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Full text of "The New-Brunswick collection of sacred music : a selection of tunes from the most approved authors in Europe and America : designed principally for the use of churches"

NEW Vfiffil TXSWICK COLLECTION OF SACRED MUSI-' 




"lOBt/^flTH ADDITIONS AJV'D I51PHOVKMBNTS. 

i- ' . ■ 

BRU^WICK, N. J. 
TEKHUNE, 27 ALBANY-STRF.E? 



I 



483! 



i 







SMI! 






BOSTON 
PUBLIC 
LIBRARY, 

^^^^^^ 



THE 

NEW-BRUNSWICK COLLECTION OF SACRED MUSIC, 

A 

SELECTION OF TUNES FROM THE MOST APPROVED AUTHORS IN EUROPE AND AMERICA 

DESIGNED 

PRINCIPALLY FOR THE USE OF CHURCHES. 

BY CORNELIUS VAN DEVENTER. 

" Praise the Lord, for the Lord is good ; sing praises unto his name, for it is pleasant." — Psalm, cxxxv. S. 

EIGHTH EDITION, ENLARGED AND IMPROVED. 
NEW-BRUNSWICK, N. J. 

PRINTED AND PUBLISHED BY J. TERHUNE, No. 27 ALBANY-STREET, AND FOR SALE BY THE PRINCIPAL 

BOOKSELLERS IN THE UNITED STATES. 



1838. 



MU8I0 



DISTRICT^OF NEW- JERSEY,' m. 



L. S. T)E IT REMEMBERED, That on the 16th day of September, in' the Fifty 
JD second year of the Independence of the United States of America, Terhune 
& Letson, of the said District, have deposited in this office the title of a book, the right 
whereof they claim as Proprietors, in the words following, to wit: — 

" The New-Brunswick Collection of Sacred Music — A Selection of Tunes from the 
most Approved Authors in Europe and America. Designed principally for the use of 
Churches. By Cornelius Van Deventer. ' Praise the Lord, for the Lord is good ; sing 
praises unto is name, for it is pleasant. ' : — Psalm cxxxv. 3." 

In conformity to an Act of the Congress of the United States, 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 times therein mentioned ; and also to 
the Act, entitled an Act supplementary to the Act entitled an Act for the encouragement 
of learning, by securing the copies of maps, charts and books to the authors and pro- 
prietors of such copies during the times therein mentioned, and extending the benefits 
thereof to the arts of designing, etching, and engraving historical and other prints. 

WILLIAM PENNINGTON, 

Clerk of the District of Nete-Jersty. 



TO THE PUBLIC. 



The Subscriber, in offering to the public this Eighth and enlarged 
edition of the " New-Brunwick Collection of Sacred Mu- 
sic," remarks, that he has closely prosecuted the design of the first 
compilers of the work, in selecting such tunes as are peculiarly 
adapted to Church Music ; and in doing this he has commanded 
the skill and experience of one of the oldest and most judicious 
practical musicians in the country. The tunes added to this edition 
have either been prepared expressly for the work, or taken by per- 
mission from the most popular and approved authors of the age. 
They embrace a great variety of Metres, selected in reference to the 



new collections of hymns, recently introduced in many of the Pres- 
byterian, Dutch Reformed, and Baptist Churches throughout the 
United States ; and as a chorister's companion, for general use, it 
claims a pre-eminence over every other work of its size. He there- 
fore cheerfully submits the investigation of the work to all who 
are capable of appreciating its merits, with full confidence, that its 
own intrinsic worth will be an ample recommendation, and procure 
for it a circulation as extensive as any music book now in use. 

THE PUBLISHER. 

New-Brunswick, January 1838. 



Adagio — with a slow movement. 

Apfetuoso, — ) in a style of execution adapted to express affection, 

Amoroso ■ ) tenderness, and supplication. 

Allegro — a brisk and sprightly movement. 

Allegretto — less quick than allegro. 

Alto — Counter, or high Tenor. 

Andante — with distinctness. 

Da Capo, or D. C. — close with the first strain. 

Expressivo, — with expression. 

Forte — strong and full. 



Fortissimo — very loud. 

Largo — the slowest degree of movement. 

Piano, or Pia. — soft. 

Pianissimo, or Pianiss. — very soft. 

Spirituoso — with spirit. 

Vivace — in a brisk and lively manner. 

Duo, or Duetto — for two voices or instruments. 

Crescendo, or Cres. — to swell the sound. 

Maestoso — slow, firm and bold. 

Moderato — a movement between Andante and Allegro. 



TREBLE AND TENOR. SOI* LAW. MI. 



FAW 




Faw 
Law 



This char 
acter, called 
the G cliff, is 
used in Treble, 
and Tenor, and 
stands on the 
second line. 



COUNTER. 




'A a— 

G 8 

F 7— 
IE 6 

D 5— 
)C 4 
'B 3— 

A 2 

G 1— 



BASS. 
-Law 

Sol r 

Faw s. 

Law — 
-Sol ~ 

Faw 
-Mi 

Law 
-Sol 



This char-; 
acter, called 
the Counter 
cliff, is used 
in Counter, and 
stands usually 
en the middle 
line. 



■j This char- 
li acter, called 

— the Bass cliflj 

— is used in Bass 
and stands on 
the fourth line. 



i 



\ 
\ 



s 

e 



Choosing notes, stand one over' the 
either of which may be sung. 



t 
t- 



i 
\ 

s 

other, 



Syncopation is when notes are so placed that 
the hand must rise and fall not always at the 
beginning of each note, but often in the middle. 



The first column, shows the order of the letters as they stand on the lines and spaces in 
each stave. The Tenor is omitted, in its proper place, because it is the same as the Treble, 
only one eighth below it ; the women's voice, being one eighth above the man's. The second 
6hows the connection of the parts, by exhibiting in figures the number of different sounds in 
the throe octaves. The third shows the names and order of the notes in eexh stave. 



NOTES. 



Semibreve. 



Minim, 



RESTb. 



Accent is a certain force of sound, which 
when a bar 

consists of 1st. 1st. 
two or three -co- 
equal parts,_£t 
is on the-A 
first. 



-I — h 



Crotchet. 



Gluaver. 



Semiquaver. 



5 



When of • 
four it is on ', 
the first and 
third. 



1st. 



3d. 



1st 



4th. 



When of ~ , . - 
six it is on the . y , 
1st and 4th. 



Demisemiquaver. 



A semibreve rest fills a bar, in all 
moods of time ; the other rests are marks 
of silence, equal in time to the notes after 
which they are called. 



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But if B be flat, Mi is in - E 

ifBandE, - - - - A 

if B, E, and A, - - - D 

if B. E, A, and D, - ♦ G 



The natural place for Mi, is in B, 



If F be sharp, Mi is in 
IfF.andC, - - . 
IfF.C, andG, - - 
If F, C, G, and D, - 



F 

C 

a 

D 



n 



A SCALE OF NOTES AND THEIR PROPORTION. 



1 Semibrere ia equal to 2 Minims, 4 Crotchets, 8 Quavers, 



16 Semiquavers, 



32 Demisemiquavora. 



-£r £r 



Brace. 



Stave. 



Ledger . 
Line. 



-999 



Shows how many parts are to be 
sung together. 



Five lines, with their spaces, where- 
on music is written. 

Is added when notes ascend or de- 
scend beyond the stave. 



HE 



Flat. J7 Set before a note, sinks it half a tone. 
Sharp. 2 Set before a note, raises it half a tone. 

Natural h ^- estores a note > when made fiat or 
' ° sharp, to its primitive sound. 

Drawn over or under any number of 
Slur. N notes, shows that they are all sung 
to one syllable. 



< — 



Dot, or , At the right hand of a note, adds to 



Point. 



it half its length. 



Over or under any three notes, shows 
Figure, a that they are to be sung in the 
time of two. 



2 


3 




i — hr 


a 


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Single 
Bar. 

Double 
Bar. 



1 



Divides the time according to the 
measure note. 

Shows the end of a strain. 



33 



-f h 



TrilL h- A note proper to be shaken or graced^^ -^j-^ 

Written? 

Hold ** Notes thus marked, are to be held 
beyond their usual time. 

r Shows that the tune is repeated 
Repeat, from it to the next double bar 

— or close. 

.n Denotes a repetition of the preceding 

Close. 



words. 
Shows the end of a tune. 







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Joy. 







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RUDIMENTS OF MUSIC. 



TIME. 



Time, in music, is the measure of the duration of sound, by which indi- 
viduals performing the different parts in a piece of music, are enabled to regu- 
late their movement. In singing, time is regulated by motions made by the 
hand, — an equal Dumber being made with equal velocity in every measure ; 
that is, during the performance of the notes between any two single bars, — 
each note receiving its proportionate share of the whole time. The number 
of motions or beats in each measure, is determined by the mark of time. 

There are three kinds of time: viz. Common, Triple, and Compound ; each 
having two, three, or more signs, which indicate, as far as practicable, the 
rapidity of movement. 

Common Time. — Common time has three marks or signs. (In this work 
there are four, two of which may be considered as one and the same, so as 
virtually to make but three.) 

The first mark is C, written Q, and requires a semibreve, or its 



equivalent in other notes, in a measure. It has four beats in a measure, 
with full accent on the first, and slight or secondary accent on the third. 



The second mark is C with a bar crossing it, thus, — -0- 



■ or an invert- 



ed C, thus, ~ «p — • A semibreve, or its equivalent in other notes, fills a 

measure. There are only two beats in a measure, with the accent usually 
on the first part of the measure, but sometimes on the first and third parts. 
It is usually performed more rapidly than the first mark. 

Notk.— In many of the modern printed books, the figures 4-4 are substituted for the mark C, 
and )4-a for the barred C. The figures are used in the iattar part of this work. 

The third mark is — - ^ ; the minim, or its equivalent in other notes, 

fills the measure. There are in each measure two beats, and it is accented 
and measured the same as the second mark. 



uu lucdauicu me same as me secuua marie. (y 

Triple Time.— Triple time has also three signs. The first sign is — 



VJl 

The pointed semibreve, or its equivalent in other notes, fills the measure 
In eacli measure there are three beat*, with a primary accent on the first, 
and a secondary accent on the third part of the measure. 

The second mark is — ^ The pointed minim, or its equivalent in 



other notes, fills the measure: it is beat and accented as the first. 



The third mark is 



; contains a pointed crotchet, or its equivalent 



in other notes, in a measure : is beat and accented as the second. 

Compound Time. — Compound time is composed of triple and common 
time, since each measure is susceptible of being divided into two measures 
of triple time : it also bears a resemblance to common time in being mea- 
sured by two beats. It has only two signs. 



The first sign is 



Two pointed minims, or their equivalent in 



other notes, fill the measure. It has only two beats in a measure, with the 
accent on the first and fourth parts of the measure. 



The second mark is 



Two pointed crotchets, or their equiva- 



lent, fill a measure : it is accented and beat as the first mark. 

N. B. In beating time, the first beat, which is always a down, beat, falls ou the first pari of the 
measure. 

In the use of figures as marks of time, they are always made to express 
the fractional part of the semibreve which fills the measure: for example, if 
the mark be 2-4, the notes in each measure are always equal to two-fourths, 
or one half of the semibreve ; viz. a minim. If it be 3-4, three-fourths oi 
the semibreve fill the measure ; viz. a pointed minim, or three crotchets, or 
their equivalent in other notes. If, again, it be 6-8, then six-eighths of the 
semibreve fill the measure; viz. six quavers, three crotchets, or two pointed 
crotchets, or their equivalent in notes of any kind. 



RUDIMENTS OF MUSIC. 



Before commencing the following exercises in beating time, a clear idea 
should be acquired of the design of Rests in music. Each note has its cor- 
responding rest, which equals it in time. The characters are — for the semi- 



breve, an oblong square, placed below the middle line, thus, — _ — For the 



minim, a character of the same kind, placed above the same line, thus, 



The crotchet rest consists of a stem, with a hook at the top, turning to the 



right, thus, f . The quaver diners from the crotchet, in having its book 



turned to the left, thus, — ^ — . The semiquaver bas two hooks, turning to 



the left, thus, ^ and the demisemiquaver has three, thus, — gj- 



No. I.— Two beats in a measure. 



EXERCISES IN BEATING TIME. 

No. II — Four beats in a measure. 



stst 



-4 



■OS- 



EE 



HI.— Four or two beats, 



IV.— Four beats. 




RUDIMENTS OF MUSIC. 



DIATONIC SCALE.- -KEY-NOTE, &c. 

There are in music seven primary sounds ; the first of which being 
repeated, completes the octave, or scale of eight notes. The Diatonic Scale 
consists of a regular succession of these eight sounds ; ascending or descend- 
ing by unequal intervals, called tones and semitones. These intervals or 
degrees, are, five of them whole tones, and two semi or half tones. 

The key-note, in every tune, is the last note of the bass. There are two 
keys, viz. Major and Minor. If the last note of the bass be fa, or the first 
above mi, the first third in ascending is a major third, and the tune is 
consequently said to be in the major mode. If the last note of the bass be 
la, or the first below mi, the first third in ascending is a minor third, and 
the tune is said to be in the minor mode. These two modes are dissimilar in 
character; the major being bold and cheerful; the minor, plaintive or mournful. 

The difference in the keys depends on the different arrangement of the 
tones and semitones. In the major key, or mode, they are between the 
third and fourth and seventh and eighth tones ; that is, between the syllables 
la and fa, and mi and fa. In the minor mode, they are naturally between 
the second and third and fifth and sixth, and these are their true places in 
the descending scale ; but in the ascending, in order to make the seventh 
a proper leading note to the octave, the one between the fifth and sixth is 
transferred to between the seventh and eighth, by sharping the sixth and 
seventh, as seen in the scale at the top of the next column. 




Minor Scale. 

f - f - 



The use of flats and sharps in music, is, to keep these two semitones at 
their proper distance from the key-note, and from each other ; while the 
key-note is changed from any one letter in the scale to another. In the 
natural scale, mi, the leading note, is on the letter B ; C consequently is the 
major key-note, and A its relative minor. If now we commence with C, 
the major key, and ascend, E and F will be found to be the third and fourth ; 
and B and C, the seventh and eighth. The semitones are, therefore, between 
these letters : if, however, we commence with the minor key, la, and count 
the letters in the ascending series, these same letters will be found between 
the second and third and fifth and sixth; B and C being the second and 
third, and E and F the fifth and sixth. 

The key-note is, however, changed to each and every letter in the scale ; 
hence, for the semitones to preserve their proper distance from the key, they 
must be transposed, by means of flats and sharps, from their natural place 
between B and C, and E and F, and placed between other letters which are 
at the required distance from the letter assumed as the key-note. The 
following table will serve to illustrate this subject. 



TABLE SHOWING THE OPERATION OF FLATS AND SHARPS. 



h'atural Scale. | One Sharp. 




Ticq Flats. | Three Flats. \ Four flats. 

7th G 



<th F 
8emi tone 
-3d— E 




Keir 



RUDIMENTS OF MUSIC. 



It will be perceived, by an examination of the above table, that in every 
key, the semitones, in ascending from the major key-note, are between the 
third and fourth, and seventh and eighth, and that they are removed from 
their natural place by the operation of flats and sharps ; viz. by depressing 
notes, in some instances, and in others, elevating them a semitone. 

In the introduction of flats and sharps in music, the letters to be flatted 
or sharped, are determined by the following fixed and uniform law ; viz. 
Sharps are introduced by ascending fifths and falling fourths ; and flats by 
ascending fourths and falling fifths. For example : F is the first letter 
sharped by the rules of music, and to find the second letter, we commence 
with F, and count five letters ascending, or four descending, and in either 
case ascertain C to be the letter required. If, again, it be required to intro- 
duce a second flat, we commence with B, the first letter flatted, and count 
a fourth ascending, or a fifth descending, and in either case, we come to E, 
which is consequently the letter required. 

In the introduction of sharps, mi is always on the letter last sharped ; 
in the introduction of flats, mi is always a fourth above the last flat. 

NAMES APPLIED TO THE SEVERAL NOTES OP THE SCALE. 

1. The first note in the scale is called the Tonic, or Key, because it deter- 
mines the pitch ; and also because all other notes are reckoned from this. 

2. The second note is called the Supertonic, being the first above the 
tonic. 

3. The third note is called the Mediant, from its situation ; being equally 
distant from the tonic, or key, and the dominant. 

4. The fourth note is called the Subdominant, because it bears the same 
relation to the octave, that the dominant does to the key ; the former being 
a fifth below the octave, and the latter, a fifth above the tonic. Or it may 
receive its name from standing first below the dominant. 

5. The fifth is called the Dominant, being one of the governing notes of 
the scale. 

6. The sixth is called the Submediant, because it sustains the same 
relation to the octave, that the mediant does to the key ; the one being a 
third below the octave, the other a third above the tonic or key. 



7. The seventh is called the Leading Note, or Subtonic, because it stands 
immediately below the octave, which is the same as the tonic, except that 
it is au eighth higher in pitch. 

8. The eighth note is called the Octave, on account of its distance from 
the key. 

INTERVALS. 

An Interval is the distance from any one sound to another ; of which the 
smallest is a semitone, and the largest in the simple scale, is five tones and 
two semitones, or the octave. 

The whole number of intervals is fourteen ; viz. the Unison, Minor Second, 
Major Second; Minor Third, Major Third; Perfect Fourth, Sharp Fourth; 
Flat Fifth, Perfect Fifth; Minor Sixth, Major Sixth; Minor Seventh, 
Major Seventh ; and Octave. 



The Unison, is one and the same sound, as, 



The Minor Second, consists of one semitone, as, 




1 



The Major Second, consists of one whole tone, as, ^ ^ \ 



The Minor Third, consists of one tone and a semi-^— )t — r-^-©r-^ 
tone, as, 



The Major Third, consists of two whole tones, as, ^ or o i 



The Perfect Fourth, consists of two tones and a I" / -< ° 
semitone, as, I • < ' • — 




RUDIMENTS OF MUSIC. 



The Sharp Fourth, consists of thrse whole tones, as, 



The Flat Fifth, consisting of two tones and two F 
semitones, as, 



The Perfect Fifth, consisting of three whole tones 
and one semitone, as, 

The Minor Sixth, consisting of three tones and two 
semitones, as, 



mm 



The Major Sixth, consisting of foui tones and one f 
semitone, as, t 

The Minor Seventh, consisting of four tones and two F 
semitones, as, t 

The Major Seventh, consisting of five tones and one 
semitone, as, 



The Octave, consisting of five tones and two semi- 
tones, as, 




INTERRO 

What is Music 1 Ans. It is the art of combining sounds in a manner agreeable to the 
ear. What is the Clef? Ans. A character used to designate the parts. On what line 
does the G clef stand? What letter does it always represent? Ans. G. On what degree 
does the counter clef stand? Does this clef ever change its place? Ans. It may be 
transferred to any letter in the scale. On what line does the bass clef stand? What 
letter does it represent ? What are Notes? Ans. Characters indicating sound. What 
are Rests? Ans. Characters indicating silence. How many are there of each kind? 
Ans. Six. What are Choosing Notes? What is Syncopation ? What is Accent ? On 
what parts of the measure does it always fall? What rest fills a bar in all modes of time? 
What is the natural place of mi J Where is it, if B be flat? If B and E be flat? If B, 
EandAbefUt? If B, E, A and D be flat? If F be sharp ? If F and C be sharped ? 
If F, C and G be sharped? If F, C, G and D be sharped? What is the proportionate 
length of the notes ? What is the use of the Brace? What is the Slave or Staff? What 
is the Ledger Line? What is the operation of the Flat? Of the Sharp? The Natural? 
The Slur? What is the effect of the Dot placed at the right of a note? Of the figure 3 
placed over or under anv three notes ? What is the use of the Single Bar ? Of the Double 
Bar? What does the Trill show ? The Hold ? The Repeat? The Close? What is 
Time, in music? How is it regulated? What part of the time of the whole measure 
does each note receive ? By what is the number of beats in each measure determined? 
How many kinds of Time are there? What are they? How many signs has each? 
What do the marks of time indicate ? How many has Common Time? What is the first 
mark? What fills the measure? How beat and accented? What is the secood mark? 
What fills the measure? How beat and accented? What is the third mark? What 
fills the measure ? How beat and accented ? How many signs has Triple Time? What 
is the first? What fills the measure? How beat and accented? What is the second 
mark? What fills the mensure? How beat and accented? What is the third mark? 
What fills the measure? How beat and accented? Of what is Compound Time composed? I 



GATIONS. 

How many signs has it? What is the first? What fills a measure? How beat and 
accented? What is the second mark ? What fills a measure? How beat and accented? 
On what part of the measure does the down beat always fall ? In the use of figures as 
marks of time, what are they always made to express? How many primary sounds are 
there in music ? How is the Octave completed ? Of what does the Diatonic Scale consist ? 
How many whole tones are there? How many semitones? What is the Key Note? 
How many keys are there? How are they determined ?. How does the first third in 
ascending from the major key differ from the first third in the minor key? What is the 
peculiar character of each mode? On what does the difference in the keys depend? 
Where are the semitones situated in the major mode? Where are they situated in the 
minormode? What change from the natural orderis made in the ascending scale? Why? 
How is the change effected? What is the use of Flats and Sharps in music? In the 
Natural Scale, on what letter is mi, the leading? What letter is consequently the major 
key? And what the relative minor? Between what letters therefore are the semitones? 
What relation do these letters sustain to the minor key, A? Does the key-note change 
from one letter to another ? What must then be done that the semitones may preserve 
their distance from the key ? What is the rule for the introduction of flats and sharps ? 
In the use of sharps, how does mi stand with regard to the last sharp? How with regard 
to the last fiat? What is the first note of the scale called? and why? What is the 
second ? and why ? The third ? and whv ? The fourth? and why? The fifth? and 
why? The sixth? and why? The seventh? and why? The eighth? and why? 
What is an Interval ? What is the smallest? What is the largest in the simple scale? 
How many Intervals are there? What are they called ? What is the Unison ? Of what 
does the Minor Second consist ? Of what does the Major Second ? The Minor Third ? 
The Major Third ? The Perfect Fourth ? The Sharp Fourth? The Flat Fifth? The 
Perfect Fifth? The Minor Sixth? The Major Sixth? The Minor Seventh? The 
Major Seventh ? The Octave 1 



THE EIGHT NOTES. 



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LESSONS FOR TUNING THE VOICE. 





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INTERVALS PROVED. 




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OF THE KEY NOTE. 

The Key Note is the predominant tone, to which all the other sounds have a reference, and is generally the concluding note of the 
principal part, and always of the Bass. There are but two keys, viz. the Sharp, or major key, Faw, placed next above Mi; and the 
Flat, or minor key, Law, placed next below Mi. Tunes in the sharp key are naturally expressive of the cheerful and lively passions, 
while the flat key is adapted to the grave, the mournful and the pathetic. Hence choristers should always be careful to select such tunes, 
either in the flat or sharp key, as shall agree with the subject matter of the verse about to be 6ung, lest the words and the tune be at 
variance. 



NEW-BRUNSWICK COLLECTION OF SACKED MUSIC. 



BRUNSWICK, C. M. Flat Key on A. 























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Glory to thee, my God, this night, For all the blessings of the light ; Keep me, O keep me, King of kings, Under the shadow of thy wings. 





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Now is the word made flesh, and dwells among us Unto our God be glory in the highest ; 

O come and let us worship at his feet. O come and let us worship at his feet. 



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STRATFORD, P. M. Sharp Key on G 



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BENEYENTO, 7s Sharp Key on F 



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I know that my Re - deem - «r lives, And reigns with God on high ; And reigns with God on high ; 





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All praise to thee in highest strains, In highest worlds be paid ; Thy glory by our hps proclaim'd, And by our lives display'd. 
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CAMBRIDGE, C. M. Sharp Key on C. 



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Guide me, O thou great Jehovah, 



I am weak, but thou art mighty, 



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Hold me with thy powerful hand. 



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Open now the crystal fountain, 

Whence the healing streams do flow, 

Let the fiery, cloudy pillar, 

Lead me all my journey through ; 
Strong Deliverer } 

Be thou still my strength and shield. 



Feed me with the heavenly manna, 
In this barren wilderness ; 

Be my sword, and shield, and banner 
Be my robe of righteousness ; 
Fight, and conquer 

All my foes, by sovereign grace. 



When I tread the verge of Jordan, 
Bid my anxious fears subside ; 

Foe to death, and hell's destruction, 
Land me safe on Canaan's side j 
Songs of praises 

I will ever give to thee. 



OLD HUNDRED, L. M. Sharp Key on A 



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Ye nations, round the earth rejoice, Before the Lord your sovereign king ; Serve him with cheerful heart and voice, With all your tongues his glory sing. 



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With reverence let the sainu appear, And bow before the Lord, His high commands with reverence hear, And tremble at his word. 



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ST. JOHN'S, L. M. Sharp Key on F. 
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Thy presence, Lord, can cheer my heart, When earthly comforts die ; Thy voice can bid my pains de - part, And raise my pleasures high. 



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My ne - ver cea - sing song shall show The goodness of the Lord, Ai>d make succeeding ages know How faith - ful is his word. 



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PRAISE, 8, 7, 8, 7, 7, 7. Sharp Key on F. 



Van Dc venter. 





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Sovereign ruler, Lord of all, Prostrate at thy feet I fall, Hear, oh hear my ardent cry, Frown not lest I faint and die. 



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Now to the Lord a noble song, Awake, my soul, awake, my tongue ; Ho - san - na to the e - ter - nal name, And all his boundless love proclaim. 



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Our crucified King. 
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Loving spirit, God of peace, Great distributer of grace, Rest upon this congregation ; Hear, oh hear our supplication 

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SWEET HOME, 11, 11, 11, 11, o, 11. Sharp Key on F. Van Deventer. 





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Be - hold the Infty sky, Declares its maker God ; And all his starry works on high, Proclaim his power abroad. 

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With all my power of heart' and tongue, I'll praise my maker in my song ; Angels shall hear the notes I raise, Approve the sons, and join the praise. 

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Ye tribes of Ad - am, join, With Heaven and earth and seas, And of - fer notes di - vine, 



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All glory be to God on hie;li, And to the earth be peace, Good will henceforth, from heaven to men, Begin and never cease. 



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That an - gels ev - er bore; All are too mean to speak his worth, Too mean to set my Sa - viour forth. 



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PORTSMOUTH, H. M. Sharp Key on B t>. 











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PORTSMOUTH, Continued. 



43 



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bright, In worlds of light be - gin the song. Ye ho - ly throng of an - gels bright, In worlds of light be - gin the 

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song. 



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Behold the morning sun, Be - gins his glo - rious way ; His beams through all the na - tions run, And life and light con 
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Wliile faith points upward to the sky, And wipes a tear from sor - row's eye, 
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While faith points np - ward to the sky, 



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QUEENSBOROUGH, 8, 7. Double. Sharp Key on F. 



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Tune my heart to sing thy grace ; 

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Streams of mercy never ceasing, Call for songs of loudest praise. 



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Second Treble. 



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Teach me some melodious sonnet, Sung by flaming tongues above; Praise the mount, Praise, &c. Praise, &c. Oh fix me on it, Mount of God's unchanging love. 



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48 



PARADISE, C. M. Sharp Key on A 



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Air. There is a land of pure de - light, Where saints im - mor - tal reign ; 



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day ex - eludes the night, And plea - sures ban - ish pain, 



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And plea - sures ban - ish pain. 

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STEPHEN'S, C. M. Sharp Key on B \>. 



Jones. 



49 





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Then since my - self I cannot keep, Ev'n one short moment through, Watch me those eyes that never sleep, Till morn - ing beams anew. 







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ABRIDGE, C. M. Sharp Key on E f 



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Great God, to thee my grateful tongue, My fervent prayer shall raise ; Inspire my heart to raise the song Which celebrates thy praise. 



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BERWICK, L. M. Sharp Key on G. 51 







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NEWMARK, C. M. Sharp Key on A. 



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Air. Come, Holy Spirit, heavenly Dove, With all thy quickening powers; Kindle a flame of sa - cred love In these cold hearts of ours. 



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BROOMSGROVE, C. M. Sharp Key on C. 



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My Saviour, my Almighty friend, When I begin thy praise, Where will the growing numbers end, The numbers of thy grace ? The numbers of thy grace. 









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Met. Pit. Largo. 



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25 



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Vital spark of heavenly flame, Quit, O quit this mortal frame ; 



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Cease, fond nature, cease thy strife, And let me languish into life. 



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Hark! they whisper, angels say, ( they whis - per, an - gels 



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DYING CHRISTIAN, Continued. 



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say, they whis - per, angels say, Hark ! they whis - per, an - gels say, Sis - ter spir - it, come a - way, Sister spirit, come away. 

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DYING CHRISTIAN, Continued. 

PU. .Andante. 



55 



I 



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3 



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= — * 



this be death? Tell me, my soul, 



can this be death? 



This world re - cedes, it dis - ap - pears ! Heav - en o - pens 



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on my eyes, my ears 



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Lend, lend your wings, I mount, 1 fly! O 

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-k it- 



DYING CHRISTIAN, Continued. 





1* ' 


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grave, 


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thy sting? g 
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here is thy vie - tory? 

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DYING CHRISTIAN, Continued. 



5? 



J . 1 ^ j 



vie - to - ry, thy vie - to - ry? O grave, where is thy vie - to ry, thy vie - to - ry? O death, where is thy sting? O death, where is thy sting? 



— ^-i — ^ ^ ^ ^ — f- 

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I mount! I fly! 
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58 



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LIMEHOUSE, L. It Flat Key on E 



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Do this, said he, till time shall en J, In memory of your dying friend; Meet at my table, and record The love of your departed Lord 



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GERMAN AIR, L. M. Sharp Key on C. 



pgitt 



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Par from my thoughts, rain world, begone, Let my religious hours alone ; Fain would my eyes my Saviour see ; I wait a visit, Lord 

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In rain we brace creation o'er, In search of sacred rest, The whole creation is too poor To make ua truly blest. 





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THATCHER, S. M. Sharp Key on A. 



IB! in 



is — a 



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Sing to the Lord a - loud, And make a joyful noise ; God is our strength, our Saviour God, Let Israel hear his voice. 



i 



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31 



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CALVARY, 8, 7, 8, 7, 4, 7. Sharp Key on C. 





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la songs of suWime adoration and praise, Ye pilgrims for Zion who press, Break forth and extol the great Ancient of days, This rich and distinguishing grace. 



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Come, happy souls, approach your God, With new melodious songs ; Come, tender to Almighty grace, The tribute of your tongues, The tribute of your tongues. 



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God ruleth on high Salvation to God, then let us adore, 

Almighty to save, Who sits on the throne ( And give him his right, 

And still he is nigh, Let all cry aloud, All glory and power, 

His presence we have. And honour the Son, And wisdom and miglu, 

The great congregation Our Jesus's praises All honour and blessing, 

His triumph shall sing, The angels proclaim, With angels above, 

Ascribing salvation Pall down on their faces, And thanks nevei ceasing, 

TuJesvu our King* And worship the Lamb. And infinite love. 



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Sing to the Lord Je - ho - vah's name, And in his strength rejoice; When his salvation is our theme, Exalted be our voice. 



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Jesus, thou art all compassion, Pure, unbounded love, thou art ! Visit us with thy salvation, Enter every trembling heart. 



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Teil me, Saviuur from above, Dearest object of my love, Where thy little flocks abide, Seated near thy bleeding side. 



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IRISH, C. M. Sharp Key on G. 

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Lord, in the morning thou shalt hear My voice as - cend - ing high; To thee will I di - rect my prayer, To thee lift up mine eye. 



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O may thy Church, thy turtle-dove, Mournful, yet chaste, thy pity ir.ove ; To birds of prey expose her not, Though poor, too dear to be forgot. 



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He breaks the bow, he cuts the spear, Chariots he burns with heavenly flame, Keep silence, all the earth, and hear The sound and glory of his name. 



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Behold, the Judge descends, his guards are nigh, Tempest and fire attend him down the sky, Heaven, earth and hell draw near, let all things come, 



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To hear his justice, and the sinner's doom. 



But gather first my saints, the Judge commands, Bring them, ye angels, from their distant lands. 



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HOTHAM 7s. Sharp Key on F 108 

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We haste to Zion's hill, And there our rows and honours pay, 



And there our vows and honours pay. 



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Jesus, let thy pitying eye Call back a wandering sheep; False to thee, like Pc - ter, I, Would fain like Peter weep. 



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Let me be by grace restored, On me be all its freencss shown, Turn and look upon me, Lord, And >reak my heart of stone. 
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MIDDLETON, 8, 7, D. Sharp Key on G. 



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u d d^T P S ^:?7n«o W , S A„d li. feel^ sXrWo. Never slumbering, never sleeping, Though the night beda*.„d drear. 

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Thou ike faithful watch art keeping, " AH, all's well," tliy constant cheer. 



RICHMOND, L. M. 2 vertes. Sharp Key ou A. 

Mb 



107 




Whon we our wearied limbs to rest» Sat down by proud Euphrates' stream, We wept, with doleful cares oppress'd, And Sion was our mournful themn. 

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Our harps that, when with joy we sung, Were wont their tuneful parts to bear, With silent strings neglected hung On willow trees that witherM there. 



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How shall I praise the eternal God, That in - fi - nite un - known ? Who can ascend his high abode, Or venture near his throne. 





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Thee we a • dore, e - ter - nal name, And humbly own to thee, How feeble is our mortal frame, What dying worms are we. 



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CHARMOUTH, C. M. Sharp Key oa R 













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My Saviour, my almighty friend, When I begin thy praise, Where will the growing numbers end, The numbers of thy grace'! 











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SOMERVILLE, S. M. Sharp Key on E \>. R. L. Cooke. 



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Awake and sing the song Of Moses and the Lamb, Wake every heart and every tongue, To praise the Saviour's name. 



126 



LEROY, S. M. Sharp Key on F. 



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129 



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DIRGE, 10s. Sliarp Key on D. 



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Few are our day6, those few we dream a - way, 



Sure ia our fate, to moul • der in the clay. 





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INSPIRATION, C. M. Sharp Key on D 1£9 

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BEVERLY, H. M. Sharp Key on D 



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32 



Blow ye 



ye the trum - pet, blow, The glad • ly so ■ lemn sound, Let all the na - tions 

a i j ! i j i i rfv-rr r ^4fTn r rr~ i 

I ■ J 1 I I fffl j U 1 'Ml 1 1 u * 1 — 1 — k 



tions know, To earth's remotest bnimd*. 



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Return, 



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BEVERLY, Concluded 



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131 



Z?7 



1 



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Re 



turn, 

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Return, ye ransom'd sin - ners, home. 



m 



sin - nei'8 home, 



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ye 



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home. 



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Re - turn, ye ransom'd sinners, home. 

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9, no 



ST ANNE'S, C. M. Sharp Key on D. 



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Sing to the Lord, ye distant lands, Ye tribes of every tongue, His new discovered grace demands A new and noblw song. 



-3 — h 



4^ 



DENMARK, Continued 133 



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DENMARK, Concluded 



135 



• 




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roll - ing years shall cease to move, shall cease to move, When rolling years shall cease 

-*t — r» » — *r — „ i m — — i — i — — t r-»« ■ — . ■ 



rolling years shall cease to move. 




1 



GREENVILLE, 8, 7. Sharp Key on F 

-N— i 1 1 1 l—i 1 K 



3 



Gent - ly, Lord, O gent - ly lead us Through this low - ly vale of tears; And, O Lord, in mer • cy, give us Thy rich 













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grace in all our fears i O, re - fresh us, O, re - fresh us, O, re - fresh us with thy grace. 



M- 



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« COME, YE DISCONSOLATE." Sharp Key on D. 



Wcbbe. 



it 



i 



131 



IB 



C M 1 



1. Come ye dis - con - so - late, 

2. Joy of the com - fort - less, 



Where'er you lan - guish, 
Lieht of the stray - ing, 



Come, at the shrine of God Fer - vent - ly kneel, 
Hope, when all others die, Fade - less and pure, 



Here bring your wounded hearts, here 
Here speaks the Comforter in 



tell your an - guish ; 
God's name say - ing, 



Earth has no sorrow that Heaven cannot heal. 
" Earth has no sorrow that Heaven cannot cure." 



2ZSs 



1 



3 



5 



5 



5 



3= 



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Earth has no sorrow that Heaven cannot heal. 



1. Here bring your wounded hearts, here tell your an - guish; 

. . i i , . i 



3E 



5 



A 1- 



" Earth has no sorrow that Heaven cannot cure." 



2. Here speaks the Comforter, in God's name 



saying, 



1 



-fc- 



138 



HARK I THE SONG OF JUBILEE ! 7s. 2 Verses. Sharjj Key on V. Arranged by U. LaUteer Co. ki, 



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*^ 1st. Hark! the Vesper Hymn is stealing, O'er the waters soft and clear, 
2d. Now like moonlight waves retreating, To the shore it dies along, 



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Nearer yet and nearer pealing, Now it bursts upon the ear. 
Now like angry surges meeting, Breaks the mingled tide of song. 



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Phon art -:ono to the frrav>- ! b it we will not d^plor 
I'hou art f}oae to uio grave ! and it3 mansion f >.-sal 



Thou art >,'ono to the frrav>- ! b it we will not deplore thru, Though sorrows and darkness encompass tiia to:nb, For the Saviour has pafs"d th.oug!. its portals \-*f<m tbee, 
Thou art goae to ilio grave ! and its mansion f i.-salung, Perhaps thy tried spirit in djuot linsor'd Ion;'. But the sunshine of heaven benm'd bright on thy waking, 



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The lamp of his love is thy cuide through the el-->om. Thou art pone to the grave! we no longer behold thee. Nor tread the rough path of the work! by thy side ; 
The song which thou hea'rdst was the seraphim's song. Thou art gon^ to the grave. ! 'twere wrong to deplore thee. When God was thv ransom, thy guardian, thy guide ; 

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Hark 1 how the ehora! song of heaven, Swells full of pwace and joy ubov* ! Hark.! how they strike their golden harps, And raise their tuneful note* of lore. : J: 







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149 



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With reverence kt tho suinls appear, And bow be - fore the Lord ; His high commands with reverence hear, And tremble at his word. 
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•VMbUxA in U>(a «wk Uy jicnnistion from tho Handel and Haydn CDlleotloii. 



144 



DANVERS, L. M * 



L. Mason. 




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Awake, my tongue, thy tribute bring, To Him who gave thee power to sing ; Praise Him who is all praise above, The source of wis - dom and of love. 



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At anchor laid, remote from home, Toiling, I cry, sweet Spirit, come; Celestial breeze, no longer stay, But swell my sails, and speed my way. 







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Mozart. 146 



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PILKSGROVE, L. M.* 





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HADDAM, H. M * 



L. Mason. 




The Lord Jehovah reigra ; His throne is fix'd on high ; The garments he assumes Are light and majesty : His glory shines with beams so bright, No mortal eye can bear the sight 




* r*uit41*t>t '« '•*'' <Wrt t"' perai«-.u>« from OM tiaiv'ol »nd Ha;--in Cotlcc'inn. 



WARD, L. M. M7 



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$ Shall »j, wboee souls are lighted By wisdom from on high, Shall we, to men benighted, The lamp of life deny f 
Waft, waft ye winds, his story, And you, ye wators, roll, Till, like a soa of glory, It spreads from polo to pole ; 











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*alvatioh ! O Salvatios ! The joyful sound proclaim, Till earth's remotest nation, Has learnt Messiah's name. 

4 Till o'er our ransom'd nature, The Lamb for sinners slain, Redzemer, Kino, Creator, Returns in bliss to reign. 

, foMttatf A this work by pexmiasion (V >m the Handel anil Haydn Colleotion. 



DAUGHTER OF ZION." [Hymn. J L. Mason. 14» 







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150 



DAUGHTER OF ZION"....continwbd. 



sis: 





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Vain were their rtoeds and their chariots of 



Daughter of Zion 



a - wake from thy sadness, A - wake, for thy foes shall op - press thee no more. 







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"DAUGHTER OF ZION'\...con rises©. 

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161 



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Daughter of Zion, the pow'r that hath sav'd thee, Extoll'd with the harp and the timbrel shall be"; Shout ! for the foe is destroy'd that ensbv'd thee, Th' oppressor is vanquished and 



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152 



PRAISE GOD IN HIS HOLINESS * [Anthem, P«. 160.] 



L. Mason. 



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SECOND TREBLE. 



H 1 h 



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O praise God in his holi - ness, Praise him in the firmament of his povw'r ; Praise him in his noble acts, Praise him in his noble acts 



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baSE. O praise God in his 



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firmament 



of his pow'r 
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cording to his ex -.cellent greatness; Praise him in the sound of the 

1 1 \—m 1 i !-. 1 • I 1 1 U. 1 U 



Praise him ac - 



trumpet, of the trumpet, 



Praise him upon the lute and harp, 



i 



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Praise him according to his excellent greatness ; Praise him in the sound of the trumpet, of the trumpet, Praise him upon the lute, upon the lute and harp. 











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• Published in this work by permission from the Handel and Hayd" (*'•" — 



PRAISE GOD IN HIS HOLINESS....continued. 



153 



IS 



Praise him in the cymbals, in the cymbals and dances, 

H r 



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Praise him on strings, on strings and pipes, 
1 ' — I — i 1 ! — i h 



Let e»'ry thing that hath 



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Praise him in the cymbals, in the cymbals and dances, Praise him on strings, on strings and pipes, 



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Praise the Lord, Praise the Lord. 



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Let ev'ry thing that hath breath praise the Lord, That hath breath praise the Lord. 



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breath, Let ev'ry thing that hath breath that hath breath praise the Lord, That hath breath praise the Lord, Praise the Lord, Praise the Lord 



1 



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Praise thi Lord. 



breath, 



that hath breath praise the Lord, That hath breath praise the Lord, 

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Praise the Lord, 



52 



154 



THE VOICE OF FREE GRACE. 



Dr. Clark. 




THE VOICE OF FREE GRACE....co?iTmuKD 156 







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freely, in s 

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is out 





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156 



Lftrgn^Mo. 



-G—r 



THE PARTING. 



TV. F. Miller. 



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1 



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Our souls by love 



— -S-U- 



ge - ther 



knit, 



Ce - ment - ed. mix'd 



One hope, one heart, one 



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mind, one vo 


ce, 'tis heaven on earth be - - gun. Our hearts have burn'd while Jesus 


spake, and 











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glow'd with sa - cred 



fire: 



He 



stopp'd, and talk'd, and 



fed, and bless'd, and 



fill'd th' en - larg'd de 



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THE PARTING.. ..continued. 157 



^ CHORUS. Altjgr«to. w w . 


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Saviour, let ere - 


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V 


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Saviour let all 


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feel htm ours, T 


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souls he pours; 'T 


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done, 'tii 


almost o'er, We're 








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s # We then shall meet to part no more. We then shall meet to part no more. 

. . 10* . . _ i am i 




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158 



SAINT'S HOME, lTa 



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The days of my 
- 1 



exile are 



parsing 



way ; 



The time is approach - ing when Je - sus will 



m 



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say, 



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Well 


done, 


faithful 


1 , 1 

ser - vant, sit 


town on my 


throne, 


And 


dwell in my presence 


"or 


— I i 1 1 

■ e - ver at 


home. 








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RESIGNATION. C. M. 



159 



-5» s>- 



: S a I <d. 



^ — a 



■6-- 



Peace, 'tis the Lord, Je - ho -vah's hand, That blasts our joys in death; Changes the vis - age once so dear, And gath-ers back our breath 

-/» . h-i — i t-. ,-- . 1 1— r-y» 



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1 



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-F— & 



MORNINGTON. S. M 



Lord Mornington. 



1 



2: 



ZSt 



Come, ye that love the Lord, And let your joys be known; Join in a song with sweet ac-cord, While ye sur-round the throne. 



-4— 



-e— n-#- 



-2 r^- 



160 



ALEXANDRIA. C. M. 







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See Is-rael's 
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— V 

Shep-herd ! 
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stands, Wi 


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His hand will smooth my rugged way, And lead me to the realms of day, To mild -er skies and brighter plains, Where ev-er - last - ing plea-sure reigns. 



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1. Hearts of stone, re - lent, re - lent ! Break, by Je - sus' cross sub - dued ! See his bo - dy man - gled, rent, Cov - er'd with a gore of blood ! 



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Drove the nails that fix'd him there \ 
Crown'd with thorns his sacred head '. 

Pierced him with a soldier's spear '. 
Made his soul a sacrifice ! — 
For a sinful world he dies. 

3. Will you let him die in vain, 

Still to death pursue your Lord ; 
Open tear his wounds again, 

Trample on his precious blood 1 
No ! with all my sins I '11 part, 
Saviour, take my broken heart. 



BAVARIA. 8s & 7s. S lines. German Air. 165 



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Fa - ther of all, e - - ter - nal mind, In un - cre - - a - - ted light en - shrined, Im - mense - ly good and great ; 













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Thy. chil - dren form'd and bless'd by thee, With fll - ial love and rev - 'rence pay Their ho - mage at thy feet. 










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CHESTER. C. M. 



T. Hastings. 



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2. It makes the wounded spirit whole, 

And •alms the troubled breast ; 
'Tis manna to the hungry soul, 
And to the weary rest. 

3. Weak is the effort of my heart, 

And cold my warmest thought, 
But when I see thee as thou art, 
I'll praise thee as I ought. 

4. Till then I would thy lore proclaim 

With every fleeting breath ; 
And may the music of thy Bams 
Refresh my soul in death. 



Spirituoo 


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ELGIN. C. M. 



Scottish Air. 



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Let this vain world en-gage no more; Be - hold the op' - ning tomb! It bids us seize the pre - sent hour; To- mor- row death may come. 



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Say, how may earth and heaven unite, And how shall man with an-gels join ? What link harmonious may be found, Dis-cor-dant na - tures to com- bine 1 




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GOSPEL JUBILEE. 3, 7, S, 7, 7, 7 




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Grace to sin - ners rich and free : Ye who know the joy - ful sound, Pub - lish it to all a - round. 



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HEBRON. L. M. 



L. Mason. 



173 



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Chil - dren of the heav'nly King, As ye jour-ney sweet-ly sing; Sing your Sa - viour's wor - thy praise, Glo-rious in his works and ways 








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OLMUTZ. S. M. 



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From Jones' Evening Melodies. 



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When I -can read my ti - tie clear To mansions in the skies, I'll bid fare -well to eve - ry fear, And wipe my weep-ing eyes: 

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Should earth a - gainst my soul en - gage, And hell - ish darts be hurl'd, Then I can smile at Sa - tan's rage, And face a frown-ing world. 



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RETURN, O WANDERER, RETURN. 



From Spiritual Songs, — by permission. 



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1. Re-turn, O wand'rer, to thy home, Thy Fa- ther calls for thee; No longer now an ex - ile roam In guilt and mi - sc - ry : Re-turn, Re-turn ! 




2. Re-turn, O wand'rer, to thy home, 'Tis Je - sus calls for thee: The Spi-rit and the Bride say, come: O now for re • fuge flee: Re-turn, Re-turn ! 




3. Re-turn, wand'rer, to thy home, 'Tis madness to de- lay: There are no pardons in the tomb, And brief is mer - cy's day : Re-turn, Re-iurn ; 



190 



S»«onii Treble. 



R1VERSTON. G. M. [Double.] 



From Spiritual Sougs, — by permission. 



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1. There is an hour of hal-low'd peace. For those with care oppres s'd; When sighs and sorrowing tears shall cease, And all be hush'd to re at 





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To Je-sus the crown of my hope, My soul is in haste to be gone; O, bear me, ye che-ru-bim, up, And waft me a -way to his throne. 




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I. Hark ! hark ! the gospel trumpet sounds,Thro'earth and heav'n the echo bounds ; Pardon and peace by Jesus' blood ; Sin-ners are reconciled to God, By grace di - vine. 




2. Come, sinners, hear the joyful news, No longer dare the grace refuse; Mer - cy and jus - tice here combine, Goodness and truth harmonious join, T invite you near. 
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3. Ye saints in glory.strike the lyre; Ye mortals.catch the sacred fire; Let both the Saviour's love proclaim, For ev-erwor-thy is the Lamb, Of end-less praise. 



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Lo ! we lift our long - ing eyes ; Break, ye in - ter - ve - ning skies : Sun of Rightcous-ness, a - rise, Ope the gates of pa - ra - dise. 



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From the National Church Hanrncmy. 



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2. There is a home for weary souls, 

By sins and serrows driven ; 
When toss'd on life's tempestuous shoals. 
Where storms arise and ocean rolls, 

And all is drear but heaven. 

3. There faith lifts up the tearless eye, 

The heart with anguish riven ; 
It views the tempest passing by, 
Sees evening shadows quickly fly, 

And all serene in heaven. 

4. There fragrant flowers immortal bloom, 

And joys supreme are given ; 
There rays divine disperse the gloom ; 
Beyond the dark and narrow tomb 

Appears the dawn of heaven. 



184 



The Christian's Welcome Home. 



Words by Rev. Charles Denison. 




1. See, Christian ! see, how thy time steals on ; Soon will sink life's set-ting sun : Lilfe the gleams of clo-sirig day, Fade thy fleet-mg hours a - way : 
2. See how the shades of death come nigh ; Joyful shades, when Christians die : They mark the path our Saviour trod, Dying saints to waft to God: 



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Then, up! let us toil till our toil - ings are o'er, Till we shall be borne to e - ter - ni - ty's shore ; Our fi - nal summons having come, 
Then, up ! fel-low Chris-tian, let mourning be o'er, Re - joice in thy Sa - viour, re - joice ev - er - more ! Our an - gel - convoy ha_ ving come, 



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The Christian's Welcome Home.— [Concluded ] 

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185 



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How sweet the Christian's welcome home ! Home, homefhome ; the Christian's welcome home ; Sweet, O, sweet the Christian's welcome home, welcome home, welcome home, wel - come home ! 
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Seoosd Treble. Siaw and ȣ>_#. 



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1. Je - sus, save my dy - ing soul; Make the bro-ken spi - rit whole: Humbled in the dust I lie; Saviour, leave me not to die. 



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2. Je-sus, full of eve-ry grace, Now re- veal thy smi - ling face: Grant the joy of sin for - given, Foretaste of the bliss of heave*. 



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3. All my guilt to thee is known ; 
Thou art righteous, thou alone : 
All my help is from thy cross; 
All beside I count but loss. 



4. Lord, in thee 1 now believe ; 
Wilt thou — wilt thou not forgive 1 
Helpless at thy feet I lie ; 
Saviour, leave mc not to die! 



186 



EVENING SONG. 



Alto. Dolct. 



From Spiritual Songs,- by penniasio*. 



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1. God of erening and of morning, Great Source of all! While our hearts with love are burning, Pros - trate we fall: 



Now thy sa - ered 



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■ — ■ 

2. Thou that ru - lest earth and hea-ven, Dark-ness and light; "Who the day for toil hasgiv-en, For rest the night: May thine an - gel 

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3. Ob-ject of our soul's de - to - tion, Thee we a - dore; Fill our hearts with sweet erao - tion, This sa - cred hour: 



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throne ad - dress-ing, And our fol - lies all con - fess - ing, We en - treat a Fa - ther's bless-ing ; Lord, hear our call ! Lord, hear our call ! 



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guards de - fend us; Slumbers sweet, thy mer - cy send us; Ho - ly dreams and A^jes at - tend U3 This lire-long aight — This lire-long eight. 

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thou art wot -thy; All the heavenly hosts a - dore thee; Saint6 shall cast their crowns before thee, Now, and evermore — Now, and evermore. 



GENERAL INDEX. 



12 


Bevaria, 


165 


Dirge, 


128 


Kendall, 


116 


Old Hundred, 


27 


22 


Condolence, 


11 


Denmark, 


132 


Litchfield, 


9 


Olmutz, 
Oulney, 


176 


« 


China, 


14 


Dunbar, 


139 


Lavington, 


28 


181 


40 


Coleshill, 


19 


Danvers, 


144 


Luton, 


38 


Portuguese Hymn, 


15 


49 


Consolation, 


20 


Eflingham, 


30 


Limehouse, 


58 


Peckham, 
Plymouth, 


18 


64 


Cranbrook, 


23 


Eaton, 


44 


Little Marlborough, 


72 


29 


66 


Christmas, 


25 


Egypt, 


77 


Leeds, 


93 


Praise, 


32 


94 


Cambridge, 


26 


Elgin, 

Ellenlhorpe, 


170 


Litchfield, 


96 


Portsmouth, 


42 


IIS 


Colchester, 


SO 


170 


Lebanon, 


106 


Piety, 
Paradise, 


46 


120 


Clifford, 


45 


Eastburn, 


173 


Leroy, 


126 


48 


147 


Calvary, 


60 


Evening song, 


180 


Lyons, 


145 


Poland, 


62 


160 


Clifton, 


70 


Forty- sixth, 


37 


Ly stria, 

Loveing Kindness, 
Margate, 


171 


Portugal, 


71 


1G0 


Condescension, 


71 


Fountain, 


95 


174 


Peace, 


87 


162 


Castle Street, 


78 


Franklin, 


143 


38 


Prescot, 
Park Street, 


113 


9 


Cookham, 


82 


Fairfield, 


169 


Morning Hymn, 


50 


142 


1! 


Camberwell, 


99 


German Air, 


58 


Mear, 


82 


Pilesgrove, 


146 


12 


Charmotuh, 


109 


Ganges, 
Greenville, 


76 


Mount Pleasant, 


90 


Pelham, 


175 


13 


Coventry, 


109 


136 


Moreton, 
Middleton, 


100 


Quercy, 


34 


24 


Communion, 


120 


Guilford, 


140 


106 


Queensborough, 


47 


51 


Contrition, 


127 


Gilgal, 

Gospel Jubilee, 


171 


Martin's Lane, 


Hi 


Retirement, 


10 


52 


Come ye disconsolate, 137 


172 


Monmouth, 


119 


Rochester, 


27 


65 


Carey, 
Canterbury, 


166 


Helmsley, 


18 


Martyrs, 


124 


Romain, 


35 


67 


166 


Horseley, 


19 


Milan, 


126 


Richmond, 


107 


77 


Columbia, 


167 


Harleigh, 


22 


Mornington, 


159 


Resignation, 


159 


61 


Chester, 


168 


Hotham, 


103 


Mount Calvery, 


164 


Rock of Ages, 


179 


83 


Darwell, 


39 


Heber, 


122 


Music, 


169 


Return O Wanderer, 


179 


83 


Dalston, 


40 


Hark ! the Song of 




Merden, 


182 


Riverston, 


180 


S6 


Dying Christian, 


53 


Jubilee. 


133 


New-Sabbath, 


10 


St. Martins, 


13 


91 


Despondence, 


74 


Hermit, 


142 


New- London, 


25 


Stratford, 


16 


93 


Devonshire, 


75 


Haddam, 


146 


New-Brunswick, 


32 


Shiiland, 


17 


95 


Dundee, 


89 


Hamilton, 


161 


Newmark, 


52 


St. Johns, 


29 


96 


Dismission, 


90 


Hebron, 


173 


Newcourt, 


73 


Sweet Home, 


36 


100 


Devizes, 


92 


Howards, 


177' Norwich, 


76 


Stephens, 


49 


101 


Darwin, 


98 


Invocation, 


35 


Newton, 


87 


Stroudtwater, 


59 


112 


Duncanfield, 


108 


Irish, 

Inspiration, 'vC- 
Judgment, 


84 


Newry, 


105 


St. Philips, 


61 


130 


Devotion, 


110 


129 


Ninety-seventh, 


124 


St. Albans, 


69 


1 15 


Danville, 


114 


102 


Nurembergh, 


176 


St. Peters, 


69 


1C3 


Dover, 


121 


Knaresborough, 


31 


iNorwich, 


177 


St. Michaels, 


79 



Stamford, 

Shoel, 

Spring, 

St. Thomas, 

Surry, 

St. Bridges, 

St. Davids, 

St. George, 

Sterling, 

Savannah, 

Shrewsbury, 

Stonefield, 

Somerville, 

Swanwick, 

St. Anns, 

Spencer, 

Saints Home, 

Spring, 

Somerville, 

Tallis, 

Turin, 

Tamworth, 

Truro, 

Thatcher, 

Trinity, 

Tilden, 

The Christian wel- 
come home. 
Uxbridgc, 
Vesper Hymn, 
Windham, 

Westminister Abbey, 

Walworth, 

Warsaw, 

Watchman, 

Wakefield, 

Wells, 

Winter, 



80 
85 
92 
94 
97 
99 
101 
105 
113 
114 
115 
123 
123 
125 
131 
143 
153 
171 
17S 



Worthing, 84 

Walsal, 86 

Worship, 104 

Warwick, 108 

Wareham, 116 

Welkin, 117 

Warrington, 117 

Westmoreland, 124 

Ward, 147 
When I can read my 

title clear, 178 

Wayland, 181 

Woodland, 183 

Wilmot, 185 

Zion, 66 

ANTHEMS. &c. 
Come ye disconsolate, 137 



Daughter of Zion, 149 

Dying Christian, S3 

12' Denmark, 132 

20 Evening Song, 180 
26 From Greenland's Icy 

34 mountains. 146 
59' Hark ! the Song of 

67 Jubilee, 136 
88 Hark ! the Vesper 

| Hymn, &c. 141 

184 Loveing Kindness, 174 
144 O praise God in his 

14 1 1 holiness, 158 

14 Return O Wanderer, 179 

21 j Thou art gone to the 

33 grave, &c. MS 

411 The voice of Free 

43, grace, 154 

68 The parting, 136 
72: The Christian We\- 

81 come home, 1JM 



L. M. Major 
All Saints, 
■Aire ton, 
Blendon, 
Berwick, 
Brewer, 
Brentford, 
Bath, 

Condolence, 

Castle Street, 

Carey, 

Denmark, 

Danvers, 

Effinham, 

Eaton 

Ellenthorpe, 

German Air, 

Gilgal, 

Horseiey, 

Hebron, 

Litchfield, 

Luton, 

Leeds, 

Morning Hymn, 

Moreton, 

Middletown, 

Monmouth, 

New- Sabbath, 

Newry, 

Ninety-seventh, 
Old Hundred, 
Portugal, 
Park Street, 
Piles grove, 
Quercy, 

Richmond, 2 verses, 

St. Peters, 

Shoe!, 

Surry, 

St. George, 

Sterling, 



118 

160 
11 

51 
81 
93 
101 
11 
78 
166 
132 
144 
30t 
44 
170 
58 
171 
19 
173 
9 
38 
93 
50 
100 
106 
119 
10 
105 
124 
27 
71 
142 
146 
34 
107 
69 
85 
97 
105 
113 



Stonefield, 
TaUis, 
Truro, 
Tilden, 
Uxbridge, 

Westminister Abbey. 
Wells, J 
WarringtoD, 
Ward, 

L. M. Minor. 
Armly, 
Brookfield, 
Darwin, 
Limehouse, 
Windham, 

C. M. Major. 
Arcadia, 
Arundel, 
Abridge, 
Arlington, 
Alexandria, 
Bristol, 
Bradford, 
Broomsgrove, 
Barby, 
Bedford, 
Brain tree) 
Blandford, 
China, 
Cambridge, 
Colchester, 
Clifford, 
Clifton, 

Condescension, 
Charmoulh, 
Coventry, 
Canterbury, 
Chester, 
Dundee, 
Devizes, 
Danville, 



1231 
12 

34 



144 

21 
72 
117 
147 

120 
100 

98 
58 
14 



40 
49 
66 
160 
12 
13 
52 
65 
77 
83 
83 
14 
26 
30 
45 
70 
71 
109 
109 
166 
168 
89 



114 



Franklin, 
Harleigh, 
Howards, 
Irish, 

Inspiration, 
Judgement, 
Knaresborough, 
Kendall, 
Lavington, 
Litchfield, 
Milan, 
Mear, 

Mount Pleasant, 
New-London, 
Newmark, 
Piety, 
Paradise, 
Poland, 
Retirement, 
Rochester, 
Resignation, 
St: Martins, 
St. Johns, 
Stephens, 
Stroudtwater, 
St. Albans, 
St. Davids, 
Swanwick, 
St. Anns, 
Spencer, 
Winter, 
Warwick, 
Wareham, 
Welkin, 
Westmoreland, 
When I can read my 
title clear, 
C. M. Minor. 
Brunswick, 
Bangor, 
Coleshill, 



METRICAL INDEX. 



14 


3 Duncanfield 


1( 


8j Forty-sixth, 


37 


2 


2 Elgin, ' 

1 Martvrc: 


11 


Martin's Lane, 


111 


17 


12 


4 Newcourt, 


73 


8 


1 Plymouth, 
) Walsal, 


2 


2 S. P. M. 




12! 


8 


Dalston, 




205 
3 


■ ©. ju. Major. 
Cranbrook, 


8 


„ Worship, 

C. P. M. 

^ Aithlone, 
^ Columbia, 


40 
104 


in 

2! 
9E 


Cjiimhprwoll 

Communion, 
Dover, 


9 
12 
IS 


162 
167 


2£ 


1*. n sfnnrn 
xjaoiuui I], 


17 


$ o. lVl, yj. 


175 


82 


Fairfield, 


16 


\ Pplrinm 


9C 


Leroy 
JVI argate, 


12 


5 C. M. D 




25 


3* 


i Riverston, 


180 


52 


lYIflTll n fitnn 


15! 


Somerville, 


178 


46 




16! 


H: M. 




48 


Newton, 


S' 


Burnham, 


112 


62 


Olmi ity 


17( 


Beverly, 


130 


1C 


Pprlf hum 


15 


Bethesda, 


91 


27 


Prescot, 


1 IC 


Darwell, 


39 


159 


Shirland, 


17 


Haddam, 


146 


13 


St. Thomas, 


94 


Portsmouth, 


42 


29 


Somcrville, 


23 


St. Philips, 


61 


49 Thatcher, 


5! 


et. Michaels, 


79 


69 


Watchman, 


4G 


Warsaw, 


41 


69 


Wakefield, 


66 


P. M. 




101 


S. M. Minor, 




Amherst, 


j 

12 


125 


Aylesbury, 


22 


Devonshire, 


75 


131 


Contrition, 


27 


Helmsley, 


18 i 


143 


Dunbar, 


39 


Portuguese Hymn, 


15 


81 


Egypt, 


77 


Romain, 


35 i 


108, 


Little Maryborough, 


72 


Stratford, 


16 J 


116 


St. Bridges, 


99 


6, 7. 


115 < 


117 


L. M. 2 Verses. 




Shrewsbury 


121 


Richmond, ] 


VI 


6, 6, 4, 6, 6, 6, 


4. i 




L. M. 6 Lines. 




Trinity, 


67 


178 


Broadmead, ] 


63 


7s. 


1 




Eaton, 

Morning Hymn, 


14 


Alce-.ter, 


94 


9 


50 


■fenevento, 


24 ^ 


96 


»L. P. M. 




^Rneficence, 


65 


19 


Devotion, j 


10 


Cookham, 


82 C 



Hotham, 103 
Hark ! the Song of 

Jubilee, 138 

New-Brunswick, 32 

Norwich, 177 

Rock of Ages, 179 

Turin, 20 

Wilmot, 185 

7 & 6. 

Amsterdam, 64 

7, 6, S.- 
Lebanon, 106 

7s, 6 Lines. 

Mount Calvery, 164 

7s, 4 or 6 Lines. 

Nuremburgh, 176 

7, 6 & 7. 

Merden, 182 
8s. 

Broomsgrove, 86 

Oulney, 181 

Spring, 92 

Savannah, 114 

8s, 4 Lines, 

Lystria, 171 

Spring, 171 

8s. & 4s. 

Wayland, 181 

8 & 7. 

Alton, 147 

Berne, 145 

8s & 7s double. 

Queensborough, 47, 

Stamford, 80 
83 & 7s, 8 Lines. | 

Bevaria, 165! 

8, 6, 8, 8, 6. 

Woodland, 183 

.8, 6, 6, 8, 8, 6. I 

Christmas, 25 



8s&7s,or8,f,&4. 

Calvary, M 

Dismission, 90 

Greenville, 13$ 

Tamworth, 2« 

Worthing, 84 
_ 8, 8, 6, 8, 8, 6. 

Ganges, 79 
_ 8, 7, 8,7, 7,7, 8, 8. 

Invocation, 35 
p .8,7,8,7,7,7. 

Praise, 35 

Gospel Jubilee 172 

8 6s, & 2 8. 

Peace, 87 
10s. 

Despondence, 74 

firge, 128 

Judgement, 102 

Walworth, 33 

10s & lis.; 

Hamilton, 161 

Lyons, 145 

11,11,11,11. 

consolation, 29 

Norwich, 76 

Saints Home, 158 

11, 10, II, 10. 

Bethlehem, 95 

Heber, 122 

11,11, 11,11,5,11. 

Sweet Home, 36 
. II, 8, II, 8. 

Zion, 6$ 
12, 12, 12, 12,-12, 12. 

Fountain, 95 

I3s and lis. 
Guilford, 140 

Hermit, 14? 



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