
Ca PS aE a air Ss a ee ae ot ee
rr mS ee ea i
Let evrypoarrL et evry heart preparehim rome,
wo om aT oe ee a Le [ao oe a eo a — waar
Cee Oe 8 ee ee ee ee ee ee ee =a
ORL SS) a ee oe ee Ce Ct aS ee ee ar-vae
t ke Let wry heart prepare him room ,And ke,
6 BRISTOL, BM. « Maia,
y-ray, ee eee PES aah se So ; Loud |
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au CT a LS) 3 Be j al BE BS | H+ | 8 FE ze : or oo os oo co | ad le i a
7s Ay,
Lo zesusthe SAVLOUBTS BOI .
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fo Somat bs ow eer bw men ef EE NT Tet oe ee tee et pe
Lift up yaurheadsivjayfil hope slite the happy morn. Salute ke. ah heavenlypouerproclams the glad hour: LoJesus kee.
a va ee ee arn “ ~ iN suet Pugs Le od ptt 28%, mH .+?
aw. tH Ag 1d 1d Tae coy a Ps Ji k=, a
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2 . . ESF a — ! 3 negne. , = 7 ee
Lessingstor ever onthe Lamb Whoborethe curse jorwretched men Let angelssomd ligsacred Andeviry creature sayAnen And evry bee
. a .
ool i, a! 1 ae ah TF rer a JP 0g? oS > SRS Ge 0) ie Ser Ss SF ae 6 a ES ee P Was
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om Ser an Pass fv Les OL a pe a Bary its @ Ser ae eee |e ee aa ae ee
With. the dotted. slurs.CM And eviy creatiare say A..men.
a (lhe fre dotledhl stirs MM. ;
ero ; ADES TE FIDELES. PM ew Ltedstrs.LM.
—_——
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BE Oty ow) SS SD ER PRS eT Pt ta
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4
hastewith sagsofbinmy) To Bethlehem. GotheLord of life to meet.To
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hy >
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WILLIAMS STO WI WN. LM. 7.2
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leach me the mesure of my days. Tho maker of my frame. I wold Survey lifes narrow space Ani learn how frail I an .
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Come let us i our cheerfiel men angels raauil the
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o
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trneTen thousind thousuu are thertruuetiit all ther joys are one Tenthatsand thousand are flr mquestud all But all Ul their ays care
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Edsav 45
Edson.
te come the
mm undated
The year&«
jubilee .
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of
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GREENFIELD a 5/3”
God is ouarefixgemr distressA presart help wher dangers Press.
comeretian ye ransand simmers home.
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praseye theLord .
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77
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SOARS a ee - - tial a
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courts with sounding praise Shalifillihy courts with sounding praises
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deeming love }é alasttoo ling have beenrmlling slaves f death and sin Nowfiom bhfs no longer rove sty and taste redeeming love
S SPS | a Cee os
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The heavusdatan thy pory Lord. In avrystar thy g
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yd cle 2 Es
(CUE A ET. 2 ea A ++} —_+ ESTs CD 6S Ga DT SD ee 6s ae eS
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= 2 Dl SE El 4 (ae 32 Ga Ee Oe es, Ge SB ee Be ES) |) eee ST Ie a jester
Lheatd a Meat os (a hearer Wittenom hence porth is Blefied ac the dead who hemtléLord ~— Vea. saith the spirit [ee TEST. fer they
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saa 1p = ) Si Sa WED cS i TH
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a a ae
ET: WZ ALT | I Oke TL: Hf, LO? ‘i , _ Wainwright.
Co eS (Se) ares fen ag 4-6 = 2 hi EY RY EE =
6a Se SS ee ee a ee ee we Le ne Ses ie eee Po ee
eh 0120 9 fe es ee ee 2 ee On A 0 Be) a 2 es a ee rt Bera a me T Bas Ses
i SS 5818 Spas alee TTS) (EE CO ee ed A SS LN OS 8 a 2 Ge | es Bd a RI EE
(alls the south nations awakes the north Thro' distant worldsscrequons of the dead
a SS) SS PT aD A ee! a Bl eS OS ee ee et ee he ee =a
LAS a et — 1 aS sh A Bo ee ee 4 ee er
RS DES 29 ee oe ee 25 URN REAL IRRTRRSNeY a camEENAT RIES (EET | CS BED CPE Be ter ea ee SL ET SD Pt st
TheLord the sovrergie stds his summons pre
From east to west the sovragn orders spread: Nomere shall
Ce A (¢
BE See = ay af ae BE a 2
pt re
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Ais vengeaur sleqesnanrore bh ald the day
|
Adw the raid heaven
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PORTSMOUTH as 1484 Handed, 11
a a YO SS 2s SS CE eee ae ew a
KL} 2 —_}_ -—. — ee —— sc enescrte oe a ae a 2
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= ite a oa oO Coe — a Se Ae Eee
a
+ pp » — ‘ a X > at. ; ; er
Me tribes opidan jour — with heavn&earthkseas and ofjer notes divine, und offi notes Oe in to your Greamrs
__
8 OS Se eer 2 eS SS A SS oS oe ek iP ae
6S Pe SS GR A a Ts a Se ee Ol ee 7 pti ta
Se LS 0 © 2 ES A: ae oe ee SS ee ee ae a a We Be ee ee Oe oer oe 2. Se Oe Oe Rem EE FOR ae Ee a AE
=— es ee 7 2 a eS ees SO ee Be eer - RLS Sa aS t+
ae
fod
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ef a ee] SS ee OE < L candeadl
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<a = — aw ve are ata toe ay Gia i oe
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Se Se) Se eB eS eS eS 8 se ee ee 2 ee ee ee i Lik a
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eee Soe ee ht oth
Some Le ee ee) pe i} SH
a ot a a fl a Te a ET ww 2) ee Sa A ba Re Oe ee SSeS) Ce es ee
~~ a, 4 ~
dol ear JBI LO CKIAGY, 35.51. Madan?
3: 2 er ee ee SS SOE We oe en ee Oe A ee ee Se Ee a er
0.00 eee. Oe ee 2 ee aS = =a SF Re Sie a oe ee ee ee ee ee es a
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2 ee ol TE a ‘eee Be 42 Frew 1 CAE SK TAA OE TEL O_o ee ~ ee be
—— , i
UO tell me ne more of this werlds vant stare The tame for such tifles The tune for such urfles wih menowis oer wth me now Ls oer
g Ge HE ee = [x >
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a =o
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we,
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CHCUTATEVE ge CL Ay AL peu hee oe ; Sot,
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oo 1S 2 EEE 0 eel
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d— pp
4 fiist Ni " ' : : is
- 5 2 TP RRS UT CLES Dae a =
et eee eee Sarazs gS aaraisemesees = —Th ee
EL = i ce ae = eee aae ieee Eset ~-- —~--
hey &X low hefe vehi sje tytool aul hedeed was doneMelambwasrstantter prommung carthine Methen bor He rosehelives he lves ta reign notin tall duikelus endless font Fl.
. . af eae
© @ -|_—__ [4 8 ~» FFT a ae ES TS 9 OS A ees ek ee —— Tt
Se .4 2 5 Oe ae ae 2 tt tt} ey ets ard He eH SO) SS) a oe x & sat
oe OO AT ol EY ad ae DO a an> 820 = oe mt ae oe om To
a SCL A A LS WS 7A WS RRL SL ERM SELL ot ee er = ar :
rosehe liveshelives to rege narhinéshallshale Masendlesrpowr higher still higher swal the strain Creaumsvoicethenotes roleng the lamb shall va evar reign let Hallelujah
® . 4 x ‘ . ‘
= a Z S
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=———— PE ee Pe ty ea eee ee
fore a Ss a=s —] ‘a
a a SS AMANO fn se a a a a A an Sl aes ma I
rrawh the song Halletu jar aAmnamdinen Hatlehgah nen Hallelujah I: it Ue W
, we = ———— ow LBA TR @ ee [aed Ke Sree Cees ee EE ee oe a
2 eos _——— eI SAD A) O Se eS = = See an a
et i 2 Ee Be (EN PE wie mG = eeeomnese.2 <.2-us ——$—<—f
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6. SSeS Ss wee 61 Se AO, Te YAR eG 1b eer 2 i SI ER. a amr
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SS SS OS Fa PS EY es a a a 2
Halle - Inyjah anven ane Hall lig .rh wilen
et ey
RSS Ste ee Pe -
hell a ee a ow oe —-
linen. Ui. WW Muilelujah anten, If Halle Leagah. Uh Ht bog. Hallelujah amen
a ral ’ 4 . , . ne
Med oh 0 OMe { = : =ee =t- (ee Oe wr ae ls — ot or Same oem gee A
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wan mma n ; ° —-
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= EL» ee a
« , unison
14
F iY j y G : rye
Cheri —_—_ a in LUELLA, Psalm 2 42 WNiliianes.
owe 2 OQ. wos peta jake
in A 0 @ 6d 61 RS DS ee Ee U Gil ff (7 GEE ET Se ST | TO a
Saree ———— ose ee cS Se ee Sle eae St Pee : = p— | pose]
= — p= rr 5 te 2
dai Ss your heads 0 Ue... gales rye gates and be ye iy jb ye everlasting doors : and theling of Glay 0
ii run iy) | igetiag a fy) ‘ ee) Uy,
acm = KC CEP CP Pa Cs ae FT ¢ Jae PEE es 6 eS
QE mee BE ot ee Sr
ix —— : ‘ ae ae . : Nats
| L Lik aye your okt 0 ye gates & be ye int iS ye qaeie)
€ Gl Ou TY
ths the Lord
wis the Lord
o i x Aes Ah
fz = | sas mars . ee Con La :
a. A SESEE = titest : cPati = . Sia JET aT @ eeepete- rasvieaar =
it 1s the Lord mong 0 mighty dm al of the sword. Ve ccrth 15 the Lords& alvthattherv in
Al\ivs
[epa ae
the seas and
5
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ome 4.2 TS
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For he hath jounded Lt won
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that dwell tharin
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