Federal Harmony by Asahel Benham 1793

FEDERAL HARMONY

_ r

CONTAINING,

IN A FAMILLIAR MANNER.

- +

THE R.UDIMENTS of PSALMODY,

TOGETHER WITH A

Collection of CHURCH MUSIC;

I

e

( Mojl of which are entirely; new.)

By A S ATiTE~L~B~E N

\ ~

\

THE THIRD EDITION.

New-Haven: Printed and Sold By Abe± Morse ;

M,DCC,XCIV, \

*

r »x‘V 4

Images.

3 2

16

N

,37

54

1*8

' 35

39
2 S

5 >.

— >

2 0

^ J _ x/itT'L jC;;

Tunes Name;

Felicity,
Fairfield,
Friendlhip,
Grave,
Huntington,
>4*5yf?i 1 Sound,
Lanefborough,
Montgomery,
Mear,
Mortality,

O can,

Old Hundred,
Pie a bint Valley

w

Providence,

Roa ne It,

Recovery,. ‘ •
Sv 'p •= t Ev v

E

24
21

55

25

3 °

24

41

r r^rS^arsarartiac

Pages. I Tunes Names,

5 2

5 !

34

40

17 I

4 1
1 9

n i

.'’' 4 ''nVA \

Symphony, » 37

SaintsRepofe, fjojf

Sounding Joy, . * 24

Silver Spring, 9 U>' - 1.51
Standifli. sr. 29

Trumbul, "-.v 3$

Trumpet, c . * 19

Via of y, £ •' - v 33

Wethersfield, 20

Waterford, - 42

Wells, ■ 4 3$

Wa 11 i ngsford,, 1 £

Anthems'

«

-H o k vou Mortals ; 1

My Friends, I amgoiiIg <p>

y/vw^, k

-^llDCr-t

4 rj)8(^e

— 1 -

•> fpaocfcc
-^iine r - b -

-

f line, e-

jtef

.3 fp?Qi d
■3 iine.- -fc-

7en<9/;

■»fj\n e; f -
-ffosC-,?

1

G:CliiF#^

4 iU-*

^gce, c

V

p . j p au?,g
y- —e-

Clin es-

.> f pace, e
9 di n er , d ~

•*rr

r> v

' 4

/ fpace, a
•—?—> Mme; —6-

5CALF of
Music

Ex/ihiuttfi*///..

TheGcliff is placed on the fecoudline
InTrdble, Co a n te r a nd Tenor, wh i ch give*
ii the name ofG.

The C cliff when ufed u plecedon the

thud line tnOounieT.andgivesitthenan^

TheF cliff is placed on the forth linein
Uafs and gives it the name E
TJfd'feven ftrft letters of the alphabs r
aie called the mafical letters, they u
J)Tpfent the lines and fpaces v^her^
on mufic is wmteu,aad indicate fo ma
ny daftinctfounds.one above another,
and are ufed in finding mi the an after
note by beginning at the firft line nanf|
ing both lines and traces by the lette*
-rs upwatd.

The ft ale Hums how th* four parts
of mufic are connected.

CbfeTve that G the foTth fpace in
Baft, fecondline tneTenor.andfrrft
fpace in Counter, unite in one G.at the
tight hand,concequently they are one
found,and are an eighth aboveGthe
firft linein Bafe, Cr thefecond

W?'.'. /d) to //4V/ t/td M' t

,l T*ie natural ■>!«.« (or mi is in._B

4

but if b be Uat me is in _ _&

PB and K mi is in _ .- - - A.

[if BE/und A, mi is * >— - 1 >

if BE A and D, mi is i n _G

if BBA3> and G. mi is in_-- C

ifP.be f.lar;. mi is in..F

ifEand C. mi is in

ifFCanaG. mi is in_G

; fFCG. and D. mi is in_..P

ifF,C,G ( .D andA,mi is in_A

line inTreole andthe.ftfih iine in CounteT ate a unifon

andarea fifteenth above G the firft line in Bats.

Vina , the G cliff is ufedxticoanletitsconnecu.^vvtih the
othet parts is the fame as the Tenor.

FhecrdeTof finging reliables
above mi are faw foi law faw fol
law then mi

below mi law fol faw lav/ fol
then mi again.

7,,?r Yf /?s/(M-

flat bat the left, o fa not* -- - ~r _ -*

finkiit half a tone
fhaip^al the left of a
note taifes it half a tone
natural ^ at the let! Ofvi
note before made flator
fharp TeftOTes it to its
Jjprimitive found

V l f

f 8

,ys',//.'Yvnvj

Crotc/iti, f=

f l/ui yr.t

,.l< lifUlUllVi'lTlfc.

ft* U* t L

A r oft’.). Chanutcrj .

Dot or
point •

F igure

*/

Choofing v
notes. -

Markcf

Jeftinttioii

Stave =
Ledger line

Off

/

:7"'" fc}-:

> ott s are-mark" c.f found „

|»

cue feu»i breve i» equal in
thru to tvro srJnmjS.orfour
c I'oU hets.or e ightyuaver&or
fixf.t. ax f-mieuavers,or Unity
t- 0 do'-' 1 1~xf\< iqv-aver;. I;

a tv *’ : a» Lr of fHence !•
of the/' -me length ia time «*• |
the notes* fotwich they ft and. it.

B race

Shir

YE,*/t/n/t/tfii’iU . T 4 .ua

at the ri^hthandofa uote^ p~P_- j -J- c ■ |
makes it half as long again *^*^*1

fhows tlr’t the three notes ate to be lung in ~pj
the time o f two of the fame khuh.i th ouU'SSf

either maybe fung.but nutbothby the ^=r~
fame voice. Ez±?

fhows that vCuch notes ale to be fung lEnri
vety deftiuct and fnipl atic. !_]_

f iv<_ lints with the ir fpnccsAvhere on p« -
mufic is written. ■iZL'j

is added whtn notes afetnd mote than a i - er^

dep rtc above,or<Ltcnd rcotT* thau e do '-t—E
gree below theXl<vt v _ -

lliows hewn _anv parts ate fung togetlteJ ■ 1

ties two or mare notes together which
are fung to one fiDable. .

K.A'atu/Uiit .

> *

Smglt bar divides the time Into e^ua] pro])ortions.

V

Double bat

fhows the end of a ftrain.

r --

Cluie

±z±

► i» ol m

fhows the end of a tune.

C 7/v//w/<"/v. HLxyt/a? .

Shows':, that the roufic between it and the following double tar or

iepeat.

clofe.js to be fung, over again.

fhowsthat the note,or notes.uriderfigure t is to be lung beforehand •
figures, ^ O the note,ornotes,un-der figure £ when repeating; if flured together?

all are to be fung when repeating.

Fim

c

Commost-Time Moods.

m

contains one femibreve,or its quJifility.betwteneaoh fingle bar. and
four beats, two down,and two up, four feconds of time.

Second. contains one fernil* neve, and four beats, three feconds. 1

fhirdi. J c attains one fcniiLiev<?. nncf ttvoheats, one tiowitfttul onttyttwofecoiulsj

Forth. Q contains one n,iri1rnTand two-biajteohkecond andan’half c

Tjtrpj^i: TiaPic , MY>p tJ~s \ t

3 tontfit'Houe pointtftipibjne, oi its j/uantity between eaclitingle ,
i 2 Lari and three beats, tv^dtvwi, and one up, three feconds of time. t

; j^cond. A contains one pointed minim, and three beats.two feconds. |

a- * ; *

hird . ; J contains one pointed crotchet. an<l three beats, one fecomi and an-|

' . 8 -half;

irst.

•cond.

Firft,

Second,

10 C/i& txf cfft if. jEx/danatto/i. t Exatn/t /hj

Com potted Moons.

Contains lixcrothets in each bar, ^ — l —*—--

Fi rft, 9 and two bea ts one down and one up 5: -i~jj

/■' . ** two feconds.

S?'~

’ Second, £ Coatsras fi* *w*r. «rf two lets,

3 one fecond and an balf. -vVvVv /I Htt- rr

N.B.the hand falls at the beginning of a bar in all moods of time.

Notes of fyucopationX are thofethat are dt iven [jp :: ^-rr-4T^% : '» /'P
ihr ough,or out of their proper order intkebai;- ^ ' I ^rl pq~
Which requires the hand to'be put dowmorup

while foundiug. —tt

" EiW,/ Modi

o

Aq'o . j

There are two natural keys
in mufic, C the fharp,or major
key, and A-the flat,or minor
lcey. il the la ft note in the ibafs
is the key noie.which is thefiifi
above^v below m i, if above it is
a fliarp kev.jf below it is a flat
key; orif the la ft note of the *
bafs is favv.it is a fnarp key,if
law, it is a flat key.

y/i///y/ Key. F/o/ Fry.

1—

GENERAL DIRECTIONS for LEARNERS.

I TS is reqnifrtoej&ofcaHWilli to make any- tolerable proficiency in Psalmody, firft, to
cot a good nnderftaaidirtg of? its.fundamental principles, conraihe&I in the Gamut. The learn-

Xge-t a good nnderftaaidirtg of? its.fundamental principles, conraine&I in the Gamut. Thelearn-
eo: may \vith>.prcfcpriety, at proper intervals, while>dttending ; to the rules,'begin 5 to cultivate his
voices by raifi»g^^|rtallnig the eight notes. He malt obferve, that between mi and faw, and
law and &W; :alcert<Jing, and between faw and mi, and faw and law, defcending,.are but half the
diftance as between the other .notes. The mi, by many fingers is improperly pyonounced'an-ec.
It fbotild be pfonbuheed as with the fliort i*; Which is a medium between mi and my.

Sol ought to be? pronounced foie : The other notes as they are fpelled.*

‘ > ^ ' '* ' I * V • V w ^ *J|£ ^ -•«'*# /

.The-dearner niuft end.eaVor to make, his voice as clear, round, and fmooth as pwiiHle ; neither
forcing the found as though h# had no palfage through the nofe nor vet blowing .the 'tbim'd be¬
tween flie teeth with the mouth fhuf.

' ■* v ^ • J . «

* Some lam fenfible, have'an objection to thefe dirediions; but I find by long experience, Vxit, 'at fi- ! ^e, s
contract a bafyij of making founds when finging by note, much fo they make thoj'e founds when jingutg by
words.' '-Let any one pronounce la. or fa, and they will articulate near the end of the tongue, and the found*
Ttiitt be fiat and injipid But' let them pronouncefii'w or law, and their articulation will-be in the. threat,
'Vippre founds 'oughtio tie made j* ta ,ren*ter them ccrnmamding and agreeable . It hatung/tifbnfitr.piijpipf

, _ HBrpttghfifoe founding organs,comes forth more like.t’hr foft melody of a jhute. '•

f t:'wp{4j/iQ&t^mgJhrj>u.gih the nofe,,when 'in fadtj/xfnofe is a. neccfiary'ergaf

ol'fiHtnd.

. •> "d .• *

.. r"

* . « - *

* it" ' » .. .

- .rr* .v

-V

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Having committed the Gamut to memory, and become perfect ift raifing and falling the notes,
the learner may proceed to pra<5tife upon fome tune, which he is, not to fing by words until ho
has completely learnt it by note. He muft be careful to pronounce every word diftin< 5 tly as
pollible; for where the words, are not underftood, the beauty of the mufic is in a great meafure loft.

A gramatical pronunciation is highly neceffary and beautiful.

Vowels, which are iilentin fpeaking are filent in dinging, as e, in fitch words as often, foften,
people. Almoft all words ending in y, fliould be pronounced as if ending in e, aslofte, mighte,

lify, fan£tify, certify, and fome others are exceptions. The beft and only rule
fpeaking or tinging, is that which agrees with the ftruSteft rules of Grammar.

heavenle: Butmiagi
for pronunciation in

•f f

A round, full pronunciation is moft faniionable in fpeaking and is'much the beft in finging, as
ends to open and prepare the organs to render uich founds as are agreeable.

Accent is a certain emphafis of the voice upon particular notes or parts of a bar, and is a great
'‘ mbellifhmcnt to mufic when ufed with propriety : Tbe firft part of the bar is called the accent-
t J partin all moods of time.* In common time where the bar is divided into four parts, there

yinr.yfingers, indeed I may fay many yotmg teachers arefo biggoied in favor of accenting the firft and third
i ratchets in a bar of common tunc {without paying any regard to the wordjibal they entirely defiroy the de -
(f accenting, and make their finging go like a perfon with one leg fierier than tbe other. Some have
rn gene fo far as to praSlife accenting the firjl and third parts cf a bar of treble time when it is only divid-

/

Cl

4

< *1 )

may be h fecond acceht oh the fourth part. In any of the moods where the bars are fub-divided
cents may with propriety be increafed.This is undoubtedly the beft general rule that can begiv-
enfor accenting in mufic; becaule emphatical words and accented fyllables generally fall onthofe
parts of the bar, efpecially in Anthems, and fuch mufic as is fet to particular words. However
there may be inftances where there ought not to be butt one accent in a bar of common time.
There may alfo be inftances where there ought to be more than two accents in a bar of common
or treble time; but this depends on the length of notes. There are inftances likewife in which
emphatical word's and accented fyllables fall on the unaccented part of the bar. 1 he accent of
xnufic ought always to coincide with the accent of words, and not the words wrfhthe mufic. To
accent a note which falls to an unemphatical word or an unaccented fyllable, becaule it ftands in
the accented part of the the bar, is nfaking the words conform to the mufic, .which deftroys the
fenfe of the words and renders the mufic unpleafing. >

Let fingers therefore, pay as much attention to the words, as an accurate reader would if reading
them. In fine, to accent luch notes as fall to accented fyllables or emphatical words, let them
fall on which part of the bar they may, is the heft and raoft natural r ule, and the highelt perfecti¬
on of accent.

t

The fwell is a grace very ornamental to mufic, when well performed. It fhould be ufed by
lirft ftriking a note with a foft voice, then gradually encreafing the lound until half the time i*

ed into three parts which bring two accents togeWer, and is as inconfijlent in Jinging as in reading.

:( } 2 )

■'expired; then decreafe the found in the; fame prp|)ortiqn ;ufttil finifhjed.;; Hened a femibi'cVe ad¬
mits of a more extenfive fwell than a ijwninij; a miin,mi;thari .aejothet; a crotchet mor&than *&_
quaver &c. which is perfectly ppp^ftejat: For \kty*WM/ky(§¥P t® be foundedap $allasfesnibre ve*
ought to be,it would be npoVe like coughipg than.tinging* >Thftugh e.vjdry .npfe fhould haveitf,
fwell ; yet, in my opinion, no one Ihould have tvy.o^fvivellsjbut where there aije.tuiropr more note*
of the fame fyllable; Each fliould have its diftinfit fwell, andthat/toencrealedon every-note, 5e-
ipenally if the other parts are engaged or engaging. ; - t ::Q : :*rrs-;j-.i. j t o r. . -

‘ There are feveral other graces whichihave a pleafing efFeit, when executed dtFaf curious ant
delicate manntrs ; but as they are entirely impracticable, fori .learners, T pafsttheir-explahatioh
Indeed, whenever they are learnt by*any .givencrule, they appear;f© iliffand unnatural, thk they
ornament mulic no more than affe&ation does agentlem^Ri: Such turns atidfaumdurs of the voice
as are ealy ;md perfectly natural, are ornamental: Art is a good alliftant when it has nature for
its guide';- but when it takes the lead it runs away with all the. njufic, ,turning of thirds

up or. down, ought carefully to be avoided, as it makes difeords where the Compofuiftldidnot de-
lign to have any : For inftance, fuppofe any number of the upper parts to Itandan eighth from
the bali, then turning a third up or down'will produce a ninth or feventh; or if.ijtliey .(land, a

• f* i f* , i nn r* • « • • • "

third, then it will produce a fecond or fourth. To ling jn concert the high notes ip alfptarts fliould
be founded foft and clear : but not faint. The lo\v notes full and bold ; but not harfh. The

voices for bafs lhould - 'be grave and nVajeftic; for the'tefior'fteady aild engaging; for the counter
foft and captivating ; ’apd for the treble, trahfyortVng add-ah^elrej 'a v*. v. ' •/: v

a

•b»

/,*

0r

»

•A fplo fliopld generally be fun'g foft, arid, peculiarly graceful. When the mufic fuges tht
llrengthof voicelhould increafe on the engaged part or parts, while the others are falling in with
fpirit In which,cafe the pronunciation ought to be peculiarly diftindt and emphatic; Wh 'i
words or mufic are repeatedthe found flionld increafe together with the emphafis. -

The pradtice of finging foft will be much to the advantage of the learner; as it gives him an
opportunity of hearing and imitating his teacher; and is the moil ready way to cultivate his voice
and make it melodious. A perfect underftanding of the time is of lo mnch importance, that
without it, ’tis impoflible to perform accurately eipecially in a concert : hence ariles the necel-
fity of amotion of the hand (called the beating of time) in order to give every particular note
and reft their due meafure. The two firft moods of common time have four beats in each bar
and may be beat in the following rpat:n?r, viz. Firft ftnke the ends ol the fingers on the thing
beat upon; fecondly, bring down the heel of the hand : thirdly, raife the hand a little ' i; and
. fourthly, raife it ftill higher, which completes the bar. The moods of treble time have three
beats in each bar; the motions to be as the three iirft in the fir It and iecor.d moods of common 4,
time. The thirdand fourth moods of common time, and the moods of compound time, have two

A

beats in each bar, one down and the other up. Let it be obferved- that the hand is not to reft

* That the pupil may better difUnguijh the beats in the firjl and fccond moods of common lime , It may be
•well in railing the hand for the third beat to carry It a Utile to the left „ cr.d jer the fourth bring /; bach to

the firjl pojitiffn.

( 14 )

in any polition while beating time but to be conftantly In motion. , Fina^y, to fun) up every
grace and ornament in one, is to be eafy and unaffeCted in voice, manner and expreflion: F all
naturally into the air of the tune and fentiment of the words, let them be of what kind they may
and to Execute them feelingly, without affeCtation, grimace, or any apparent efforts, but fuch
as are expreffive of the truths we utter.

> x

W +'

A Pf aim from Mr. BARLOW'S Imitation of Bid facredpraife in ftrains melodious flow,

the Pfalrm of David. When they blafpheme the great Jehovah's

(FOR BABYLON.) namfc*

A long the banks where Babels current But how in heathen chains and lands unknown
S\. flows, Shall Ifrael's fons a long of Zion raife?

Our captive bands in deep defpondenec ftray'd O haplefs Salem, Gods terreftial throne.
While Zions tall in fad rememebrance role. Thou land of glory, facred mount of praile.
Her friends, her children mingled with the If e'er my memory lofe thy lovely name,

dead. If my cold heart negledt my kindred race,
The tunelefs harp, that ,once with joy we Let dire deftru<5tion fieze this guilty frame;
t ftrung My hand fliall perilh and my voice fnail cl&fe.

When praife employ'd, and mirth infpir'd Yet (hall the Lord, who hears when Zion calls

the lay, Overtake her foes with terror and difmay,

In mournful filence on the willows hung; His arm avenge her defolated walls;

And growing grief prolong’d the tedious day. And raife her chilAren to eternal day.

The barb’rous tyrants, to increaie the woe, ‘ " - .

With taunting fmilps a fong of Zion claim;'

% .

A HYMN for

O Praife ye the Lord
Prepare a new long,
And let all his Saiitts

In full concert join ;
With Voices United

The Anthem prolong.
And fhew forth his honor

In mafic Divine.

Let^ra ife to the God
Who made us afcend.

Let each grateful heart
hrult In his king;

Fcr God whom we worfliip
Our fong, will attend,

And vie .v with complaicencc
The offering we bring .

WALLINGSFORD.

, 3

Be Joyful ye Saints
. Suilained, by his might
i And let’vour glad Song
■Awake with each morn;
i For they who obey him
Are ft ill his delight,

H is hand with falvation
The Meek will adorn.

' 4

Then praifeye the Lord

Prepare a new r fong,

And let all his faints

In full concert join;

.With voices united

,The Anthem prolong,

And fhew forth his hono

Iiimuftc divine.

i6

Aitipoiiitim- Pf. jo."' jD.W. P.M,

lit (/if.

Ch? ngey vainUvibyont caoofoAA*Q4u ? -m end

Change-

Tiy to the Skviouf mahe the jodge your friend, Then Join yp fiaijttl^ake etfiy chetfal pafTton;When'ChT(lLT^tntirfhe comes fTryootfelvp^iv

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27

/ Behold tlw judge <SeCcendthitgandsefemgJiTeroyeiufeftte attend himdowatheftcy HewneafthdhettdiawneaiHalithing^ Toheat hi*

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Lai'iuhen 1 Ciuni thy mercies oer They ftrike roe with fxnpnfeNot all dhefand tbaifpiead theVhoie'Ib equal numbers fife.

sfd/hhj/i. Pj: s:'‘ n. iv.

C. At.

29

TLard.ia the rcorntng.thoafhaUJieatmy vote© attending high. To thee will 1 di--teumyprayr. Totheelifi up my »ye.

IPwri/H/fiM* Pf.. 7 if D7W ... L. AT-

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Loii what a thouqhttefswTett^aaslXomamitniumwiArepineTo feeti)e«ickedpiwdonhighjn^iide&Tok-Jof*ijujatthw! . #

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Bat oh their ewltheirdjeaAfiil^iKniryftnctua^ tsuiqmroe (b: On ftiypty mc ksjfe ethei u frami, And firytilbro 10-II bo lou.

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When marching to thy bleftabodeTheTOndriirg multitude taivej cl The pompons ftateoftheomGod in johe_ . s ofma^fty a ray’d

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r mi

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^ioud Infiumeats^ between both troops 'a ritgta tram

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Svreoi ievitas led v Van load In ft taroents b taught up thereat between but* troops avtrgin twin with Voic UiuLnl

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“Sweet ringing

^Attention.-,. Hymn. D . ftT C. Jf.

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Ye l(ng mencjii.eviewye groand^ie%v?Atoufllviewy around

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Hark fro mytDinbsa AoUul found myeats arteudy cry

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Ye living men

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Ye lining men comevie^ygtounAviewy ground whejeyoumnuinOit

ly tie

LIMI

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viewy ground

viewy ground

iti

til

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Ye livingmen

view y groudview y gtound

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33

Hetalld ftfrdatkneftdarknelscanne nature lmfuimrioi»6> toew^chlakeaixlf6aittt7anff<xn4tobtoodyTOoddngftih&’Deff.ifl putted

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at pharaohs board an

flood* throughout thehod the peft of ftogswas breud/FrOm notfomfen* Cent up to CTC&k

atphataohaboard and led.

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ir igauBfsniSi

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i kiln

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T hit hfesadrearoanenm^flKXvbut the bright \,vo rid to vMch I go Hath joyes fubftantial and ftncevcwhen fhall I wake and find me there.

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Yevationsoundyearthrejoice, Befotey Lordyour fovVeit^a ktttg;SeroeJum withcher(illheat tfooice with a 11 yonr tongueshisfcloR

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B e- hold the motf ningfun begins hi! gloviou va ^;

H i» beams unoalkf nations fan<&ttfd&ltphi <4)nveyAl\fc& ugldcoovey.

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Decthisto cs a /WeettepoftThe bud^^s^teadtofhe^f^ofe TiiecagewasbTOkioletusfI)r^Lu\l5nr]iappynefbn high.

ThenfaidI —

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The faidlOtonnount away &leave tMsclogo? hearsay i r ttnagsof tinne r ncTeftrifUyfly That I mayjriingfogson highTMu

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the Liotd M j ftvioar %n

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Rom vain de Cites <$oevivlttft Turn

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Fronv vain deft res and ev ty luftTuni oft thefe eytjsotu.v

ever^ luftT:“n olfthefe weja/>of mine.

From vain de fir esand ev—ty* luft, from vain defi res —

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RetmnOGodof love TettftnEaithtaacuefoiiHplace^How long fhallwethychUdTenmoraOurajfencafrx.uhjface

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HetmnOOod of love retain

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'Iiiemotildtifli3>-*J Lie

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How pleafd and bleft, «pvas 1 , To heat she people cty, Conte,lei at feel; out God,to day; *r«

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ITu t kyou mo rtals lieary trumpet

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founding loud ynughty r oar

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See y putple bcsnarflpifc

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moteSWloudtrumpet MflODdiTampet

Herr v judgroentchiriot tell

niMn

pea r tell a§ fenphepu that wondted fee he rifesthronghy ait Uailhim

Hail Mm O_

yest\s]efof hallelujahaUelujah

tui

Hail Mm

hallelujah

C co meq ui ck O com e<l uickC co ip e q nick .O-w

comeqaickly hallelu jahoome Lot^, come.

O come quickly O

fiappyhappymounets, happyrrtbuinersjtappy moatneTs Loi&clocr.s hecofueshemmes.

Ail yoo nations

iathealr Hallelujah Hallelujah we i<#n?welwiitebleeding lamb Now h w men; by the harpers tl'ro the f etemaldeep zefuundij NcwTsfpiendeatfiiin

IIHM

irw

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who pierced himfhaLUthu appearance wail

natlp tints Eyty eye fhail feethe wounds They who pietced him fhailat his appearance wail

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T heywjiu pierced him Cn ail at hit appe a ranee wa i

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All vitiate him maflaDiarred lleary trump proolair^day Come tu Judgment, co roe tP judgment,

v ty Hand fea ^mountain heavn&eaubf hall flee attav

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come to judgment ft and. be torey fun of ma n

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tne Ibleinn Turn it, one; loud Teaisy ftiong p\l

llaTVffhTiU ou

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heaven Bieaks up okt marble the Tepofe of prince*
ofy guilty wretches Lively bTi^thorror andante ftni a npjrifh*

SteirtS 1 *«"•' Mse>ta< -in

.$>« y graves open
•S’taTethmheueyelirte

ano v Qonesanru««
while y livin wotm lies

llrrv Loud

BriL

FiW withvengamteonhiifQM X>(kvn to hell there# no re^troption pyjy chnft|$f$ft*dmaft go Down toheil depart,depart, depatt yoacutM

1 Iiea^ ftmota wurcili^ietoy correycjuf an fom'd Annotsiiumefvvife^j^ftrlin^ouT jitney tot hep allace of your

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With fong» and honot»fctondingIoudAlTeiiyL<ttdonhigh(keT the heaviwhe fpreedhifcioad'twatert veil the fky He fend* hit fhow r* of

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ieffingsdofnilocheerthe plain* be low;

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ends hii fho*i#of Mtfflngf downlocheer y p lains below;

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biaffiagtrfowalbcheeTthopliiMbe low:.

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How let oaf ftp • with ho Iv-feat^AiH mourn _ _ *1 _fiil pleafurefingTheftifttagsof ouTgTettJiigJipti^iTheflmowofoot king i f

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All Sal/As

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O if the LoidwonW conne&JTneetMy fbuifhocid limoh )ver wiii^in hafte Elv^feaiLefs tbtodeaths I ton gate Isfot fesltbetenor* r|

rwi

i toll

ileon hit

w h ue on

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at fhe xaft*

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While «)n ms

and :i I * and b teat hnnv life and bteath my Life oat facet fy there.

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While on hi§ bicafi 1 lean J I lean my . head And bteath

ifcw pleafant ti* tofedaudred tf fneorft agree

With tyropathifingheart *H*

ia a 11 theca tea of lifekloro

K nana.a^riBiir«i

Hbtfplealant

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Ho#piea(hnt

With fy mpathiftng heatt

with

fona Artediout jonnuyneverto return

lam going a longn journey never ©return Defer til: never to *e ^ tif o never

iedi out journey never to re turn J am going a long; journey never to return nevetrto re... turn never to re-turn

verto

gotngft|oq£)outney never to retain

lam going a ioogv journey never to return . ne.ver to Te..tuto

ne.vet tote,. turn

4

oe vet to re. turn

never to

_turn fare yoaweiL

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hatl; hark riw (teat friends fot death hat h caH ^ed me andlmuft go and lie down ui the cold and Aleut grave where y mourner

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ceas;ftjmmjutning^pnfonetare Tee wheTey nch&the pootare bothalifce fatey^mwell tl It

i ij

fateyou well my friends

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