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FORM NO, 609: 1,3.48; tOOM.
PORTLAND
SACRED MUSIC SOCIETY'S
COLLECTION OF
H IT R C H MUSIC
CONSISTING OF
COMPOSED AND COMPILED UNDER THE SPECIAL PATRONAGE OF THE
PORTLAND SACRED MUSIC SOCIETY,
AND ADAPTED
TO THE USE OF CLASSES, CHOIRS, AND THE SOCIAL CIRCLE
ARRANGED WITH SMALL NOTES
FOR THE ORGAN OR PIANO FORTE.
BY DAVID^PAINe}'
ORGANIST TO THE PORTLAND SACRED MUSIC SOCIETY, AND PARK STREET CHURCH.
PORTLAND :
WILLIAM HYDE, AND COLMAN & CHISHOLM.
Entered according to Act of Congress, in the year 1639,
By DAVID PAINE,
In the Clerk'a Office of the District Court of the District of Maine.
A. SHIH1ET, PRU>TER.
ADVERTISEMENT.
The Portland Sacred Music Society was instituted in May, 1836, and incorporated in March, 1837. The
original design of the founders of the Society was, that its influence should be exerted to aid in creating a more
general taste for music with the public, and, likeAvise, in cultivating a correct style of performing Church Music.
In conformity with this design, the Society have been induced to publish this collection of Church Music, to meet
the evident wants of Singing Choirs, by furnishing them with a greater number of tunes' in chanting style, than are to
*- •
be found in any of the books now in use. The greater part of the hymn tunes in this work are of this character, and
they will be found to be simple, pleasing, and easy of performance.
A number of the most favorite old tunes have been inserted without any alterations. There will be found, also,
a great variety of short and pleasing Anthems, Sentences, &c. &c, both selected and original, adapted to almo?t
every occasion.
It is not expected that the chant tunes will compare, for sublimity afid originality of character, with those of
Mr. Zeuner, (to whom must be awarded the credit of successfully introducing this new and pleasing style of Church
Music ;) but, on account of the great number and variety which the book contains, and the simplicity of their character,
it is confidently expected that it will be considered a valuable acquisition to the stock of Church Music.
iv ADVERTISEMENT.
More than three fourths of the tunes here published are entirely new and original ; the greater part of which have
been composed, and arranged expressly for this work, by Mr. David Paine, Organist to the Society. A small number
have been contributed by sundry persons interested in the subject of Sacred Music.
It will be noticed that several pages are left out at the end of each metre. If another edition of the work should
be called for, it is intended to fill these spaces with new tunes. The public may rest assured that not the slightest
alteration will be made in future editions, either in the music, or in the position that the tunes and pieces occupy in
the present ; so that there will be no inconvenience in using copies of several editions in the same School or Choir.
The Introductory rules, on the Pestalozzian system, have been prepared by Mr. Wyman, a member of the Society.
The following gentlemen compose the Government of the Society at the present time.
JAMES FURBISH, President,
ABNER LOWELL, Vice President, v
JOSEPH KINGSBURY, First Vocal Conductor, \
ALONZO P. WHEELOCK, Second Vocal Conductor, /
GEORGE A. CHURCHILL, Secretary, !
H. V. BARTOL, Treasurer, >TrDSTEES.
J. R. MILLIKIN, Librarian, f
GEORGE WORCESTER, L
A1NSWSRTH CARLTON, \
JOSEPH BROOKS, J
DAVID PAINE,
F. I. ILSLEY,
ELEMENTS OF VOCAL MUSIC.
GENERAL DIVISION.
1. Music, as a science, naturally divides itself into Speculative and
Practical.
2( Speculative Music may be called a knowledge of musical materials,
as it embraces all the first principles, or theoretical parts of the science.
3. Practical Music is the art of applying and judiciously making use
of speculative principles ; in other words, of applying to practice all those
musical materials, or first principles, embraced in speculative music. This
part of the science may, with equal propriety, be termed Execution.
4. Speculative Music may be divided into three general departments,
viz : —
1. Rhythm, which relates to the length of sounds.
2. Melody, which relates to the pitch of sounds.
3. Dynamics, -which relates to the strength or force of sounds.
Teacher may ask the following or similar questions, which should be
answered simultaneously by the whole school, or class.
QUESTIONS.
Into how many parts may the science of Music be divided 1
What is Speculative Music 1 What is Practical Music %
What other name may be applied to Practical Music % ,
How many departments are there in Speculative Music 1
What is the first department called 1 The second 1 The third )
To what does Rhythm relate 1 Melody 1 Dynamics ?
PART I Rhythm.
CHAPTER I.
5. Teacher sings a few sounds, of different lengths, to the syllable la,
and asks, Were the sounds, I have made, alike 1 Ans. — They were not.
In what respect did they differ 1 Ans. — In regard to length. He calls the
attention of the class tq the fact, that
6. Sounds differ in iegard to length.
CHAPTER II.
TIME.
7. Every piece of music must be regularly divided into parts or por-
tions, and marked with a perpendicular stroke, thus, | (Teacher writes.)
vi. ELEMENTS OF
S, This character is called a Bar ; and the space between two bars is
called a Measure.
9. Each measure is also divided into smaller portions, called Parts of
a Measure.
10. The parts of a measure may be expressed by motion of the hand,
which motion is called Beating Time.
11. A measure may have two, three, four, or six parts, and each
part has one motion of the hand ; thus there must be as many motions of
the hand as there are parts in the measure.
13. One part of a measure is generally sung with a greater strength of
voice than another. This is called Accent. (Teacher illustrates.)
13. A measure, which consists of two parts, is called Double Meas-
ure ; it has two motions or beats, one down and one up, and is accented on
the first part of the measure.
14. A measure, which consists of three parts, is called Triple Meas-
ure ; it has three motions or beats, one down, one left, and one up, and is
accented on the first part of the measure.
15. A measure, which consists of rouR parts, is called Qoadruple
Measure ; it has four motions or beats, one doion, one left, one right, and
one up, and is accented on the first and third parts of the measure. One
measure of quadruple time is equal to two measures of double time.
16. A measure, which consists of six parts, is called Sextuple Meas-
ure ; it has six motions or beats, two down, one left, one right, and two up,
and is accented on the first and fourth parts of the measure. One measure
of sextuple time is equal to two measures of triple time.
Note. — In beating time, the motion should be easy and graceful, avoiding alike
a quick or forced movement of the hand and arm, and a dull and sluggish motion.
Let the motion be made entirely with the hand and fore arm ; there should be no
motion of the upper arm, body, or head. Each variety of measure should J>e heat
and counted, the teacher first giving the example, until the scholars become perfectly
familiar with it. Too much attention cannot be bestowed upon this subject ; and
in all the following exercises, the regular marking and beating of time must not be
neglected. The scholar should early learn to count in connection with beating
VOCAL MUSIC.
time, using the words down, left, right, up, the word to correspond with the motion
to be made. In beating sextuple time, the hand should fall half way at the first,
and rise half way at the fifth beat The left beat should be made by moving the
hand horizontally to the left, and the right beat, by moving the hand horizontally to
the right
17. After beating and counting all the different varieties of measure
sufficiently, the scholars may be required to sing in connection with beating
the time.
IS. The teacher first gives the example, singing one la to each beat,
the scholars at the same time beating and counting the time.
Note. — The key of E, or F, will probably be found the most convenient, as that
key will be the most likely to accommodate all the voices. The teacher should
repeat the sound several times, until it becomes strongly impressed on the minds of
the scholars.
19. The scholars next 6ing one la to each beat, the teacher beating and
counting the time.
Note. — The syllable la should be distinctly pronounced, the I thrown out forcibly,
the a as in father.
SO. In this way sing all the different varieties of measure.
QUESTIONS.
What are the different parts called, into which a piece of music is divided 1
What is that character called, which is used to divide the time into
measures 1
What is the space between two bars called ?
How are the different parts of a measure expressed % What is this
motion called 1
How many motions has each part of a measure 1 Ans. — One.
What is accent 1
What is a measure with two parts called ? Three 1 Four 1 Six 1
On what part of double measure is the accent 1 Tripled Quadruple!
Sextuple 1
How many motions has double measure 1 Triple * Quadruple 1 Sex-
tuple 1
ELEMENTS OF VOCAL MUSIC.
VII.
CHAPTER III.
NOTES.
2 1 . Teacher says, we have now made musical sounds, and we must
have something to express those sounds.
22. Scholars sing one measure in quadruple time, one la to each beat.
Teacher writes thus,
f f f f
I | | and says,
23. The characters used to represent musical sounds are called notes,
and these which I have written are called quarter notes, or quarters,
and represent the sounds you have just made.
24. As sounds differ in regard to length, so the characters by which
they are represented must differ in the same respect.
25. Longer notes may be obtained by the union of two or more shorter
ones. Thus, the union of the first two quarters in the above example, will
give a sound equal in length to both. The note formed by this union is
called a half note, made thus, & and the example, instead of the four
2G. By adding a dot to the half note, thus,
a sound is ob-
tained equal in length to three quarters, and the example would stand thus,
f^* • dotted half, quarter.
Note. — Placing a dot after a note adds one half to ita length.
27. Uniting the feur quarters will give a sound equal in length to the
whole, and the note representing it is called a whole note, made thus,
28. By singing two sounds to each quarter, eighths are obtained. An
eighth note, thus, * is half the length of a quarter.
+
29. Four sounds made to one quarter, are called sixteenths. A
sixteenth, thus, • is half the length of an eighth.
30. By adding another hook to the sixteenth, the thirty-second *
is obtained. £
Another hook to that gives the sixty-fourth * Every addi-
tional hook shortens a note one half. It is not necessary, ^ however, to
exercise on any note beyond sixteenths. ^
31. The teacher may write the following table of notes, to show their
relative value.
r r r
LJ U U
f f f f f r f p ••••
r r
32. The figure 3 is sometimes placed over or under a group of three
notes, which shows that the three are to be performed in the time of two of
the same kind. The figure thus used is called a mark of Diminution,
and the three notes thus diminished are called Triplets. Example.
0 0 \ 0 0 000
rriu lu
QUESTIONS.
How are musical sounds represented T How many kinds of notes are in
common use 1 Ans.— Five. What are they called 1 How may longer
notes be obtained from Shorter ones! What will the union of two quarters
give 1 Three 1 Four 1 What is the effect of a dot 1
Question also in regard to the comparative length of notes, as follows, viz;
How many halves are equal to a whole T How many quarters are equal
to a half ! To a whole 1 How many eighths are equal to a quarter ! To
a half! To a whole ! &c. When three notes are sung to the time of two.
of the same length, what are they called T
VIII.
ELEMENTS OF VOCAL MUSIC.
The teacher may now write simple rhythmical exercises upon the board,
like the following,
r r r r if r r \ r r\° \\
r r r r itrer trcr\r r f \° \\
r r\r r crcr isrercf ul° II
3 3 3 3
r r Cj# u# i Liif mr u \ i uj* r z±s r | ° |j
in which the principles contained in the foregoing chapter may be introdu-
ced. Before singing, the scholars should be questioned in regard to every
principle contained in the exercise. The teacher should first sing the
exercise, the scholars beating and counting the time; when the scholars
sing, the teacher should listen, beat, and count. These directions should be
strictly observed in all the subsequent exercises.
CHAPTER IV.
MEASURE.
33. There are different varieties of the same kind of Measure ; the
Double Measure, may be expressed by halves, or by quarters ; Triple
Measure, by halves, quarters, or eighths ; Quadruple Measure, by halves,
or quarters ; and Sextuple Measure, by quarters or eighths.
84. To denote the varieties of measure, and the character of the notes
used, figures, in the form of fractions, thus, 3 § 4. dec. are made
use of. 4 4 4 .
35. The upper figure, or numerator, designates the number of parts in
the measure ; and the lower figure, or denominator, the kind of notes
used.
3G. The figures 8 denote double measure, expressed by quarters, or
in quarter relations ; 4 the figure 2 designating the number of parts, and 4
its rhythmical construction.
jj denotes double measure, expressed by halves.
| denotes triple measure, expressed by halves.
2 triple measure, expressed by quarters.
^ triple measure, expressed by eighths,
g quadruple measure, expressed by halves.
| quadruple measure, expressed by quarters.
| sextuple measure, expressed by quarters.
■| sextuple measure, expressed by eighths.
QUESTIONS.
How are the different varieties of measure expressed 1
What does the upper figure, or numerator, denote * What the lower
figure, or denominator 1
What does 8 denote 1 Ans. — Double measure, expressed by quar-
ters 1 *
What does 8 denote 1 § <l 3 a &c.
8 2 4 ,
The teacher should write exercises in all the different varieties of meas-
ure, question, and practice, like the following :
§r nr r r\r- r\° I
if f fi° r\rrrrr\°-\
n : nr ci&rtf cir i
ELEMENTS OF
f r r r\r r\r r r\° \
* i
t r * i !lT r i c r r c i i°' i
1 l0
2 I
r nr'crrir r i r ■ i
r n Is rr-\rrrr\°-\
6 0 0*
ill!
■X- Double note, equal to two whole notes — seldom used.
CHAPTER V.
RESTS.
87. Rests, or marks of silence, are used to denote such parts of a
measure, or piece of music, as are to be passed over in silence.
38. Rests take the place of notes, and derive their name from the note
they represent. We should remain silent on a rest, as long as we should
be in singing the note it represents.
39. A Whole Kestjs made thus, ~r A HalfRest, thus, _
A Quarter Rest, thus, [•* An Eighth Rest, thus, *j A Sixteenth,
thus, ^ Every additional hook shortens the rest one half.
4.O. A note which precedes a rest should, in general, be sung shorter
than those which precede other notes.
QUESTIONS.
What are rests 1
From whence do thev derire their name 1
VOCAL MUSIC. ix
How long should we remain silent on a rest 1
What rest is this, tit 'l (Teacher writes.) This, _bl 1 This, p * <Stc.
How should a note which precedes a rest be sung "J
Write exercises, question, and practice.
I f f f r I f f r f [ f r f P | ° \
i ° r r hr r~\~r~r \ ° \
« r t\t I c ^ c ir i
PART II Melody.
CHAPTER VI.
41. A succession of single sounds, or any thing which can be sung by
a single voice, is called a Melody.
42. Teacher sings a few sounds, differing from each other in regard to
pitch, and asks, Were the sounds I have made, alike ? Ans. — They were
not. In what respect did they differ 1 Ans. — In regard to pitch. He calls
the attention of the class to the fact, that
43. Sounds may differ in regard to pitch ; or sounds may be high, or
they may"be low.
QUESTIONS.
What is a Melody 1 In what respect do sounds differ in melody *i
ELEMENTS OF VOCAL MUSIC.
CHAPTER VII.
THE STAFF.
44. Five parallel lines, with their spaces, form a character called
a Staff, upon which music is written.
45. Teacher writes and explains the staff, thus :
46. From a line to the next space is one Degree, or Interval ; thus
the staff contains nine degrees, viz : five lines, and four spaces.
47- The spaces above or below are used when more than nine degrees
are wanted. Additional lines, called addep lines, or leger lines, may also
be required.
48. The teacher writes and explains, thus :
space above.
ADDED LINE ABOVE.
SPACE BELOW.
LDDED LINK BILOW.
QUESTIONS.
What is that character called, on which music is written '?
How many lines has the staff'? How many spaces 1 How many de-
grees, or intervals 1
When more than nine degrees are wanted, what are used 1 51ns. — The
space above or below.
When more degrees still are wanted, what are used 1 Ans. — Added
lines.
CHAPTER VIII.
THE SCALE.
49. A series of eight sounds, in regular intervals, from one to eight,
is called a Scale. The scale may be called the first principle, or founda-
tion of melody.
5©. Five of the sounds of the scale are whole tones, and two are
HALF TONES, or SEMITONES.
51. Teacher sings the scale, making the semitones a little softer than
the whole tones, and asks, How many sounds did I sing! Between which
of the sounds did I make the semitones ! Ans. — Between three and four,
and seven and eight.
53. Teacher writes the scale as follows, placing the first sound upon
the added line below.
^ —
-<S»- °
1 2 3 4 5 6 7 8
53. The sounds of the scale may be designated by numerals, as 1,2,
3, 4, &c.
One is placed upon the added line below. From 3 to 4, and from
are semitones ; all the other sounds are whole tones. Teacher re-
the scholars that the semitones must come between 3 and 4, and
7 and 8.
55. The teacher now requires the scholars to listen, while he sings
one of the scale to the syllable la. This sound is repeated several times,
until it is fully impressed on the minds of the scholars.
5@. The scholars are next required to make the same sound. Great
care must be taken that the 'sound be made correctly, and it must be repeated
till it can be so made.
ELEMENTS OF VOCAL MUSIC.
XI
57. Having made one correctly, the teacher proceeds in the same way
with two ; then with three ; and so on, through the scale, taking care that
each sound be made correctly.
58. The scale is next sung ascending and descending ; and lastly, such
sounds, taken promiscuously, as the teacher may designate. In lliis way,
the scale may be practised till every sound becomes familiar.
The teacher will find it profitable to give out a sound for the class, which
they will sing, making a pause after each sound, to give him an oppor-
tunity to make some other sounds. He then makes the sound himself, and
pausing after each, requires the class to make such other sounds as he
shall designate.
Note. — There may be some in every class, or school, who will not be able at
first to make the sounds of the scale correctly. The teacher will find it necessary,
perhaps, to bestow a little extra labor upon all such ; and for this purpose, and be-
cause they cannot go along profitably with the class, they had better go into a class
by themselves. Experience proves that, with a little extra effort, almost all such
persons may learn to sing.
59. Words, or Syllables, are also applied to the sounds of the scale.
The syllables in common use, are do, re, mi, fa, sol, la, si, do. Some use
the syllables, /«, sol, la, fa, sol, la, mi, fa. These syllables are applied as
follows, viz :
« To one, — do (pronounced doe) or fa, (pronounced fah, a as in father.)
" two, — re " ray) " sol, " sole,
" three, — Ml " mee) " la, " lah, a as in father.)
" four, — fa " fah) " fa.
" five, — sol, " sol. .
" Six, LA, " LA. ^*
" seven, — si, * see) " mi.
" eight, — do, " fa.
Teacher writes the scale, with syllables, as follows, viz: —
DO RE ME FA SOL IA SI 1)0
fo-
©0. The scholars sing the scale, ascending and descending, each
sound to its appropriate syllable.
Note. — It is strongly recommended to use only the first named syllables.
&t . The first seven letters of the alphabet are also applied to the sounds
of the scale, viz : — A, B, C, D, E, F, G, and, to make the eighth, the first
letter is repeated.
62?. Teacher says, We have placed one upon the added line below, to
which we apply the letter C, and complete the series upward. Teacher
writes as follows, viz : —
DO RE MI FA SOL LA SI DO
C D E
F
G A
B C
la fa sol la
fa
QUESTIONS.
What is that series of sounds called, which is the foundation or first prin-
ciple q£ melody 1 p
How many sounds has the scale 1 How many whole tones 7 How many
semitones 1
Between which sounds are the semitones 1
How may the sounds of the scale be designated 1 Ans. — By numerals.
On what degree of the staff is one ') Two 1 Three 1 &c.
In what other way may the s"ounds of the scale be designated '? Ans. —
By syllables.
What syllable is applied to one 1 Two 1 Three 1 &c.
In what other way do we designate the sounds of the scale 1 Ans. — By
letters.
What letters are used 1
What letter is applied to one 1 Two 1 Three 1 ccc.
Note. — The scale should be sung by numerals, by letters, and by syllables.
ELEMENTS OF VOCAL MUSIC.
CHAPTER IX
THE CLEF.
63. C, or one, may be placed in the second space, as well as upon the
added line below. Teacher writes,
— —
— <s>-
1
c
2
D
3
E
4
F
5
G
6 7
A B
8
C
64. When C is written upon the added line below, a
character called the G Clef, is placed upon the second -jr -
line of the staff, and fixes the letter G upon that line, ftfi — g — —
thus : •>
65. When C is written on the second space, a char-
acter called the F Clef, is placed upon the fourth line \Q F
of the staff, and fixes the letter F upon that line, thus . ■
66. This may be better illustrated by writing two scales, one imme-
diately above the other, placing the clefs upon their appropriate lines at the
beginning of the staff, thus :
i
D E F G
F G
B C
Note.— This exercise should not be practised in this form here. The scholars
should, however, be exercised in both scales till they become familiar.
QUESTIONS.
When C is written upon the added line below, by what character is
designated 1 Ans. — The G clef.
When it is written on I he second space, what character is used 1
On what line is the G clef 1 On what line is the F clef 1
CHAPTER X.
ON THE DIFFERENT SOUNDS OF THE SCALE IN CONNECTION.
67. We have hitherto exercised upon the sounds of the scale sepa-
rately, or in their regular order, ascending and descending. These sounds
may, however, be combined ; that is to say, two or more of them may be
sung in connection.
6S. Two or more sounds of the scale, taken in connection, form what
is termed a Ciiokd.
69. Th'ose chords which please and gratify the ear, are called Conso-
nant Chords, or Concords ; and those which are not pleasing, Djssonant
Chords, or Discords.
70. Those concords, which are the most pleasing, are called Perfect
Chords. They are one, as a ground, or fundamental tone, and three, five,
and eight, in connection.
71. Those concords, which are less pleasing, are called Imperfect
Chords. They are six, or six and four, in connection with one.
The discords are two, four, or seven, with one.
73. The scholars are now required to exercise on the different sounds
of the scale, in connection with one, commencing with those sounds which
are most pleasing to the ear.
74. The scholars sing 1, 2, 3, and prolong 3. They next sing 1, 3,
and repeat each sound until it can be made correctly.
75. The teacher should write an exercise of easy rhythmical construc-
tion, in which 1 and 3 are the only sounds used. (See Mus. Ex. No. 4.)
ELEMENTS OF VOCAL MUSIC.
Note. — It will be profitable to examine each exercise before singing it, by asking
such questions as the following, viz : — In what rhythmical relation is it ? *4ns.—
Quarters. Into how many parts is the measure divided ? Ans. — Four. What is
a measure with four parts called ? What figures will express this division of time ?
On what letter is one? Ans.—C. (The letter on which one is written, always
gives name to the scale.) In what scale is it ? Ans. — Scale of C, &c.
76. Scholars should next sing 1, 3, 5, in the same way. Exercise on
1, 3, and 5. (See Mus. Ex. No. 5.)
77. They next sing 1, 3, 5, and 8, in the same way. 1, 3, 5, and 8,
constitute what is called the common chord. Exercise on 1, 3, 5, and 8.
(See Mus. Ex. No. 6.)
Note.— All the exercises should be sung by numerals, by letters, and by syllables.
78. Exercises in two parts, with 1, 3, 5, and 8, may be sung, (the
males singing one part, and the females the other.) (See Mus. Ex. No. 7.)
7J>. The scholars next sing the scale from 1 to 6, and prolong 6. Exer-
cise on lessons in which 1, 3, 5, 8, and 6, are used. (See Mus. Ex.
No. 8.)
SO. The dissonant chords are next sung, commencing with 7.
81. The scholars sing from 1 to 7, and prolong 7. 7 naturally leads to
8 ; and, in order to make 7 correctly, we must think of 8.
82. The class may exercise on 7 somewhat after the following manner,
viz : — sing 1 — 8 — 7 — 8. 1 — 8 — think of 8— sing 7, &c. Exercise in this
way until the scholars can sing 1 — 7, correctly. Exercise o*n lessons in
which 1, 3, 5, 8, 6, and 7, are used. (See Mus. Ex. No. 9.)
83. Four is next sung in the same manner ; 3 is the guide to 4. In
order to make 5 correctly, we must think of 3. Exercise on lessons in
which 4 is introduced. (See Mus. Ex. No. 10.)
84. Two is next sung in the same way. Exercise on lessons in which
2 is introduced. (Mus. Ex. No. 11.)
QUESTIONS.
What is formed by two or more sounds taken in connection 1
What are those chords called which please the ear? ■ Those which do
not please the ear 1
What arc those concords called which are the most pleasing to the ear?
Those which are less pleasing 1
What sounds compose the perfect chord ? The imperfect chord! The
discord 1
What sounds constitute the common chord 1
To what sound does 7 naturally lead 1 What is the guide to 7 ! What
is the guide to 4 '?
CHAPTER XI.
EXTENSION OF THE SCALE, AND CLASSIFICATION OF VOICES.
85. The human voice has generally a compass of more than eight
sounds ; and sounds above eight, and below one are required.
86. When the scale is extended above eight, 8 becomes 1 of another
scale above ; and when extended below 1, 1 becomes 8 of another scale
below. Teacher writes as follows, viz :
fcale Below.
Middle Scale.
Scale Above.
QUESTIONS.
When the scale is extended above eight, what does eight become'? Nine?
When the scale is extended below one, what does one become 1
What letter is one in the scale above 1 Two ? Three 1 &c
What syllable is one ? Two T Three 1 6zc.
What letter is eight in the scale below 1 Seven 1 &c.
What syllable is eight 1 Seven 1 &c.
xiv ELEMENTS OF
Write exercises on the board, and extend the sounds above eight, or
below one. (See Mus. Ex. No. 12.)
87. There arc naturally four kinds of voice, viz : — Base, Tenor, Alto,
and Treble.
88. The Base comprises the lowest, the Tenor the highest male voices.
The Alto the lowest, and the Treble the highest female voices.
The teacher should now proceed to a regular classification, and division
of voices, in the following manner, viz : —
1st. — Let the scale be sung ascending, and extended as far above eight
as any of the voices will reach. Many of the voices will go no higher than
eight; others will stop at three or four in the scale above, and some few
will go to five or six in the scale above, on the first trial.
2d. — Let the descending scale be sung, and extended as far below one as
any of the voices will reach. Some will stop at one, others will go to six,
five, or four, in the scale below. Let each of these exercises be repeated
several ti'mes.
Those male voices which can sing from five in the scale beloiv, to eight
in the middle scale, or perhaps, to two or three in the scale above, arc Base
voices; and those which can sing from one in the middle scale to five in the
scale above, are Tenor voices.
Those female voices, (includin^Jlose of boys,) which can sing from
five in the scale below, to eight in the middle scale, or perhaps to two or three
in the scale above, are Alio voices ; and those which can sing from one in
the middle scale, to five in the scale above, are Treble voices.
To make this still plainer, let the scales be written and practised in the
following manner, viz :
. middle Scale. ^
1
tt
& 12 3 l r,
^ Q 1 23 4 5678
e .m*mV '— —
2 3
4 5 6 7 8
5 6
7 8
VOCAL MUSIC.
The Base begins at the lowest note ; at one in the scale below, the Tenor
begins, and both proceed together ; at five the Alto begins, and the three
sing together to eight, (or one in the middle sc^le.) Here the Base stops,
and the Treble commences ; and the Treble, Tenor, and Alto go on to five,
when the Tenor stops, and the Treble and Alto go on to eight, when the
Alto stops, and the Treble goes on alone. In descending, the parts begin on
the note on which they stopped, and end on the note on which they begin
in ascending.
N3. The female voice is naturally an octave, or eight, higher than the
male, and when the Treble, or G clef is used for Tenor, it always denotes
G an octave lower than when used for Treble. To illustrate this, and to
show the difference between the male and female voices, let the males sound
eight, and the females oi-.e, in the middle scale, together, and it will be per-
ceived that they make the same sound. This distinction should be well
understood.
QUESTIONS.
How many kinds of voice are there ! What are they called 1
What does the Base voice comprise "? The Tenor'! t Treble % Alto *!
What part do boys sing'!
Lesson in four parts. (See Mus. Ex. No. 13.)
CHAPTER XII.
CHROMATIC SCALE.
OO. The scale, as we have hitherto seen it, is composed of tones and
semitones. This is called the Diatonic, or Natural Scale. There is
another scale, composed wholly* of semitones, called the Chromatic, or
Artificial Scale.
91. Between any two sounds, distant from each other a whole tone,
another sound may be made ; as between 1 and 2, 2 and 3, 4 and 5, &c.
By making another sound between all the tcholc tones of the natural scale,
a scale of semilo?ies- is formed.
ELEMENTS OF VOCAL MUSIC.
92. A semitone may be made by elevating or depressing a sound.
Thus a semitone may be made between 1 and 2, by elevating 1, or
depressing 2.
93. The sign of elevation, thus, # is called a Sharp, and raises the
note, before which it is placed, a semitone.
9-4. The sign of depression, thus, \j is called a Flat, and lowers the
note, before which it is placed, a semitone.
95. In the ascending scale, the semitones are obtained by elevation ; in
the descending scale, by depression.
The teacher writes the scale, leaving a space between the whole tones
large enough to insert other tones, as follows, viz : —
He then questions oa the ascending scale, as follows, viz : —
What is the distance from 1 to 2 7 Ans. — A whole tone. Can another
sound be made between 1 and 2 1 Ans. — There can. Howl Ans. — By
raising 1. Teacher writes another note on C, (between 1 and 2,) placing a
sharp before it, and asks, What has C now become 7 Ans. — C sharp.
What has 1 now become 7 Ans. — Sharp 1. Thus he proceeds, till the
chromatic scale ascending is completed, as follows, viz: —
96. The descending scale is next written, as follows, viz : —
The teacher then questions on the descending scale. What is the dis-
tance from 8 to 7 1 Ans. — A semitone. Can another sound be made be-
tween 8 and 7 7 Ans. — There cannot. What is the distance from 7 to 6 7
Ans. — A whole tone. Can another sound be made between 7 and 6 7
Ans. — There can. How ? Ans. — By depressing 7. Teacher writes an-
other note on B, placing a \j before it, and asks, What has B now become 7
Ans. — B flat. What numeral is it 7 Ans. — Flat 7. Thus he goes on with
the descending chromatic scale, until it is completed, as follows, viz : —
Note. — In speaking of altered notes, by letter, it is proper to name the Idler
first, as C sharp, B flat, &c. ; but in expressing them by numerals, the character
should be first narr.ed, as sharp 1, flat 7, &c.
97. When a note, previously sharped or flatted, is to be restored, a
character called a Natural, thus M is added. A natural restores a note
made flat or sharp, to its original sound.
9S. A sharped note leads upward, and in srder to strike a sharped note
correctly, we must think of the nota^next above it. Sharp 1 leads to 2.
Sharp 4 leads to 5, &c.
S3. A flatted note leads downward, and in order to make a flatted note
correctly, we must think of the note next below it. Thus, flat 7 leads to 6.
Flat 6 leads to 5, &c.
l&Q. When a note is raised, the syllable applied to it terminates with
the vowel sound of e ; thus, do becomes de ; re becomes ree ; fa, fee, Arc.
101. When a note is flatted, the syllable applied to it terminates in the
vowel sound of a, (as in say. ray, &c.) thus, do becomes day — sol, say, &:c.
QUESTIONS.
What is the scale of tones and semitones called 7
What is the scale of semitones called 7
What is the sign of elevation called 7 What is the effect of a sharp ?
ELEMENTS OF VOCAL MUSIC,
What is the sign of depression called 1 What is the effect of a flat 1
How are the semitones in the ascending scale obtained 1 In the de-
scending scale 1
Does a sharped note lead upward or downward 1 A flatted note 1
To what does sharp 1 lead '? Sharp 2 1 &c.
To what does flat 7 lead \ Flat 6 1 &c.
How does the syllable applied to a sharped note terminate 1 How to a
flatted note 1
What syllable is applied to sharp 1 1 Sharp 2 1 &c. Flat 7 \ Flat 5 1 &c
What is the effect of a natural 1
Exercise on lessons in which chromatic intervals are used. (See Mus.
Ex. No. 14.)
CHAPTER XIII.
INTERVALS.
102- There are other Intervals, besides those of a tone, and semi-
tone, such as Seconds, Thirds, Fourths, &c.
103. When two sounds are mode on the same
degree of the staff, the interval is called an Unison.
(See Example.)
-S>- -Si-
Note. — The unison is not strictly an interval, although it is treated as such in
musical science.
104. An interval from one sound to the next above or below it, is
called a Second. If the distance be a whole tone, the interval is called a
major second ; if a semitone, the interval is a minor second. Thus, from
1 to 2 is a major second ; from 3 to 4, a minor second, &c.
The teacher should write the scale, and question as follows, viz : — What
is the interval from 1 to 2 1 Ans. — A major second. What is the interval
from 2 to 3 1 Ans. — A major second. From 3 to 4 1 Ans. — A minor
second, &c.
Note. — In reckoning sounds, we count each, as 1, 2, 3, &c. but in reckoning
intervals, we count from any given second to the sound required ; as from 1 to 3, is
a third ; from 1 to 4, a fourth, &c.
10»>. An interval of lioo tones, as from 1 to 3, is a major third ; an
interval of one tone and one semitone, as from 2 to 4, is a minor third.
They must be reckoned thus — from 1 to 2 is a whole tone ; from 2 to 3 is
a whole tone, &c. Write the scale, and question as before.
105i. An interval of two tones and a semitone, as from 1 to 4, is
called a perfect fourth ; an interval of three tones, as from 4 to 7, a
sharp fourth. Question as before.
107. An interval of three tones and a semitone, as from 1 to 5, is
called a perfect fifth ; an interval of two tones and two semi tones, as from
7 to 4, a flat fifth. Question, &c.
108. An interval of four tones and a semitone, as from 1 to 6, is called
a major sixth ; an interval of three tones and' two semitones as from 3 to 8,
a minor sixth. Question.
IOO. An interval of five tones and a semitone, as from 1 to 7, is
called a sharp seventh; an interval of four tones and iico semitones, as
from 2 to 8, a flat seventh. Question. *
S10. An interval of five tones and two semitones, as from 1 to 8, is
called an eighth, or octave. All the octaves are equal.
111. Any major interval may be made minor, by raising the lower
note, or depressing the upper ; and every minor interval may be made
major, by raising the upper note or depressing the lower.
W
EXAMPLE.
n MnJ. 3d. Win. 3d, or Min. 3d. MoJ. 3d. or
mm
tear
--&2T.
-s>- #s>- -Si-
113. An extreme sharp interval may be made by depressing the
lower, or raising the upper note, of any major interval. An extreme flat
interval may be made by depressing the upper, or raising the lower note of
any minor interval.
ELEMENTS OF VOCAL MUSIC
QUESTIONS.
What is the space between two sounds called 1 Ans. — An interval.
When two sonnds are made upon the same degree of the staff, what is
the interval called *
What is the interval from one sound to the next above or below it 1
How many kinds of sounds are there '?
How many tones has a major second 1 A minor second 1
What is the interval from 1 to 3 1 Ans. — A third.
How many tones has a majoj third 1 A minor third 1
Question in the same manner on all the intervals.
CHAPTER XIV.
TRANSPOSITION OF THE SCALE.
113. We have thus far placed one in the scale upon the letter C. This
a the natural erder or position of the scale. Any other letter, however,
may be talren as pne; but when tnis is done, the natural order of the semi-
tones will be interrupted, and an alteration must be made in some of the
sounds of the scale, in order to bring the semitones into their proper places.
When any Qther, letter than -C is taken as one, the scale is said to be
transposed.
114. One is always called the Key note, or Tonic If C be taken
as one, the scale or key is said to be in C ; if G be taken as one, in the
scale or key of G, 6zc.
Kzr or G. — First Traiopositiow bt Sharps.
115. The teacher writes the scale in C, and question* as heretofore.
3
He next writes the scale in G, without making any alteration, and proceeds
as follows, viz :
Note. — To ascertain what the interval from one sound to another must be, we
must examine it by numerals ; thus, from ] to 2 must be a whole tone ; from 2 to 3,
a whole tone, from 3 to 4, a semitone ; but to find out what the interval from ona
sound to another actually is, we must examine it by letters ; thus, from G to A is a
whole tone ; from A to B is a whole tone, from B to C is a semitone, &c.
116. We will now call G one.
Questions. — What must the interval be from 1 to 2 1 Ans. — A tone.
What is the interval from G to A 1 Ans. — A tone. Thus we see that 2 is
right.
What must the interval be from 2 to 31 Ans. — Atone. What is the
interval from A to B 1 Ans. — A tone. What must the interval be from 3
to 41 Ans. — A semitone. What is the interval from B to C 1 Ans. — A
semitone. What must the interval be from 4 to 5 '\ Ans. — A tone. What
is the interval from C to D1 Ans. — A tone. What must the interval be
from 5 to 61 Ans. — Atone. What is the interval from D to E 1 Ans. —
A tone. What must the interval be from 6 to 7 1 Ans. — A tone. What
is the interval from E to F 1 Ans. — A semitone.
We see that the interval from 6 to 7 must be a whole tone, but the inter-
val from E to F is but a semitone, F must therefore be raised. Teacher
writes a sharp before F, and asks, What has F now become ? Ans. — F
sharp. What is now the interval from E to F # \ Ans. — A tone. What
must be the interval from 7 to 8 1 Ans. — A semitone. What is the inter-
val from F# to G 1 Ans. — A semitone.
117. Teacher remarks — By taking 5 of any scale as 1, and forming
a scale upon it, we shall find one sharp, viz. before the seventh, necessary.
The seventh must be raised in order to bring the semitone between 7 and 8,
which would* otherwise be between 6 and 7.
118. Instead of writing a sharp before every altered note in a piece of
music, the sharp is placed on the altered letter at the beginning, and is then
called the Signature. Thus F# is the signature to the key of G. Whea
there is neither flat nor sharp at tho signature, the key is natural, or in C.
ELEMENTS OF
VOCAL MUSIC.
110. A flat or sharp at the signature affects every note on iho same
letter on which it is placed, throughout the whole tune, unless counteracted
by a natural.
120. The scale being now transposed, the numerals and syllables have
changed their places, but the letters remain as before, with the exception of
F#, which is substituted for F.
QUESTIONS.
When the scale is in its natural position, what letter is one 1 Arts. — C.
When any other letter than C is taken as one, what is said to be done to
the scale 1
When the scale is transposed, why is it necessary to alter any sound 1
Ans. — To preserve the order of the semitones.
What is the fust transposition by sharps'? What numeral is G 1 Ans.
—Five.
What numeral in the new scale is altered 1 Ans. — Seven. What letter
is it I Ans. — F#. What numeral was it in the scale of C 1 Ans. — Four.
What letter '? Ans. — F.
Thus 1 has beeomo 7, and F has become F#.
What is the signature to the key of C \ Ans. — Natural. To the key of
G1 Ans.— F#.
Examine the new scale in the following manner, viz : — What letter is
one ? Two! &e. What syllable is G? A? &c. What letter is do 1
Soli Mi ? Si! Ans. — F#. &c.
The teacher will find it profitable to exercise on both scales in connec-
tion. Exercise on lessons in the G scale. (See Mus. Ex. No. 15.)
Key of D. — Second Transposition by Sharps.
121. Five in the G scale, which is D, is next taken as one, and a new
scale is formed upon it in the same manner as before. C, which is the
seventh in the scale of D, must be raised ; and the signature to the key of
D is two sharps, or l)# and C#.
Note. — The teacher should proceed in procisely the same manner with all the
transpositions by sharps. Let each be carefully examined, till it is thoroughly
understood
QUESTIONS.
In transposing the scale from G to D, what letter is altered ? Ans. — C.
What has C become 1 Ans. — C#. What numeral was it in the scale of
G 1 Ans. — Four. What numeral is it in the new scale *? Ans. — Seven.
What is the signature to the scale of D 1 -4ns. — F# and C#.
Lessons in D. (Seo Mus. Ex. No. 16.)
Key of A. — Third Transposition hy Sharps.
122. The key of A, the fifth of D, is next exercised in the samo
manner as before. G, the seventh, is raised, and becomes G#\ The sig-
nature to the key of A, is F#, Oft, and G^
Questions in the same manner as at § 121. Lessons in A. (Mus. Ex.
No. 17.)
Key of E. — Fourth Transposition py Sharps.
123. The key of E, the fifth of A, is next investigated as before.
D, the seventh, is raised, and becomes D#, and the signatinc is F#, C#,
G#, and D#.
Question after the same manner as at § 121. Lessons in E. (See Mus
Ex. No. 18.)
194. The transposition hy sharps might be continued till every note
in the scale is raised ; it is not deemed nucessary, however, to proceed any
farther, as a signature of more than four sharps is rarely used.
CHAPTER XV.
Key of F. — First Transposition bi Flats.
12p1. In the transposition of the scale thus far, five has been taken as
one of a new key, and it has been found necessary to raise seven in every
new transposition. Hy taking four as one. it will be four.d that the fourth
of the new scale must be depressed.
12<5. The teacher writes the scale in C. He next writes the scale in
ELEMENTS OF
F, (without the signature or any alteration,) and proceeds to investigate it
as before. It will be found on examination that from A to B is a whole tone ;
it must be a semitone, hence B must be flatted, and the distance from A to
Bft, (three to four,) will then be a semitone. Bft is the signature to the
scale of F.
127. In the transposition by sharps, we alter 4, and it becomes 7 ; in
the transposition by flats, we alter 7, and it becomes 4.
QUESTIONS.
What is the first transposition by flats 1 What letter is altered 1 What
has B become 1 What numeral is it in the C scale 1 What in the F scale '\
What is the signature to the key of F 1 Ans. — Bft. What letter is one 1
Two ! &c. What numeral is F 1 G1 Bft 1 &c.
Lessons in F. (See Mus. Ex. No. 19.)
Key of Bft. — Second Transposition by Fiats.
128. Bft, the fourth of F, is next taken as one, and the scale investi-
gated as before. E, the seventh in the F scale, must be flatted, and be-
comes four in the scale of Bft. The signature to the key of Bft, is Bft
and Efj.
Question as in § 127. (See Mus. Ex. No. 20. )
Key of Eft. — Third Transposition by Fiats.
129. Eft, the fourth of Bft, is next takon as one, and the scale exam-
ined as before. A, the fourth in the new scale, must be flatted. The sig-
nature to the key of Eft, is Bft, Eft, and Aft.
Question as before. (See Mus. Ex. No. 21.)
Key of Aft. — Fourth Transposition by Flats.
130. The scale in Aft, the fourth of Eft, is next examined. In this
transposition, D must be flatted. The signature to the key of Aft, is Bft,
Eft, Aft, and Dft.
Question as before. (See Mus. Ex. No. 22.)
VOCAL MUSIC. - xix
131. It is not necessary to proceed any farther in the transposition by
flats. If, however, the teacher thinks proper to pursue the subject, he may
go on, by taking four as one, until the whole eight sounds of the scale are
flatted.
CHAPTER XVI.
MODULATION.
132. Sometimes a change takes place in a piece of music ; or a piece
of music may begin on one key, and change into another. Such change is
called Modulation.
133. A modulation may be made into any sound of the scale ; but
the most usual modulations are into the fifth, the fourth, or the sixth.
134. A modulation may be made into the fifth of any scale by rais-
ing the fourth. Thus, to modulate from C to G, (its fifth.) F, which is the
fourth in the C scale, must be raised ; it then becomes or 7 in the G
scale. F# is the signature to the key of G.
135. F# is the note of modulation from the key of C to the key of G.
The sharp fourth is always the note of modulation from any key to its fifth.
QUESTIONS.
When a piece of music begins on one key and changes to another, what
is such change called 1
What are the most usual modulations 1
How may a modulation be made into the fifth of any scale ?
To modulate from C to G, what letter must be raised % What numeral
is it '? What numeral does it become 1
What is the signature to the key of G 1
What is the note of modulation from C to G1
What is the note of modulation from any key to its fifth!
For Examples, (see Mus. Ex. No. 23.)
136. When a modulation extends through several successive measures,
it will be necessary to change the syllables applied in solmization, according
xx ELEMENTS OF
to the new key ; but, in most modulations in common tunes, it will only be
necessary to alter the termination of the syllable applied to the note of
modulation, according to $ 101 and 102.
137. In changing the solmization, let the following rules be observed,
▼iz : —
1. If two or more notes occur on the s<:mc degree, before the note of
modulation, let the change be made on one of them. (See Mus. Ex. No.
23, Ex. i.)
2. If no two notes on the same degree precede the note of modulation, let
the change be made on a note somewhat longer than the rest. (See Mus.
Ex. No. 24, Ex. 1.)
3. If a change cannot be made according to either of the above rules,
let it be made on the second, or third note, before the note of modulation.
(Sec Mus. Ex. No. 24, Ex. 2.)
138. A modulation into the fourth of any scale may be made by de-
pressing seven. Thus, to modulate from C to F, (its fourth,) B, which is
■even in the C scale, must be flatted ; it then becomes Bfr, or four in the F
•cale. Bfr is the signature to the key of F.
139. Bb is the note of modulation from the key of C to the key of F.
The flat seventh is always the note of modulation from any key to its
fourth. (See Mus. Ex. No. 24.)
140. A modulation into the sixth of any scale may be made by rais-
ing five. Thus, to modulate from C to A, (its sixth,) G, which is five in
the C scale, must be raised ; it then becomes G#, or #5, in the G scale.
141. A modulation into the sixth does not effect a transposition of the
•cale, but merely a change in the character of the music. What was before
cheerful and lively becomes plaintive and mournful. (See Mus. Ex. No. 25.)
Note. — If the modulation into the sixth is well understood, it will greatly assist
the teacher in illustrating the minor scale in the next chapter.
QUESTIONS.
H'»w may a modulation into the fourth of any scale be made 1 Ans. — By
flatting seven.
VOCAL MUSIC.
What does the flatted seventh become in the new scale*? Ans. — Fou».
To modulate from C to F, its fourth, what letter must be flatted 1 Ans. — B.
What is the signature to the key of F 1 What is the note of modulation
from C to F *?
How may a modulation into the sixth of any scale be made 1 Ans. — By
raising five.
To modulate from G to A, its sixth, what letter must be raised 1 Ans. —
G. What will G become ? .Ans.— G#. What numeral will it bel
Ans. — #5.
What change is effected in the character of the music by a modulation
into the sixth '!
CHAPTER XVJI.
MINOR SCALE.
142. We have seen that a modulation into the sixth of any scale will
effect a change;, in the character of the music, from the brilliant and lively
to the plaintive and mournful.
143. * By taking six of any scale as one, and forming a scale upon it,
we obtain a scale having the semitones between 2 and 3, and 5 and 6. Thi»
is not a natural, but an artificial scale, and is called a Minor Scale, Mon*,
or Key.
144. A scale in which the semitones appear in their natural order,
that is, between 3 and 4, and 7 and 8, is called a Major Scale, Mode, or
Key. The scale we have hitherto sung, is a major scale.
145. Every major scale has a minor scale based upon its sixth, which
is called its relative minor.
The teacher may illustrate the minor scale in the following manner, viz:
Let the scale be written in some convenient key, say in G, and sung up
and down, thus :
12346678
ELEMENTS OF
Let the scholars next sing the ascending scale as far as six ; then the
descending scale, and extend it to six in the scale below, thus :
12 3 4 5 0 7 8
6 7 8
They next sing the scale by syllables several times up and down, begin-
ning at six in the scale below, and ending at six in the middle scale.
Teacher remarks that, by placing one upon six, we form a scale having the
•emitones between 2 and 3, and 5 and 6, thus :
fW." ^ ■ "1
12345678
14G. In the ascending minor mode, however, 6 and 7 are raised to
bring the semitone between 7 and 8, instead of 5 and 6. In the ascending
minor mode, therefore, the semitones are between 3 and 4, and!1 and 8 ;
but in the descending scale, between 6 and 5, and 3 and 2.
EXAMPLE.
f'o-^J?* — ^-^1
123466788765432 1
147. Every minor scale has the same signature as the major scale from
which it is derived.
148. The letters and syllables are the same in both modes ; but the
numerals are changed in the minor. Thus, in the above example, the syl-
lable do is applied to G in both cases, although it is one in the major, and
three in the minor mode.
149. The difference between a major and a minor chord is in its
third; if the third, counting from one, be a major third, the chord is major;
but if the third be minor, the chord is minor.
VOCAL MUSIC. xxa
QUESTIONS.
What numeral in the major mode is taken as one of the minor 1 Ans. — Six.
Between what sounds of the minor scale are the semitones 1 Ans. — 3
and 3, and 5 and 6.
What sounds in ihe ascending scale arc raised \ Why"?
What is the relative minor to C major 1 To G major 1 &c.
What is the relative major to A minor'? To E minor t &c.
Note.— The third below is the same as the sixth above.
CHAPTER XVIII.
MISCELLANEOUS CHARACTERS.
150. A Pause, or Hold, thus, ^ shows that the note or rest, over or
under which it is placed, is to be prolonged. When placed over a double
bar, the pause is to be made in silence.
151. A Double Bar shows the end of a strain,
or a line of poetry.
152. A Close shows the end oi a piece of
music.
153. A Tie, * — "> shows how many notes are to be sung to one
syllable.
154. A Brace shows how many parts are to be
sung together.
155. A Repeat directs that the passage designated by it ia
to be repeated.
XXII
ELEMENTS OF VOCAL MUSIC.
156. Sometimes small notes are used which do not properly belong
to the harmony. These are called Passing Notes. When passing notes
precede the essential notes, they are called Appogiatures ; when they
follow the essential notes, they are called After Notes.
EXAMPLE.
Appoglntnres. After Notes.
WRITTEN.
157. Syncopated Notes. — A note which commences on an unaccent-
ed, and continues on an accented part of a measure, is said to be syncopated.
EXAMPLE.
158. Staccato marks direct the notes to be sung in a short and di
tinct manner. Singing in this manner is called staccato singing.
EXAMPLE.
r— 1 1 ^ k—
G> 1
139. Legato.— Singing in a smooth, gliding manner, is called legato
ginging.
*=0
I
QUESTIONS.
What is the use of a pause 1 A double bar '? A close 1 A tie 1 A
brace 1 A repeat1? Staccato marks '! &c.
PART III Dynamics.
CHAPTER XIX.
DYNAMIC DEGREES.
160. That department in musical science, which relates to the strength
or force of sounds, is called Dynamics.
161. Teacher sings a few sounds which differ from each other only in
regard ^strength, or force, and calls the attention of the class to the fact,
that musrcal sounds may be soft, or they may be loud.
163. A musical sound must always be of good quality. Great care
must therefore be taken that the quality of the tone be not injured by an
effort to conform to any dynamic degree.
163. A sound which is made by the ordinary exertion of the organs
is called a Mezzo, or Medium Sound. It is usually marked with the
letter m. •
164. A sound, somewhat softer than mezzo, is called Piano, and
marked p.
165. A sound, somewhat softer than piano, is called Pianissimo, and
markep pp.
166. A sound, somewhat louder than mezzo, is called Forte, and is
marked f.
167. A sound, somewhat louder than forte, is called Fortissimo, and
is marked ff.
ELEMENTS OF VOCAL MUSIC.
XXIII
The te;icher sings a mezzo (one, and writes it upon the board, placing the
letter m over it, and requires the scholars to sing it after him. They next
sing forte, which is also written and marked /; next fortissimo, which is
also written and marked ff.
Sing again mezzo ; next piano, which is written and marked p ; then
pianissimo, which is also written and mirked pp.
ff
QUESTIONS.
What is the third department in musical science called
To what do dynamics relate %
What is that sound called which is made by the ordinary exertion of the
organs'? That which is made a little softer than mezzo 1 Softer than
piano '? Louder than mezzo 7 Louder than forte 1
For exercises in dynamic degrees, (see Mus. Ex. No. 26.)
CHAPTER XX.
DYIfAMIC TONES.
16^. A sound which begins, continues, and ends with the same strength
of voice, is called an Organ Tone.
169. A tone which begins pianissimo, and increases gradually to
fortissimo, is called a Crescendo Tone, and is marked ores, or -=cr.
, 170. A tone which begins fortissimo, and diminishes gradually to
pianissimo, is called a Diminuendo Tone, and is -marked dim. or r=^-.
171. A tone which begins pp, and gradually increases to ff, and then
gradually diminishes to pp, is cal.ed a Swelling Tone, or Swell, and is
marked <>.
172. Either of these tones may be applied to single notes, or to pas-
sages in music.
The class may be exercised upon the dynamic tones in the following
manner, viz : — Teacher writes the crescendo tone, thus :
PP- P- m. / ff.
which he sings; at the same time pointing with his stick, which he move*
along as the sound increases in strength ; he then requires the c'ass to sing
after him, he, at the same time, pointing and moving his stick as before.
The diminuendo tone is next written, thus:
f m- P- PP-
^ - Di - pain - u - en - do,
and sung in the same way. Fnally tbe swell, thus:
PP- Pi m- f- ff- / m. p.
J5£
-=d Swell
is written and sung as before.
173. A tone a little softer than mezzo, but not quite as soft as piano,
is sometimes used ; it is called Mezzo Piano, and is marked mp.
174. A tone somewhat louder than mezzo, but not quite as loud aji
forte is also used ; it is called Mezzo Forte, and is marked mf.
175. A single short sound, sung with a sudden swell, is called a
Pressure Tone, and is marked thus, O. It is often applied to syncopa-
ted notes.
176. A single short sound, which is struck suddenly with great force,
and instantly diminished, is called an Explosive Tone. It is marked >.
xxit ELEMENTS OF
or fz. (forzando,) or sf. (sforzando.) The syllable Hah ! may be used in
•xercising upon the explosive tone. (Sec Mus. Ex. No. 27.)
Note. — The explosive tone is admirably calculated to bring out the vcice, nrd
to five it power and strength.
CHAPTER XXL
EXECUTION.
177. Execution, simply considered, is mainly a mechanical operation,
which supposes only the faculty of producing just intervals, accurate dura-
tion of notes, and the giving to each sound the degree prescribed byr the
the key, and the value required by the time.
178. Practically considered, however, execution embraces a knowledge
of the different dynamic, degrees, and the proper application of them to
music ; a correct pronunciation of words and syllables ; an accurate obser-
vance of some approved key of expression ; arid a proper adaptation of the
music to the sentiment contained in the words.
170. Vocal expression depends mainly on Articulation, Accent,
Pau.se, and Emphasis.
180. Articulation is the uttering, by the human voice, of distinct sounds,
•yllables, or words. This will be more or less distinct in proportion to
the attention paid to the utterance of vowels and consonants.
181. Vowel sounds only should be sustained in singing. On these
alone the voice should dwell. They should be correctly made, and carefully
prolonged. The organs of sound should be immovcahly fixed from the
beginning to the end of the sound ; and no change whatever should he
made in any of the external organs, or of the head or body.
182. The radical, or principal sound of the vow el should be prolonged,
and not the vanish, or closing sound. Thus, « has the sound of a-e, i the
■ound of i-e, o the sound of o-oo, &c. ; but the closing part should not be
dwelt upon.
183. Distinct articulation, however, depends mainly oo the consonants.
VOCAL MUSIC.
II These should be thrown out distinctly, forcibly, and with groat precision.
Too much care cannot be bestowed on this subject. The principal cause of
indistinctness in singing is the almost total neglect of a careful attention to
the consonants.
184. Accent, in music, is the giving to certain sounds a degree of
strength, or force, somew hat greater than is given to others, for the sake of
variety or expression. In reading, it is a peculiar stress of voice upon cer-
tain words or syllables. Accent, in music, should correspond with the ac-
I cenled parts of the poetry ; and, in general, it will do so, if the poetry b«
| regular. If otherwise, however, the latter should be principally attended to,
and the former generally be mace to conform to it.
EsiniASis is a particular stress of voice, or a distinctive utterance
given to certain significant words or sentences. Emphatic words may h*
expressed by an application of the explosive tone, in a greater or less degree,
without reference to the common rules of accent. The introduction of th«
pause, where the subject will admit of it, will oftentimes greatly increas*
the effect of emphatic expression.
186. Pauses should, in general, be made without any interruption in
the time/which should be regularly carried on. They may generally be
made by shortening the preceding note, as fellows, viz : —
Written. Sung.
Praise ye the Lord for-ev-cr. A-mcn. Praise ye the Loid forever. Amen.
187. Words and syllables should be correctly and distinctly pronounced
in singing, as well as in reading. In general, the same rules will apply in
both cases. Sometimes, however, a slight departure from the ordinary
rules of pronunciation will be found necessary in singing. The vowel a.
when used as an article, or when it begins a word, as awake, arise, adore,
6cc. should have the long sound of a, in father. The article the, when th«
next succeeding word begins with a consonant, as the man, the lake, ths
Lord, &.c. should be pronounced like ther ; but if it precedes a word be-
ELEMENTS OF
ginning with a towel, or a silent h, as, the earth, the hour, &c. it should be
pronounced as in reading. A judicious teacher will be able to point out
such other changes as may be required.
189. The habit of dividing a word or syllable, so as to unite the last
tetter to the next succeeding word, is very common. This should never
so tolerated. The following example will sufficiently illustrate this habit :
Good. — God of the seas, thine awful voice
Bids all the rolling waves rejoice;
And one soft word of thy command,
Will sink them silent on the sand.
Bi». — God of the sea sthine awful voi
cebid sail the rolling wave srejgi
•and one soft word o fthy command
Can sin kthom silen ton the sand. V
VOCAL MUSIC. xxt
Not*. — The teacher should point out the faults of the scholars, and see that
they are corrected, as he goes along.
190. It has been before remarked that every musical sound must be
of a good quality. The qualities of a good ton* are fOBiTT, fvllmess,
firmness, and certain™.
191. A tone is pure when no extraneous sound, such as screaming,
hissing, or huskiness, is mixed with it ; full, when it is made by a free and
unconstrained use of the organs of sound ; firm and certain, when the
sound is made at once, and held steadily, without change.
192. To give a free and uninterrupted passage of the sound, the mouth
should be somewhat extended, and the external organs properly arranged,
and held in one fixed position during the continuance of the sound.
Not*. — For more particular directions in regard to vocal expression, See. the
teacher is referred to the tt Botton Acadtmtfe Manuel of hutrudton," by Lewzu.
MASO.T:
•
4
EXERCISE 3.
ELEMENTS OF VOCAL MUSIC.
Progressive Exercises Tor the Voice.
SCALE OR GAMUT. Sing always a clear a as in after or father.
.|-W-H-|-'N~ITTH-| I" II
A A
EX. 4. No. 1.
A A
No. 2.
iiPipliifilpi
do, do, do, mi, da, ifc
EX. 5. No. 1.
No. 2.
— r
-G>-
do, mt, *tk' ni| do, Sf-c,
EX. a No. 1.
No. 2.
4 S~ -e- s- -9-
3
ELEMENTS OF VOCAL MUSIC.
EX.
do do mi do mi tol do tol mi, tfc^
fE2
22T
9 — ~T
• ' •• II
ex. a
c/o <fo mi t/o mi tol do tol mi do, S,-c.
No.i
mi tol la.
EX. 9. No. L
4
3
j f
1
«oi mi »oi /a do /a ioJ mi, <ft>
No. 2.
tol tol la tol ti tol do, Sfa
tol la tol do, tfc.
EX. 10. No. L
cm miyb ,/a mi «oL
«oi mi <fs.
EX. 11. No. L
O m
's^ — ZF
&
jiii
ELEMENTS OF VOCAL MUSIC.
No. 2.
do fa sol do, ifc
do mi rt do
- A.ccndini by Third
Dcie»ndlag.
. 1 ■ 1
1
J
■
- I 1 ' 1'-
— t—
— •
-i
do mi rt fa tfc
«. Aseendin
S bjr Fifth*
^ 1
P '
i — p — r-rf — r—
-f— 1-
j> J
•
J
4 l-
-1 * 1 '
4
do sol rt la mi ft,
EX. 13.
J=^F^^fjj=^
-I h
i
Treble.
Alto.
r — r r 'r — r^i^
.i I z~r ggr
t — r
EX. 14.
ELEMENTS OF VOCAL MUSIC.
XXIX
Scales or the Major Keys and their relative Hinor*.
Key of C, Major Mode. Key of A, Minor Mode.
2Z32I
EX. 15.
Key of G, Major Mode.
_ ^_g> g> ^ _
Key of E, Minor Mode.
n
i
EX. 16.
J£ey o/ D, Major Mode.
Key of B, Minor Mode.
25"
EX. 17.
I
JTey of .4, Major Mode.
Key of F#, Minor Mode.
St
EX. 18.
Key of E, Major Mode.
Key of C#, Minor Mode. Seldom used.
I
3
JTey o/ 5, Major Mode. Seldom «ued.
.Key o/" C?#, Minor Mode. Seldom nt«<i
XXX
ELEMENTS OF VOCAL MUSIC.
» ScnEes Conl in tied.
Key of F#, Major Mode. Seldom used. Key of D#, Minor Mode. Seldom used.
G * «~ — «nr^-*pZ
321
323
9
EX. 19.
JJ"ey o/ Major Mode.
Key of D, Minor Mode.
EX. 530
22:
fi
JiTcy o/ J5b, Mq/or A/ode.
i
JTey o/ G, Jft'nor A/oa>.
II
EX. 21.
Jfey of E\j, Major Mode.
Key of C, Minor Mode.
i
EX. 2-?.
Key of A\), Major Mode.
Key of F, Minor Mode.
8^
Arcy o/" Djj, Major Mode, seldom used.
Key of B\j, Minor Mode. seldom used.
ELEMENTS OF VOCAL MUSIC.
EX. 23. No. 1
tol do $i.
No. 2.
4 -tSh
1
rrr r r
a- yg
•II
HI
EX. 24. No. L
No. 2.
No. 3.
EX. 25.
la si do
J-'J^J
r?
I
.1 II. J
I
m
B
EX 26.
EX. 27.
EXPLANATION OF THE USUAL T Kit MS IN SACKKD MUSIC.
A, eignilies with, for, to, etc.
Accelerando, accelerating in speed.
Adagio, alow. - — Y'""i hut i "oni "ot !
much | motto, much, or very.)
wf duo, Duetto, u oompoaitlon in two part*
.<i 7Ve, Terzetto, or 7Vio, in three pails.
A (juartre or (fuartetto, in lour purls.
^/ /<uV, /W lab it am, ut pleuaure.
Aff,ttt,„.i„, ull'ei 1 1. >i i«i l«- 1 y « '.<<( . ///«
with affection, or tender expression.
<!//,/ /i/.i'r, hi . ///.< < apella, or aO, with u
line drawn through, signifies two bouts
in a har, and in to ho performed quick.
Allegro, (or Alio,) brisk, quick. Allegn
tusai, di motto, agitato, vivace, an in
creased quickness of Allegro.
Allegretto, a little brisk.
Allegrissimo, tut quick aa possible.
•//iit/mife, a little alow.
sfaafafitfno, a little faster than Andante.
Amorota, tenderly.
Aaimoso, animate.
Antlum, a portion of the Scriptures set t
mtia|l for 1,9, II, or 4 voices or parts.
Anai, generally uaetl with Nome other word
to denote an increase or diminution of
the time ; an Adagio Anai, mate alow
Allegro Assai, more quick.
A tempo, in tune.
Aria, an air- aong.-» — Arietta, a amall air
—song.
Hum, the lowest part in harmony.
//,..., lirioMa,Con Wn'o, liery, or wild great
auimatiuii.
Urilliantt, a brilliant atyjn of execution.
CViuWu, a close ; 01 a preparation til close,
whole or half,
Cantuhilc, singing in a ('loaning style.
( 'Aando, (or Colo,) a diminution of lime
ami sound.
< Wo, Cantos, llm Air, tho voiou purt, or
the uitilodjf.
t'honu, a composition for not leaa than
A part*.
Coda, the c loin of u compoiition, or on ad-
dition il < lose.
Con Juoco, wild, with flro.
' , with.
foil «ni/mi, with IQUl— '0>prWlloH<
im/o, like Allegretto, commodious,
r 'mi mere, fust.
Choral, is u peculiar composition of old
church stylo, alow movement, written in
equal rhythm, (time.)
mtenilo, or Crete, to awell the aoiiml
( 'liromatic, u term given to a succession of
aemitnnes.
Da Capo {D. c.) to repeut certain strains,
or from the beginning unto the Fine.
Del Segno (D. Sg.) from the sign.
Diminuendo, (Dim.) gradually diminishing,
Divoto, solemn, or devout.
Dirge, a piece for funeral occasion*.
Dolce, sweetly, or soft.
Doloroio, con dolce, melancholy, doloroua.
Duo, Duello, for two parte,
Duolo, con duolo, with pain, sorrow.
H, and, us moderato e Jlebile, moderate am!
complaining.
Kspressiva, expresiion, expressive,
Kasloso, sublime.
t\ntde, the lust part,
t\ne, the and.
fbrfi , t\ loud.
fortissimo, or FP, very loud.
Storzamlo, or Pz., ■ with force, emphasis.
t\tga,vr Fugue, a scientific ootnpoaition
where the purls constantly imitutu and
according to certain rules.
(have, very alow and serious.
(irazioso, gruceful.
tiuatoHo, or ion gusto, with taste.
Interlude, an instrumental puasugo inlrodu-
cud between.
fsttrgo, alow — alower than Adagio.
Larghttto, pretty alow.
Legato, slurring the notea together.
Lento, slow, like Adagio.
Isntando, rallentando, ritardando, gradu-
ally retarding.
Murcato, strongly marked, or accented.
Maestoso, majestic.
Wi o, half I immm JMt MfFJhalf loud{
(MP.) half aoft.
Moderato, moderately.
Molt,,, much.
Morando, dying away.
Von, not
Pastorale, in a natural (pastoral) atyle.
wuio, (P.) aoft, (MP.) half Boa.
I'erdrndo, Perdeudoti, losing ilaelf.
nitsimo, (PP.) very aolC
Pitlosa, aoft, hasty.
I',,, mosso, (pucker -/nil presto, stretto, the
same.
I',,,, mora p(u Aiitgn>, mora livalj ■<
»irr, ratnc
a little slowei
/or(r, louder — /»iu (0W0 Andante, ratner
/'oro, poco a poro, by degrees, poeo u path
crescendo, to awell the sound uy degrees
I'omposo, grand, pompoua.
I'mtamenlo di voce, is the art of aunainin;
or carrying lite voice (or sound,) blend
ing the notes together j contrary to
portamento is the staccato.
Presto, quick. — Prestissimo, very quick
Prima, the first part.
tjuartetto, a composition consisting of
part*, each of which occasionally takes
the melody.
Quintetta, music composed in five parts,
e tch of which occasionally tukes the
leading melody.
uasi, nearly as.
Ilal'enlando, Hitartando, to diminish the
tiuie uud souud gradually.
lUrilative, a sort of musical declamation,
having to each syllable a musical Bound.
Itisolulo, resolute, resolved, decided.
Setondo, the second part.
Stmi Chorus, half the choir of voice*.
Segue, or Seg., go on to the following.
Srnza, without-tS'tiiza replica, without rep-
etition.
Smoriando, becoming extinct.
Souvt, aweet.
Solo, for a ainglo voice, (part,) Soli, for aia-
gle voices in more parts.
Sopra, above — come sopra, as above.
Soprano, a high 'Preble voice.
Sostenulo, or Sost., dwelling upon notea, In
giving them a peculiar expreaaiou.
Sotto voce, middling strength of Bound*
Spiccalo, distinct, ^
Spiritoso, mt con spir\to. with spirit.
Stauato, (Slacc.) short and distinct.
Symphony, u passage U> be executed by
instruments.
7Wj> Solo, (T. S I signifies to u»i«m, mil
umsonb.
Tacit, fee silent.
7'</rJe, slowly. -Tmndo, slow.
'I mill,, v .try.
'I'tnuto, like Sost., {Ten.) austain the tea*.
Tenore, Tenor, itaJugll male voice.
7Vio, a couipoaitiou for three porta.
Tulti, ('P. or 'Putt.) all together.
Un poco, a little.
' Wton, sounding alike,
I'eloce, quick.
Verse, one voice to a part.
Vivace, or vivo, a quick movement.
Vivnrissimo, very quick.
V.S. I „tti Subito, Verle, turn, turn quiekly.
Vigoroso, strong, vigoroua.
J'ocf, the voice.
I oce di petto, cheat voice.
/ or* tA head voice.
THE
PORTLAND SACRED MUSIC SOCIETY'S
COLLECTION OF
CHURCH MUSIC.
^WASHINGTON
L. M
1. Kingdoms and thrones to God, be - long ; Crown him, ye nations, in your song ; His wondrous name and power rehearse ; His honors shall enrich your verse.
2
7:
2. He rides and thunders through the sky ; His name, Je - hovah, sounds on high ; Praise him a -loud, ye sons of grace; Ye saints, re- joice be - fore his face.
i
f— r— r-
i3E
r
r
5^-
TTiose Times having no Author's Name, or Initials attached to them, were composed for this Jf'ork by the Editor.
34
CHELSEA
L. M.
Sitat .tile, Jr.
Praise yo the Lord, ex - alt his name, While in his ho - ly courts ye wait; Ye saints that to his house belong, Or stand attending at his gate.
^^^^^^^^^^^^^^^^^^^^^^^^^
HOLINESS. L. M.
_Aiidantc qnnsl AHegKetto
3E= !"'
- -G>-G> ^£ ^rj-
lib - ly vl3 thou, O Lord, is none ; Thy ho - li - moss is all thino own ;
\ drop of thine unbounded sea Is ours. — a drop derived from thee.
rf~~" — ,t i — rrr
teal
9
rd J- J ^T^'i" ol,r
MAINE. L. M.
SIX LINES.
Allegretto-
35
i
US
mm
33
When I sur - vey the wondrous cross On which tire Prince of glo - - ry died, My rich - est gain I count but
~ I I I , ,_
-4 1"^
3=S
Pp=F
22L
£3 <E
-4 J
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loss, And pour contempt on all my pride, — My rich - est gain I count but loss, And pour contempt on all my pride.
-H r
I
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■-*£Eg:
j U— J=b=t
r r
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se FRYEBURG. L. M.
-O1— si- i
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- r
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i i
- * J J -
1
. 4
t — n
© i J J J
There is a e
tream whos
!
B gentle fl
i — r TT"a n — — n
ow Supplies tlifi. cit - y
of our God ; Life, love,
1
=^=F— F-=
and joy, still
gliding th
rough, I
— — rt —
ind watering our div
ine ab(
m
HI
>de.
£ 1
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VEAZIE. L . M.
Q Allcjcro.
3
I
—
i
F=f==j
i — i
-j
- -&>—<S
<S> Vnin
0, all ye
-f—
>n.
people,
clap your
hands, A i
H
id with tr
1
umphant
voices.
H— t
sing ; Nc
force the- mi*
hty power with
stands 0
fGod, the
by
u - ni -
ver - sal
King.
IB
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J
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-©L .©L
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ten
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Alleg;
RIPLEY. L. M.
37
1 ^ 1 l i "-i I 1 i 1 1 f— ; 1 — — i
8
The ris - ing God forsakes the tomb ; Up to his father's court he flies ; Che - ra - bic legions guard him home, And shout him welcome to the skies.
I ! T. ^ , iii.l 1 ! I ! ■ I I J i
Am
=R
3F?
I I T, . ^- _ . l I I ! ! i ! I J I I ! ,
-er-H-Prf^HgHh>-r— — — H-^H"-er-H-er-H-o> . 1 Q » I °— 1 1
22:
5
B
Allegro 11 n poco staccato.
THOMAS. L.M
E
BE
1
-4- -g> - -d- «=-
Bless, O my soul, the liv - ing God, Call home thy thoughts that rove abroad ; Let all the powers within me join, In trork and worship so di - vine.
3
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-ep -ep -ep
1-1-
^4~i 1 1 r ' • # 1 ^_ «^
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Pip
3-4-i-
33
I
N A TICK. L. M.
, Allegretto.
<S» ^5
I h"l
^ — — — i —
L Great
— 1 1 —
Lord of
1
earth,
I
1
mi
seas, and
i — i 1 — i
skies ; Thy
4-> —
wealth the
— 1
— j — 1—
need y
w
orld sup -
-^5> --
plies ;
2. To
• | - 1
— s « -
thee we
<s' (
cheer - - fi
l
Si-
ll
-f-
& si
horn - - - age
—S> Si
bring ; In
VA-^
gyrate ful
— si }
1 Si-
liy mna thy
1
—fcrafcc
I |
prais - - - es
sing;
~ —
1 ^
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1 i
f
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And
A s i -
safe be - -
— 1 h—
I
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!
fH hf-
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1 1
I I
arm, We
H 'r-
G) G>
live se - -
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1-
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r—
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— 1-
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harm.
On
e) si -
thee we
e
, tsl
v - - - er
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—si
will de -
■1 , 1 1
^
- pend, The
rich, the
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friend.
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WINCHESTER
L. M.
Be thou ex - alt - ed, O my God, Above the heavens where angels dwell ; Thy power on earth be known abroad, And land to land thy wonders telL
BE!
-©p -©- ~©p -©--Or -©-
IIS
a
-or-^ra-^
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50C
.—re
4l
]
Allegretto
WARRINGTON
L. M
*i. Ilai ritom.
23E
3
i
.-.-»--.
Father, to thy kind love we owe All that ia fair and good be - low ; Bestower of the health that lies On tear - less cheeks and cheerful eves.
J L u , l_i Jh
I \ °l -ep I -op
J J J. -u-»L
SI
, — **J — 1 — q ' , — I — Li J — L L j — i-es -*-{ — I — L
331
>5SS
40 OXFORD STREET. L. M.
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avens declare thy glo - ry, Lord ! In
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Incumbent on the bending sky, The Lord descended from on high ; And bade the darkness of the pole, Be - neath his feet tremendous rolL
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CHARLESTON, L. M.
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Thy praise O God, shall tune the lyre, Thy love our joy - ful song in - spire; To thee our cor - dial
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thee my God, I raised my
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mark our
faults, O !
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who could stand before thi
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From deep distress and troubled thoughts, To thee my God, I rais'd my cry : If thou se-vere - ly mark our faults, O ! who could stand before thine eye I
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'Twas by an
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46 Modcrato. PORTLAND, L. M.
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CARLTON, L. M. Jtiy by .*.'c:ikotnnt.
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Give to
jffig r
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son
a of fkme, Gi
to the Lord re -
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ribe due toon - ors to his name, An
d his e-ter-nal
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POM FRET, L. M.
Altered Irani Cecil.
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God of the morn - ing, at whose voice
The cheer - ful
sun makes haste tc
rise, And like a
r-p-
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gi - ant doth re - joice To run his jour - ney through the skies; To run his jour - ney through the skies ;
ROBINSON, L. M. 49
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the joys of p
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minds ha
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northern
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BLAKE, L. M.
33
O long^ex - pected day, be - gin; Dawn on these realms of woe and sin ; Fain would we leave this weary road, And sleep in death, to rest with God.
solo.
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SEASONS, L- M-
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Thy goodness, Lord, doth crown the year: Thy paths drop fatnes. all around; While barren wilds thy praise declare, And vocal hills re - peat the sound.
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•ThU ducll m»7 be used TrcUo and Alio, or TreMo Alia ud E«ie.
NICHOLS , L. M.
Mill
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5
Lo, God is here ! let us
dore, And humbly bow before his face ; Let all with-in us feel his power, Let all with-in us seek his grace
PRINCE, L. M.
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SABBATH MORNING, L. M.
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-joy thy
gi. *
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blest.
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ST. ANDREWS, L. M.
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Our harps, that when with joy we sing, Were wont their tuneful parts to bear, With silent strings neg-lect - ed hung, On willow trees that withered there.
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German Air.
Through every age
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God, Thou art our rest — our safe a - bode : High was thy throne, ere heaven was made, Or earth thy humble footstool laid.
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LITTLETON, L. M. *
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Thus far the Lord hath led me on, Thus far his power prolongs my days : And ev - e - ry evening shall make known, Some fresh memorial of hi« grace
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SPRINGFIELD, L. M.
55
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Happy the man whose cautions feet Shun the broad way where sinnert go ; Who hates the plane where s - theists meet, And fevs *o l*lk ps sinners do ;
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GORDON, L. M.
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Lord what a thoughtless wretch was I, To mourn and murmur and fe - pine, To sea the wick-ed placed on high, In pride and robes of honor shme
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Allegro.
WINDH AM^L. M.
Sub : A Choral by .V. Luther
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Broad is the road that leads to death, And thousands walk to -goth - er there ; But wis - dom ahows a nar - row path, With h«re and there a trav - el - • ler.
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SOUTHGATE, L. M.
1 Lord, I can suffer thy rebukes, When thou with kindness dost chas - tise ; But thy fierce wrath I cannot bear ; Oh let it not against me rise.
it
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LUTHER'S CHORAL, L. M.
51
±±
MS
O thou that hear'st when sinners cry, Though all my crimes before thee lie ; Be - hold them not with an - gry look, But blot their mem'ry from thy book.
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MIDDLE STREET, L. M.
Je - ho - vah reigns ! he dwells in light Girded with majesty and might : The world cr» - a - ted by his hands, Still on its first foun - da - tion stands.
58 Mod.r.t„. IMPENITENCE, L. M.
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GRAY, L. M.
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send my
cry; Th
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Is from th
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M ARKSBOROUGH, L. M.
59
3
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With all my pow'rs of heart and tongue, I'll praise my Maker in my song; Angels shall hear the note I raise, Approve the song, and join the praise.
Allegretto,
H O L LI S , L. M.
WW
Ye nationi round the earth rejoice, Before the Lord your sov'reign King ; Serve him with cheerful heart and voice, With all your tongues his glory sing.
solo. tuttl. p^ s
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TRENTON, L. M.
Stand up, my soul, shake off thy fears, And gird the gospel armour on; March to the gates of end - less joy, Where thy great Captain Saviour's gone.
My God, in whomare all the springs, Of boundless love and grace unknown; Hide me beneath thy spreading wings, Till the dark cloud is overblown.
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HIGH STREET, L. M. 61
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Spir - - it
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BRENT, L. M
64 A„eg..ctto. NEUKOMM'S SONG, L. M.
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NEUKOMM'S SONG, Continued. 65
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66
H O S E A , L. M-
Marcli to the gates
Stand up, my soul, shake off thy fears, And gird the Gospel armor
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March to the gates
of endless
Where Josug thy great cap - Uin 's gone.
its
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EVENING HYMN.* L. M.
67
BSE
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1. Glory to Thee, my God, this night, For all the blessings of the light ; Keep me, O keep me, King of Kings, Under thine own Al - migh-ty wings.
3. Praise God from whom all blessings
; Praise him all creatures here below; Praise him ye angels round his throne, Praise God the high and ho-ly One.
' 1 ^ I i I N S I i I I J INN I V
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EVENING HYMN.*
(Second Stanza.)
Forg
Lord, thro' thy dear Son, The ill that I this day have done ; That with the world, myself, and thee, I, ere I sleep, »t peace may
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68
TEMPLE STREET. L. M.
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1
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All ye bright armies of the skies, Go worship where your Savior lies, Angels and kings be - fore him bow, There Gods on high, and gems be - low.
In robes of judgment, lo ! he comes, Shakes the wide earth, cleaves the tombs ; Before him burns de - vour - ing fire, The mountains melt, the seas retire
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PLEYEL'S HYMN. L. M. or 7s.
Pleytl.
69
L. M. Children of the heavenly king, As ye journey, sweetly sing ; Sing your Savior's worthy praise, Glorious in his works and ways.
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7's. Lord at thy feet I prostrate fall, Opprest with fears to thee I call ; Reveal thy pardoninc love to me, And set my captive ipir - it free.
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* Allegro Vivace.
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To God the great the ev - - er blest, Let songs of hon - - - or be ad - dressed ;
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BO WEN. L. M.
71
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1
Up to the fields where an - gels lie, And living wi - ters gent - ly roll ; Fain would my thoughts ascend on high, But sin han<n heavy on mv soul
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BLESSEDNESS, L. M.
Blest is the man, whose tender care Relieves the poor in their distress ; Whose pit - y wipes the wid-ow's tear,
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Whose hand supports the fatherless.
I
WORSHIP. L. M.
Lord, hew de - light-ful 'tis to see A whole as - sem - bly worship thee ! At once they sing — at once they pray, They hearot heav'n and learn the way.
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STERLING. L. M.
• Indent Tunr.
O come, loud anthems let us sing, Loud thanks to our al - migh - ty King! For we our voices high should raise. When our salvation's rock we rraise.
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CUMBERLAND. L. M,
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With all my powers of heart and tongue, I'll praise mv Maker in my song j An-gels shall hear the notes I raise ; Approve the song, and join the praise,
ittf — M ^ - Solo.'
Sal - va - tion is for ev • er nigh The souls that fear and trust the Lord; And grace descending from on high, Fresh hopes of glo - ry shall afford.
STONE CHURCH. L. M. 77
et
to.
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CAMDEN. L. M
[Chant.]
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Father of lights! we sing thy name, Who kindlest up the lamp of day; Wide as he spreads his golden flame, His beams thy love and power display.
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80
^jLllegretto.
MUSIC. L. M.
God of my life ! through all its days My grateful powers shall sound thy praise ; The song shall wake with opening light,
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NAZARETH. L. M
Re - turn, my soul, and sweetly rest, On thy al - migh - ty Father's breast; The bounties of his grace a-dore, And count his wond'rous mercies o'er
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ALFEETON. L. M.
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From north to south, fromeast to west, Advance the myr - iads of the blest, From every clime of earth they come, And find in heaven a. common home.
53
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WEST BROOK. L. M. v. ». U
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BRENTFORD. L. M.
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Be all my heart, and all my days, De - voted
my Savior's praise, And let my glad o - be - dience prove, How much I owe, — how much I love.
Father of light ! we sing thy name, Who kindlest up the lamp of day ; Wide as he spreads his golden flame, His beams thy power and love display.
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HAM DEN. L. M.
(First Stanza.)
Awake ! our souls, away, our fears, Let ev-ery trembling thought begone ; Awake ! and run the heavenly race, And put a eheerful courage on.
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HAM DEN. L. M.
(Second Stanza.)
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From Tkee, the over -
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ing spring, Our souls shall drink a fresh supply, While such as trust their aative strength. Shall melt away and droop and di
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KINGSBURY. L. M.
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Stan
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oul, shake
m
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off thy fe
us, And
gird the
gospel
r-i
armour
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on ; Marc
i to the gate
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Captain 's gone.
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CHAPMAN'S CHANT. L. M.
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I low v
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slender all tha fondest
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BREWER.
5*
With glory clad, with strength ar - rayed, The Lord, that o'er all na - ture reigns, The world's foundations firmly laid, And the vast fab
Be with me Lord, where'er I
Teach me what thou wouldst have me do ; Suggest whate'er I think or say; Direct me in thy narrow way.
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ILSLEY. L. M.
Subject from Pletfel.
Be all my heart and all my days De - vo - ted to my Sa - viour's praise, And let my glad o - be-dience prove, How mnch I owe, how much I love.
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Adagio
DWIGHT. L. M.
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O thou that hear'st when sinners cry, Though all my crimes before thee lie, Behold them not with angry look, But blot their memory from thy book.
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RUMFORD. L.M. 89
, «. . Allegretto Moderate.
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Beset with snares on every hand, In
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life's uncertain path I
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stand; Father divine,
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se thy light, To gu
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de ray doubting footste
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GOULD. L. M.
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re to rest : How
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ROMBERG'S SONG. L. M.
Snbjrct front Romberg.
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I will extol thee, Lord, on high; At thy command dis - ea - sea fly: Who but a God can speak and save From the dark borders of the grave i
J. J"
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J
BUCKFIELD
L. M.
Blest is the man, whose shoulders take My yoke, and bear it with de - light ; My yoke is ea - sy to his neck, My grace shall make the burden light
Adagio
HUMILITY. L. M.
91
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learn of
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sons of p
ride ; For
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lowly,
lumble, i
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s, No
haughty
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speak."
JACKSON.
L. M.
I i'luucrnio. i ^
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When all bespeaks a Father's love, O wherefore, fearful as the dove, Should we
i i i i e»
92
WASHINGTON STREET.
TJn poco staccato.
r-
L. M.
1
±±±
My God, my king, thy various praise Shall fill the remnant of my days : Thy grace employ my hum - ble tongue, Till death and glo - ry raise the song.
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Great Lord of earth, and sea and skies, Thy wealth the needy world supplies : And safe beneath thy guardian arm, We live se - cure from eve - ry harm.
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GERMANY. L. M.
ft
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Soflly the shade of evening falls, Sprinkling the earth with dew - y tears; While nature's voice to slumber calls, And silence reigns a - mid the spheres.
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TEMPEST. L. M.
^Allegro.
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Then let the wildest storms a - rise ; Let tempests mingle earth and skies ; No fatal shipwreck shall I fear, But all my treas - ure with me beax.
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L. M
Gregorian ('bant.
Cre - ate my na - ture pure with - in, And form my soul a - verse from sin,
from sin, L°t thy good spir - it ne'er depart, Nor hide thy presence from my heart.
I /r^ i | i i i i , — . i
WARREN. L. M.
[Chant.]
95
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Before the heavens were spread abroad, From ev - er - last - ing was the Word ; With God he was — the Word was God ! And must divinely be adored.
LUTON. L. M.
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With all mjr pow'rs of heart and tongue. I'll praise my ma - ker in my Bong, Angels shall hear the notes I raise, Approve the song and join the praise.
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I lay my body down to sleep; Peace is the pillow for my head, While well appointed an - gels keep, Their watchful stations round my bed.
98
Vivace Staccnto.
APPLETON. L. M.
I*r. iloijce.
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0 come, loud an - thems let us sing, Loud thanks to our Al - migh - ty King; For we our voices hiorh should raise, When- our salvation's rock we praise.
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TRURO. L. H.
Or. C. Ittirney.
Now to the Lord a no - ble song !*A - wake, my soul— awake, rrry tongue; Ho - san - na to th' e - ternal nanro, And all lira bound - less love proclaim
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THAYER. L. M.
Oh let me, gracious Lord, extend My view to life's approaching end ! What are my days ? — a span thei^line ; And what my age compared with thine.
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CHATHAM
Subjict by Silo z art.
No change of time shall ev - er shock My firm af - fee - tion, Lord, to thee; For thou hast al - ways been a ro«k, A for - tress, and de - fence to me.
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Come gracious ipir - it, heavenly dj|e, Be thou our guardian, thou our guide ; With light and comfort from above ; O'er every thought and step pre
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ST. PAUL'S
L. M,
Di-. Green.
The Lord is good, — the Ijord is kind — His grace is great, his raer-cy sure; And all the race of man shall find, Hie truth from age to age en - dure.
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Now be my heart ia - spired to ^ng The glories of my Savior, King; He comes with blessings from above, And wins the nations to his love.
4-
Allegretto.
LIMERICK L. M.
i i l ili — r— rb —
103
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Tes, we'll record thy matchless love, Thou dearest, tend'rest best of friends ! Thy dying love the no - blest praise. Of long e - ter - ni - tv tran
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Awake! my soul, lift np thine eyes, See where thy foes against thee rise, In long ar • ray. a npmerons host; Awake, my soul, or thou art In
104 EXPOSTUL ATON. L. M.
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0
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BERLIN. L. M.
105
Ye christian heroes, go proclaim, Salvation in Immanuel's name ; To distant climes the tidings bear, And plant the rose of Sharon there.
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Let all the lands. \vjth shonts of joy, To God their voi - ces raise; Sing psalmg in hon
ion - or of his name, And spread hi:
3
spread his glorious praise.
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NEW CONWAY.
C. M.
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BERWICK. C. M.
-'-^f-d
1
ter - nd Wis - dom, thee we praise, Thee all thy creatures sing ; ' While -with thy name, rocks, hills, and seas. And heaven's hh?h palace
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109
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and ; Bel
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no LUTZEN. C. M.
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Sing
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ongue ; His
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ARLINGTON. C. M.
to quasi Ai
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time is she
)rt ! sii
iners beware, N<
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s * m *
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way ; The
0-0-
word of great sal
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le yet 'tis (
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DEERING
C. M.
Sing to the Lord, a new made song, Who wondrous things has done; With his right hand and ho-lv arm, The conquest he has won.
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Allegro nivpoco staccato.
OSGOOD. C. M
i
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Joy to the world, the Lord is come ; Let earth receive her king; Let every heart prepare him room, And heaven and nature sm^r And heaven and nature t r.v
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C. M.
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Let
the lands in shouts of joy, To God their voi - ces raise ; Sing psalms in hon - or of his name, And spread his glorious praise.
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Thou iove4y souree of true de-light, Whom I un-seen a - dore ; Unvail thy beauties to my sight, That I may love thee
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Old I|D™«y. 1 13
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Sing to the Lord ye dis - tant lands, Ye tribes of ev - ery tongue; His new dis - cot - ered grace demands A new and no - ble song
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Praise ye the
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join our
cheerful songs, With an - gels round the throne ; Terr thou - sand, thou - sand aire their tongues, But all their joys are one.
35
116
.Choral
S3
MILLER. C. M.
Br. Miller.
32
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When trouble fills
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my soul with grief, 0, hide not, Lord thy face ; For I can hope for no re - lief, Un - aid - ed by thy grace.
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And let them say how dreadful, Lord, In all thy works art thou ; Beneath thy power thy stubborn foes Shall all be forced to bow.
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ALBA. CM.
JLeath. 1 17
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Come, happy souls, approach your God,With new melodious songs; Come, render to Almighty grace, The tribute of your tongues, — The tribute of your tongue*.
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DELACOURT. C. M.
"JT"g?"
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To our Almighty Maker, God, New honors be addressed; His great salvation shines abroad, And makes the nations blest, And makes the nations blest.
i i ^ , in i I ^. ^. !. J J.gi. | | ,- | U
118
ARCHLAND. C. M.
B. Wy»tan.
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ENIAP. C M.
^ K. 119
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With joy we hail the sacred day Which God has called his own ; With joy the summons we o - bey To worship at his throne.
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Hark ! 'tis our heavenly lead - er's voice, From his tri-um-phant seat; Midst all the wars' tumultuous noise, How powerful and how
120
CONWAY
C. M.
.To/ Original.
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Shine, Mighty God, on Zi - on shine With beams of heavenly gTace ; Re - veal thy power through every land. And show thy smiling face.
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SACO. CM
paj^ii+gjujirrii i jjji^if^ii^ujuii
1. Not to the tor - rori of the Lord Tlio tempest, lire, and smoke; Not to the thunder of th it word, Which God on Si • nui spoke ;
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Zi - Qn'l hill, The cit - y of our God, Where milder words deelare his will, And spread1 his love a - broad.
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N O R R IDGEWOCK. C M
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Fa - iJier of meroies, God of love, My Fa - ther and my God ; I'll sing the hon • ors of thy name, And spread thy praise *- broad.
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STANLEY'S HYMN. C. M
| Solo.
ttmmttf. 1 23
Firm as the earth thy gos - pel stands, Mv LfOrd, ruy hope, my trust; If I am found in Je - sus' hands, My soul can ne'er be lost — My »oul can ne'er be lost.
124 OSCAR. C. M.
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retto.
34
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e, humble
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wipe a - wi
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HOWE. CM.
125
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Lift up to God the voice of praise, Whose breath our souls in - spir - ed ; Loud and more loud the anthems raise. With grateful ar - dor fired.
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BARBY
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fl Allegro.
ZION. C. M.
Si
1. With state - ly towers, and bulwarks strong, Unrivalled and a - lone, Loved theme of many a sa - cred song, God's holy city shone.
2d Triblc.
3
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2. Thus fair was Zion's chosen seat, The glory of all chosen lands ; Yet fairer, and in strength complete, The Christian temple stands
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LINCOLN'S CHANT. CM
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O, for a heart to praise my God, A heart from sin set free ! A heart that's sprinkled with the blood So freely shed for nie.
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CANAAN. C. M.
127
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There is a land of pure delight, Where saints immor - tal reign
In - fi - nite day excludes the night, And pleasures ban - ish pain.
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Sweet fields, beyond the swelling flood, Stand dressed in liv - ing green ;
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So to the Jews old Canaan stood, While Jordan rolled be - tween.
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MANCHESTER. C. M.
. I. n-aimm-right. 129
I ' I
INCARNATION. C. M.
pn n r r
1. Joy to the world ! the Lord is come ! Let earth receive her King : Let every heart prepare him room. And heaven and nature sin<r — And heaven and nature sincr
^jfcM ^ , i _ 2d Treble.
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2. Joy to the earth ! the Savior reigns ! Let men their songs employ ; While fields and floods, rocks, hills and plains, Repeat the sounding joy Repeat the soandmcjov
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WARE HAM. CM
thine, Sup - ply • • ing all their need. — I'll be a God to thee- and thine, Sup • ply -*ing all their need.
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GORHAM. CM. «. 131
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THRONE
C. M
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Son ; Help us, O Lord, descend and bring Sal - vation from thj
Ho - sanna to th' anoint - ed King, To Da-vid'sho - ly
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C. M
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To eel - ebrate thy praise, O Lord, I will my heart pre -pare; To all the listening world thy works, Thy
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This Is the day the Lord halh made : O earth, re - joice, and sing; Let songs of triumph hail the morn, Ho - san - na to oar King!
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Let ev - ery mortal ear attend, A»d ev - fry heart rejoice; The trumpet of the gos - pel sounds With an in,- vit - ing voice
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HAYMAN. C. M.
In God's own house pronounce his praise ; His grace he there re - veals ; To heaven your joy and won - der raise, For there his glo - ry dwells.
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Happy is he who feari the Lord,
And follows his commands; Who lends the poor without reward, Or gives with liberal hands.
I N i I LU i , I l lli .
GOODWIN. C. M.
i
2d. Treble.
ESEQEi
S E
hearts, with youthful" vig - or warm, In smil - ing crowds draw near, And turn, from ev - ery mor - tal charm, A Savior"s voice to hear.
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^ ~ Allegro.
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Sing to the Lord, ye distant lands, Sing with a solemn voice ; Let every tongue exalt his praise, And every tongue re - joice.
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Moderato nn poco staccato
WEBER'S CHANT
CM.
Alas ! and did my Sa - vior bleed ? And did my Sovereign die ? Would he devote that sa . cred head For such a worm as I :
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HER1DEN
CM.
137
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O, how I love thy ho - - It law ; 'Tis dai - - ly my de - light
And thence my med
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139
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With deepest reverence to the mind, Look, O my soul, to £od ; Lift, with thy hands, a ho - lv heart To his sub - lime a - bode.
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IS
Allegro
MOUNT DESERT. C. M.
Ye sons of man, a fee
race, Ex - posed to ev - ery snare, Come, make the Lord your dwelling place, And trust his gracious care.
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RICHARDSON'S CHANT. CM
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Thou blest Re - deem-er, dy - ing Lamb ! We love to hear of thee ; No mu - sic like thy charm - ing name, Nor half bo dear can be.
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TOLLAND. C. M. [Two Stanzas.] a,*r~tu. 141
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143
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Thou lovely source of true de - light Whom I un - seen a - dore, l/nveil thy beauties to my sight That I may love thee more
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ADAMS
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C. M
A - wake, my soul, to sound his praise ; Awake, my harp, to sing ; Join, all my powers, the song to raise, And morning ineense bring.
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144
1
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To eel - e - brate thy praise, O Lord, I will my heart prepare; To all the listening world thy works, Thy wondrous works declare
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t Allegro.
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Come, let us join our cheerful songs With angels round the throne; Ten thousand thousand are their tongues, But all their joys are one, — But all their joys are one.
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AMHERST. CM.
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ETERNITY
C. M,
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The time is short! sinners, beware I Nor tri • fle time a - way ; The word of great sal • vation hear, While yet 'tis called to-day.
O God, our strength, to thee the song With grateful hearts we raise ; To thee, and thee a - lone, belong An worship, lover and praise.
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NORWAY. C. M.
Subjrct from Ilaudel. ] 47
Come, let us use the grace di - vine, And all with one ac - cord In a per - pet - ual covenant join Ourselves to Christ the Lord.
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will the
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love shal
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never
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CHRISTMAS.
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149
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wake, my
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race de • mands thy
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And an im • mor - tal crown,
And an im • • mor - • tal crown.
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W. H. WOOD'S HYMN. C. M
A - wake, ye saints, to praise your King, Your sweetest passions raise ; Your pi - ous pleasure, while you sing, In - creas
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BARKER. ^C. M. [Himn Chant.] 151
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With grateful h
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DINS MORE. CM
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O here, if cv - cr, God of love, Let strife and ha - tred cease ; And ev - ery thought harmonious move, And every heart he peace.
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See Israel'* gentle shepherd stand With all engaging charms ; Hark ! how he calls the tender lambs, And folds them in his arms, — And folds them in his arms.
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From Ike " Wlaratomitt. ' \
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the first,
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great
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LIVERPOOL. C. M
Br. \fain,rright.
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ABRIDGE. C. M
Great God, to thee my grate - ful tongue My fer - vent thanks shall raise ; In - spire my heart to raise the song Which eel - e - brates thy praise.
III.
LONDON. C. M.
Dr. Crmli. 157
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With songs and hon - ore, sounding loud, Address the Lord on high ; Over the heavens he spreads his cloud, And waters veil the sky.
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Again the Lord of life and light
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Awakes the kindling rays; Unseals the eyelids of the morn, And pours increasing day.
DANFORTH STREET. C. M.
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In every joy that crowns my days, In every pain I bear, My heart will find re - lief in praise, Or seek re - lief in prayer
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WHITNEY. C. M
■ Allegrotto ^autablle
sir
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Re - turn, 0 God of love, re - turn; This earth's a tiresome place, How long shall we thy children: Mourn our absence from thv face ;
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160 STICKNEY. C. M.
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At ».••• i. at noon, ut night I'll praise, O Lord, thy u • ored name; With joy my thankful voice I'll raise, Thy goodness to proclaim.
PROVIDENCE. C. M .
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wonders to
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, _ Allegro n» poeo »ti
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The Lord my Shep - herd is,
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I shall be well supplied ;
Since be is mine, and I am his, What can I want be - side ?
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HAVERHILL
S. M
[Hymn Chant.]
^ » — W 4 ■ — — <--. •» — '
are! Come, cast yom* bur-thens on the Lord, And trust his con - stant care.
How gen - tie God's commands ! How kind his precepts
LONSDALE
S. M
tllegro
[Two Stanzas, or Short Anthem.] corem. 137
The hill of Zi - on yields
I
A thousand sa - cred
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sweets, Be - fore we reach the heavenly fields, Or walk the golden
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And ev - ery tear be dry ; We're marching, &c.
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Then let our songs abound,
And ev - ery tear be dry ;
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We're marching thro' Immanuel's ground To fair - er worlds on
high.
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Then let our songs a - bound,
# May be repeated when used as an Anthem.
And ev - ery tear be dry ; We're marching, &c.
188 SILVERSTREET. S.M.
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Halle - lujah ! Halle - lu
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JJ. «. Jr. 1 89
Lord, how vile am I, Un - ho - ly and un - clean ! How can I dare to ven - ture nigh With such a load of sin !
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Allegro un poco staccato
STOCKHOLM. S.M.
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O, bless the Lord, my soul ; His grace to thee proclaim :
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And all that is witli - in me join
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SHIRLAND. S. M
S3:
2d. Treble.
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Behold, the morning sun
gins his glorious way ; His beams through all the nations run,
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And life and light con - vey.
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SONG OF MOSES
S. M.
191
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Awake, and sing the song Of
Moses and the Lamb ; Wake, ev - ery heart, and ev - - ery tongue, To praise the Sa
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viors name.
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KEARS ARGE. S. M .
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Firm and un - moved are. they
Who rest their souls on God ; Firm as the mount where David dwelt, Or where the ark
a - - bode.
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-s>— J — d
i
r r
K_. « —
PI
ill
192
Andante.
EVENING HYMN. S. M
5
0—0
1
sees:
The day is past and gone ; The even - ing shades ap - pear ; O ! may I ev - er keep in mind The night of death draws near.
^3
m
i
f °i rf
ST. SIMON'S
nniuaw't Coil.
\There shall the man
be found That fears t' offend
<>rz
God ; That loves the gos - pel's joy
J
«5 <Z>
ful sound, And trembles at his word '.
m
a o a _'^0
'T"T
3
1
PORTER. S. M.
193
/ n u. Allegretto.
Soli. , , Totti. ,
S3
•
S> \-
0
1 i
s> #-
1 —
0 '
•
p^—
1!
[
-0—4
: !
00
i
1
^ -J- ' s>- m * 9 — jo — -^r^
Be - hold the gift of God ! Sinners, a - dore his name ! Who shed for us his precious blood, Who bore our care and shame
— 6>
-e^-01
s^0-
J > «
0 • « •
»3
<5 ir
— r
P — h:
i
1
Allegretto.
SPILSBY. S. M .
312
rMy-^ g 1 1 - 1 1 ~r 1 ^ r— f-j —
Fa - ther, in whom we lire, In whom we are, and move, The glo - ryr power, and praise, re-ceive, Of thy ere - a - ting love.
1 - - A
194 WALKER'S CHANT. S.M.
JyZy ?* | 1 1-
1 h
i — j — | — f — i-
-J
4— f
c
fit
h
Thy name, Al
iP^-ri-T
mighty
Lord, Shall
°» #
sound thro
■ 1 V
L® ST
dis— tant
-<S>-
lands ; Great is thy grace, and
4
SL
ire thy
-i — F
e>
word ;
Thy
truth for - - ev - er
itaruls.
9 J J i1
V p
rd — J—
1
-e-
i » f
?»
. « 1 • 1
P \ 1 ' 1 <> (V
-|
8P 1
i *
1 1
-G>-
' ir|i i ima
Ml
FURBISH. S. M.
A. Allrgrf tt
f—f
r-i i 1
#• — 4 4 9
«— P*
—
■ h
— h
Be -
hold his wondrous
grace, And
bless Je - hovah's
name ; Ye (
I- t II
ervanta of the L
ord, his- praise, By
f
— i — * — s —
day and night pro
- claim.
r i r ;
f-i
J
»• • * »f- r.r
. . . .'
J J J
M _
i1 — r v r
r r r
j 9 — j-
f f L f
•• • #
i - i
■f7 * 1
■
^1
3— -p
i Pi r p« »
..jS ! J j 1 j ! _| L, .
r r i —
NO
BLEBO
ROUG
H. S. 3
-f-f 1
t.
195
• -<s-
Bless'c
are the sons of p
L_ — sJ
eace, Whose
f-
=F-j — i — i-
iearts and souls are
-«s> 1
one ; Whos<
=#
-tj— ? — <s)—st
kind designs to
= J J J. -
save and please, Thro
i l r i
v ; » J !l
all their ac - tions run.
'My
•'■ -K °' d-
— i is i a?
f — -p — 1
1
L ° O .
# W & «
: I"
- — 9 —
—
-op- ep
-■ 0 i f sf
r r -e. i
J _J eL— neU
r
• • ° <>
-o-
to.
H —
L
» — r1
1 1
AT
HOI
S.
M.
p
— 1 h
r
- ~<s>— <s-
i r
" r r
f i
r. JC. 1/(1
-I
rri$»H.
Come
-ft* *
, Ho - ly
Spir - it, c
%
p
ome! Let
thy brigh
. bean
3 a
- rise ; Dis -
i — hi —
pel the d
ark - ness
; — h
from our
r r
sLsL
ninds, And
o - pen
all our
r-J— h
eyea.
L-e, G|— •
1 ■ 1
1 ^ J* |
< I
1
-) —
-lf==5t
1 1 i
r
1— J-
r~ei ©I— |
P
# 3?
d 1
N4N
— o
-1 —
1 1
! 1
P5i
196
: \ ...!...,(.
UNITY
S. M .
V 0
jet par - ty names no more The Christian world o'erepread ; Gen - tile and Jew, and bond and free, Are
II
ST
Let par - ty names no more The
and bond and free, Are one in Christ, their head.
HANDEL. S. Mi Hftndll. 197
i i 1
-[2 f- ^ j*
' 1 1
II II
1
-] 1 1:4-
— r-f — j —
W .
f
1 g?'
—A H
G> *
— G>
S5
-* J-J
How beauteous are their feet Who stand on Zi - on's hill ; Who bring sal - vation on their tongues, And words of peace re - veal.
Att j I J j i t_ i i l_l ! ! j i ! , i "i . J j ; , ■ ^ '
PENTONVILLE. S. M.
o assai.
5#
-T— 1 t h
— 1— ■ — I® h
-f"1 1~
j 1
III,
i
i i
-A-] , ^_
=H 1 r
# * G> a
To
bless thy chosen
race, In
1
-J
mercy, Lord, in -
«— G> ^9-
cline ; And
i i
L* 4 G>' <SM
cause the brightness
# # G» |
«S*J
of thy face On
r-*-2 — h
-d *~ & G>
all thy saints to
# 9 G> —
shine.
-or-**-
-e- ~i
1 1©-
'i i ' \
L-<S> — Le-
er |- A ■
Lr— * — Q| — eH
rU J cJ
T * °l ^
■— | o o -
-e-
Ml
L-' r '
-1 1 S<-
l r G> i
I j . 1 <?>
-r— J f=— f—
198 WESTMINSTER. S. M.
?
-f» — zJ-
1
i
1-
-i-J
!
4-
t~
4-4-f-
1
- 1
Great is the
—si-
Lord
i — h
our
God,
--4
-J
And
1
h
a?
let
his
— u
- f
s?
praise
H-
be
V-
gK
it ; He ma
kes
tlie church
1 1 1
his bleat a -
F=f=sfa
hode, His
moat de -
!igh
t - ful
seat
■^gr- «* — I — I- — | — 1
j i |
o)
ol
r °| °| 1
ol
< >
©i
°)
-f
r r f
J
1
o
-JQI
i
L er-rf-
si J
rr
HI
*=
l
1
4—
1
\£=> ■
<2
Ml
MORNINGTON. S. M.
■p
— F-
i
-
-r
i
— F-
H
— h
=^
i (
My
—
grac
*
ous
T-
God, how
plain Are
thy di -
ec -
o
tions
h
bate
given; O, may I
n
jv - er
read
in
1
vain, But
find the
path
to
leaven.
0
H
i-
r~i
° ol
*-<s> —
H —
1 °l °i
~oy
c
H-
j. j
i
o
■1-
4
H — n
- — «L
1
1
4=p
Ml
Allegretto. I | I
CHRISTMAS CHANT.
! . T T t
S. M
199
iE3
1
Rejoice
t r
in Je - sua' birth ! To us a Sow is given ; To us a Child is born on earth, Who made both earth and heaven.
ol J
J. J- -J.
1
DOVER. S. M
\t*nnamu'f Colt.
5t
9e
fl
3=E
i — i-
SI
In - fi - nite God, to thee, Hon - or and praise be given ; Nations and kingdoms shall a - dore The Maj - es - ty of heaven.
I— mjj.lr^-l J. 1 I , ■ ■ I J '
22
—^19=
-o- -gL -g-
Jr -J-
-eL -J-
3E£
:e±c
1
200
^/ Allegro »a poeo staccato.
5^=
WILLIAMS'S CHANT. S. M.
'|rr " r r'
-•—4—4-
22^
0 Lord, our heavenly King, Thy name is all divine ;
li
Thy glo - ries round the earth are spread, And o'er the heavens they shine.
1 — r
a
-e>- -e- -e-
H — H
i
BL ADENBURG
I
German Choral.
CLARK
S. M
201
. Pompoao
6^
^3
I - IS
^ »
1
IB
Be - hold what aw - ful pomp ! The Judge prepares to come ! Th' archan - gel sounds the dread - ful trump, And wakes the general doom !
"<5j~gr
3
[g* J-
jet
Is — ^
?5
m
i
Allc gro Moderato.
OLMUTZ. S. M
Gregorian Chant.
rt~rf~r==c— p
j
& 0
i — r
1 r
Your harps, ye trembling- saints, Down from the wil - lows take ; Loud, to the praise of love di - - vine, Bid ev - ery string a - wake.
Pi
m
p
" > j
5
r f r
26
HARPS WELL
S. M.
We come, with jovful song-, To hail this happv morn ; Glad tidings from an angel's tongue : This day i6 Jesus born ! This dav is
1 III I ! I III
ST
Jesas born !
^1
— h
■ J J
EE
3=5
ff
rr
m
I > ! 1 I 1 I 1 1 I I I
f3^
IP
WATCHMAN
S. M.
204
MOUNT EPHRAIM
S. M.
ytilgrm.
Your harps, ye trembling saints, Down from the wil - lows take ; Loud, to the praise of lovo divine, Bid ev - - ery 6tring a - wake.
3
mm
ft>^r7i'fif|lfrl^riffrti>illf<',ff»rFTf'"a^
' «l 1 f IT"
J
YARMOUTH
S. M.
Modorato. — s I .
»r. Waittrrighl.
2S
O, for the death of those Who slumber in the Lord ! O ! bo like theirs my last re - pose,
' V ad *l I Jj.t _' . ^Li ' ■+ ± >d. .-4 ..
Like tlieirs my last re - ward.
WEBSTER'S CHANT. S. M. Sila, .illtf, Jr. 205
& 6
v-h^ ri i ;
i
1 1
-1 — U
i i
1 + * *
1 *l 1*1 fc. ^ fc.
i
i
Bless'd are the
sons of
"1 ~
peace
1 -=T
1 J— 6>— *-
Whose hearts and
i i
=5 *
hopes are
fe3=r^
one ; Whose kind de - s
igns, to s
1 ' i
;rve and ]
*
lease,
Through all their
[tT p^ T
^ v
ac - tions
-i
run.
II
r r t
(6:2 J J J
r r
-1— f-
JL
r
•
7" 1
- r
-f f
T" T"
• •_•_(•
1* P !• P
r l, l , I
-f r
-i — (*■
w
=5=
—f-i-t-
1 r i
1 1
—
.pa
* *
i
-a. " 5 5 0
i i
4
^
KENNEBUNK. S. M.
1 — h~
i i
' i
1 1
i
l 1
& i
— 1 — T
1
R
Let
sinners
take their
"^j=
course, An
i i
i choose th(
— h- h
= |==
■ &-
; road to
— h-
i
eg
death ;
■
**-
But,
v
in the
1
1
-J
worship
1
-
of my
— r — h
i i
God, I'll
spend my
IS. — ^-J
dai - ly
1
d
breati
■
L
1
m
r.
fey
d J
i i
Hi
d J
-fH«-
— s>'—
d
— r-
Cr
, [?
c
p.
H r
h
o
"or
gj-
1
=p=p=
-fS»— T-
-1® L—
I ■
L-J M
206 TROY. S. M.
i _ Andante.
<0 #
— i — ■
, Solo
TntU
— H
> — -
•» — -
=1=1
rft— « — n
H — *
-p — r
J I
i
- 1 4-
i
iolo.
-d — #-
— 1_.
=M
o,
-ft — ^
vhere shall
r- 1 \~
rest be f
Hi
— 1 — h
G 0
bund, Rest
1 1~
.J J
for the
— H-
wea - ry
&
soul ? ,r\
[
-T
'wcr
■ ■ [ " I
; vain the
ocean's
m*
Fj
depths to
a*
ound, Or
Tutt
«^
>ierce to
i« ^ — v
#^
eith - er
H
pole.
. ! j_
■ — ©i —
i — i — i
i #
Oi •
i i
r
— i r
I
. .
••f-
r
Solf
h-
* f
^5T -f-
1 1
m
« i
Q 1
•4 f
rf f
"HI
s 1 —
J 1-
O 1
i i
i
-CU-J —
> *
SUTTON. S. M
f|5
to. ,
i — ] r
I i
i i
— F+
F^
i
-1 1—
— 1 — h
i i
f-f-
$^
Be-
hold, the
bf - ty
& 0
sky Dec
J J
lares its
mak - er,
God ; And
. 1 , I
all the
star - ry
•works on
high Proc
laim his
— h
power a
broad.
1 f
F±J
-eL 4-
^ J
, -i
-«L -J-
r -r
rr— ^— *-
_r="
rTf
is
4 —
iM=
^— r-
1 '
#1
CYRUS. S. M.
[Double.]
207
^4
0 & qIZS.
My God, my strength, my hope ! On thee I cast my care ; With hum - ble
J I I 1 I , Solo.
33
con - - - fi - dence look up, And know thou hear'st my prayer.
f — sr
'i §_
P r r ' °i
-J-
Solo.
PI I f
2ZZt
4=F
acq
I
3
i 3 i
Give me on thee to wait, Till I can all things do; On thee, al
El
mighty tu ere - ate, Al * mighty fo re - new.
I L
ft
■ ol J
,-cJ J 1
r-J — r-
i
a #
§3
s
H — i
1 1
-US— P~
\ 1
I J
i
m
-i — u
08
SHIRLEY.
T
JLi •
p.
M.
r
1 !
' I f
■
—J
J — h
=^ — ?
1
' i '
To
M r"
sing and bless Je
-ho
- vah's
name.
i i
I i
1
as_
— r
=(=
— »!
Et
Let
al
the
earth their
voi -
sea
raise,
T
d sing a ps
1
llm ol
lof - ty
. 1
J
praise, T
pH
0
sing and bless
L
Je
-1 J,
-ho-
— &-
vah's
name ;
_» _ _
—
r— ^
m
-°» a '
•
p ■ r r
•
ep-
•
r . r r p—
I
>
F • • P
i— an -m J*
•
r
d
i
fin
o* •
i
i j
cv . *
p-<S>-
o
°^-F-
P" J
r^r r r
— <S>
-J
r
- — ^M~-
4
To sing and bless Je - ho - vah's name.
9 #-
— "
r< r r
-r! ■ > ^ . 1
irvir r
1
1
"I h
His glo - ry let the
hea - then know ; His wonders to the
na - tions show, And
-«* — •»-
all hii
sa - - ving
works pro
rH h
claim.
Unison. _
i «j F
- - . f f f f
^™
r.
"n — r
-H
^4 *-4 1—
G> ^
Allegretto.
BROOKS
L. P. M.
209
m
22
1
— ' h
fed
— 1 r
f3
i «
All power
thine in earth and heaven ! All fullness dwells in
ly given ;
— r— f
I
1 h
" i" ■ r
_
0
■J,
3£
BE
22
i
•r
IS
r r r ^
"oi * r
-d — ol . *L
i
27
210
M AZZINGHI
L. P. M
An ilalltino.
.TMaxziHgbi.
mm
Solo. ft,
Das - ture shall prepare. And feed me with a shep - herd's care :
3
The Lord my pas - ture shall prepare, And feed me with a shep - herd's care ; His pres - ence shall my wants sup - ply,
□3 ja
I Mm In
May repeat,
? i i — I w
watchful eye ; My noon-day walks he shall at - tend, And all
mm
my mid - night hours de - fend
. - i r> J") - *v < »5 * >_i . i«, _ ~
Allegro aaaal.
MARTIN'S LANE. L. P. M
211
Til praise my Ma - ker with my breath, And when my voice is lost in death, Praise shall employ my nobler powers :
1 iv? . hi i ■ ni-T. ~ ~
-i — u
Nl
1 1
! 1
i r i l
i
I
TZML
My days of praise shall ne'er be past, While life, and thought, and be - mig last, Or im - mor - -tal i ty en - dures.
i d t, i ; p , , . ^ n ! i , -p. 'fj. J i n x J i
-] — J — J — ■ 1 r-i — i — I — i — n i 1 i — i ! — -m — rl rn — i — i — r*r —
I
-J. _£>L _oL _Qi
I -eL'
-I J -J-
i
212 RAPTURE. C.P.M.
IV""*.*
o.
1 r-
-Is—
l
i-
i
=F^— -
— |
- A \
i — h
1
1
-L-<s>
[
could I
speak the
matchless i
vorth ! 0,
could I f
- -
— i 1—
-<s> — <s' —
ound the
glo - ries
:=:P—
1 £?. 0
forth, Whi
--^ — «-
:h in my
y— 1
1 h
Sa - vior
J — |
-<s>
shine
I
J* ^ ol
— 07 —
1 -Sj-
" °|
d ol
-f -p
°l " T
-3- *f
H —
G> »
, 0'. J
T-el eL
J
•
N *
- a— f*~
' g 1
m
H h-
-H — J
ll_
_l
f
I_|
0— ■
EZ
=fH=l
i I
1 TT
!
^ — 1 —
reble.
Tu
1
Ph — h,
— h
i
— f-
f"
1 1
s/_
I'd s
rl 1,
stnngs^AiK
'0 &
vie with
Ga - briel,
*i
*=^=
ings, In
— I — h-
lOtOS &1 - -
^=
most di -
vine.
Solo
" i r
J J
ol
— = — h_.
■ - or
Twttl.
T ™
-H-
<> o.
Lej U
J. J
^ Cj
1 1
Voter, or Ornnu.
Allegro Wodcrato.
KEW
C. P. M
Dr. KZaudall.
213
I
PS
The joy - ful morn, my God,
3
m
4 .
—Mr
come, That calls me
-J- -©L J.
n
thy hon - ored dome, Thy pres - ence to
dore ;
-eL
t3L
I
My
1=
feet
33
summons shall
-! — I
m
at - tend, With will - ing steps
ft. , i-
thy courts
— !-
as - cend, And tread the hallowed floor.
3*
Solo.
1»— r#
5==
r tr
i ' i r
-J- -<jL
i
2U LIMINGTON. S. P. M.
Allegretto.
-T© f-
-1* — r
-f h
i 1 1
z*
=P P=
f — F1
-*s> #-
I
■Qh o 1
i l
4 J-
l~T 1 h
i i
L-s> 1 — 1
i i
■
i
— i —
i
i
— g — *
1 1
•
L.
-s>' d-
!
How
pleas ant
«> — •
'tis to
M
see Kin
dred and
~p — P-
friends a -
gree ! Each
in their
pro per
& 0
sta tion
move;
I
-H — i-
—1
H— t
l
1
1
! 1
1
j •
ri
•
_3 f_
J"
|
*-
|
i i
o «
ei £
ol
—
— h
i i
-•>-
J J
p
A J
J-ej— ■
J
-J •
i
i 4
—
-f f-
i ■
H H
_| [_
1 1
-i® — ^
— h
1
1 1
-Is' P
I " i '
1 1
& f~
1
-1 r
i i
r- H
^ — P-
i i
i i
1
•7
And
4-
each fol
- fil their
I"
h
part, With
sym pa
Ft-*——^
« 0
thiz ing
t i
a w~
heart, In
s — =^
^ — i
all the
1
o i
- i i
— 0
carea of
i — 1 Ha
_d ^
life and
love!
1
^ «
J J
f-J J"
1 1
J J
-f2 —
J
o r
U H
J ■ J
U- — p
i - ~f~
r-S> j-|
1 1
^=
^
>-HH-
r
•
DALSTON. S. P. M
W*lHmm». 215
fed
J J J J
-1
— ^-
I j j j j I
1 h-
i
■ #
How pleased and bless'd was
God
to - - day!
E=4
Eh-
US
Yes, with a cheer - ful
zeal,
Well haste
Zi - - on'i
hill.
And there our vows and
I f **I
pay.
216
Allegretto.
ST. JEROME'S. S. P. M
•Ih F.HgiiiU tune.
3*
. ; ; *
Up - held by thy com - mand,
m
The world se - cure - ly
stands,
And skies and stars o - - bey thy
-sT
word ;
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E - ter - nal ia thy king - dom, Lord.
- Andante.
NEWT? TI
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Tht ShmII .N'otrj in the Ttnor and Itass may bt sung or omitted.
Allegro a»gal
J. POPE'S HYMN
rma
H
M.
M
219
Let
!v - - ery
4— J
crea
I
ture join To bless Je - ho - vah's name ; And ev - ery power unite To swell th' ex - alt - - ed theme i
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gen -
eral
Of grate
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ful praise.
JET
£3
220
TRIUMPH. H. M.
C. Lockhart.
Re - joice ! the Lord is King ! Your God and King a - dore ! Mortals, give thanks, and sing, And tri - - - umph
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ov -er - - Tnorei Lift up tho heart!
Unlaon.
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a - - gain,
Lift up the voice ! Re - joice
say, re - joice!
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GROVE. H. M
From BrielgetraUr Coll. 221
-i i ! !
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Let all the na - tions fear The God who rulea a - - bove ; He brings his peo - pie near, And makes them
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His
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WATERFORD. H. M
223
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Cheer - ful in God, A - - - rise and shine, While ray* di - - vine Stream all
broad.
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224 FRANCONIA. L. M.
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to
of the
1
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mind; The
morninj
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nd early d
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constan -
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view.
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Th' Almighty
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WISCASSET
3
Sevens
Romberg.
249
Songs of praise the an - gels sang! Heaven with hal - le - lu - jahs rang ! When Je - hovah's work be - gun ; When he spoke, and it was done !
> j> I Li i r« !> I !
Unison.
u
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DANVILLE. Sevens
6*
3
i
Heaven and earth must pass a - way ; Songs of praise shall crown that day ; God will make new heavens and earth ; Songs of praise shall hail their birth !
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32
250 LOWELL. Sevens.
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Angels, bending
from the
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1
Ch
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~!^~
the wondrous
birth— " Glory be to
God
0
on 1
ligh!
-efc-i
O • *
Peace, goo
1 h
99 S--4-
\ will to man on
earth!"
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WHELAN. Sevens.
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Come ! sa
-r—
id Jesus'
sacred
—
Lfi^ 1
voice, C
>me, and
make my
— H"
paths you
tit*
r choice ;
I wil
0 *
guide yo
u to
j-j-
your h
ome;
We
ary
sinners,
hither
come.
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B ARTLETT.
Sevens .
4=4
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is. n*jfa$0m. 251
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Softly now the light of day Fades up - on my sight a - way ; Free from care, from la - bor free, Lord, I would commune with thee.
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OTIS. Sevens
Silat .tll.H. Jr.
****
* • 99 *%4- * ^ * 9 9
Blest Instructer, from thy ways, Who can tell how oft he strays ! Purge me from the guilt that lies Wrapt within my heart's disguise, — Wrapt withia my heart's disguis*.
I L I- * ,11^ .IrllJifrl-llll.ll ^ I I Ik,
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K ATAHDIN
Sevens .
C. Parker.
I
Let us with a joy - ful mind, Praise the Lord,
. »i N N 1 i N N
kind ; For his mercy shall endure,
Ev - er faithful, ev - er sure.
I
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FRANKFORT.
1— p —
S EVENS .
Haydn
i
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3
• *
-
Praise to God, im - mor - tal praise, For the love that crowns our days ; Bounteous source of every joy,
I v f % ff-f-
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Let
J9—
thy praise o>
tongues employ.
1
p 2
/
BRAZIER. Sevens
235
* *
--■».
Hail! all hail the
1 I
joyful morn ! Tell it forth from earth to heaven, That to us a child is born ! That to us a son
I I
is given !
1,-
~0~i — 0~
r— r
i
FURBER. Sevens
ffrr
1
1 r
0
1
-J — u | 1
, — 1 rS
i i
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I
i
Christ, the Lord, is risen to
Our triumphant, ho - ly day: He endured the cross
I T \ J I
rv~ m 1 — ~0—\ — «S"3r
and grave
Sinners to
re - deem and save.
1
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s> ot
J J
Si
w
Unison.
0
254
WOOD
1
Sevens .
^ , BZoderato. " 1 -^Tv
All Je - - hovah's wonders praise, — Wonders which their children share !
2 N V
O, that men their songs would raise, All his goodness to
declare !
IS N
JN5
19
f 0
DANA
Sevens,
j» N
PS
S-V
W~WZJL
P3
1
i> 4
When the morning p
aints the
skies ; W
hen the stars of
evening
rise, We thy praises w
ill re -
cord, 5
overeign Ruler !
mighty
-H
Lord.
It
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Adagio Amoroso
BUCKSPORT. Sevens.
255
1
S3
za r
When, be - fore thy throne we kneel, Filled with awe and ho - ly fear, Teach us, O, our God, to
1 . Ji , d- h9 r-ol — J— r-el J , gL .
2? #
All thy sa - cred presence near.
I
H--4
sir
i
Allegretto.
CONGRESS STREET
Sevens.
I
i
When the morning paints the skies ; When the stars of evening rise, We thy praises, will re • cordV Sovereign Ruler ! mighty God !
I I I M
J J
i - J
i — ^ — r
J J J . J* J J
oL J
a 7»
I
256
Allegro Alotlrrnto
TURIN
S EVENS.
of God, thy blessing grant ! Still sup - ply my ev - ery want ! Tree of life, thine influence 6hed,
0 --O -S>
E^
T
Tree of life, thino influence shed, With thy Bap my spir - it feed.
With thy sap my spir - it feed,
?3
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3
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r
PARK STREET CHURCH. Sevens, eight lines. 25T
, ft b o j
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V-
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^"a-ther!
thy pa -
ter - nal
care
— #1— '
Has my
— *t
guardian
been, my j
juide ;
Every
lallowed
wish and
— t—
prayer
Has thy
aand of
ove sup
— t —
[H-f
plied ;
•
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Thine is
i +
every
h
thought of
l 1*"
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bliss, 1
.eft by
. m
L0- J
lours and (
lays gone
rfhfh
by;
r
Every
. m .
hope thy
_ n
offspring
' is,
. Ml
Beaming
^— #
from fu
- tu - ri
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258
HARDY. Sevens.
Pin Tosto Andante a
Pit.
MF. Tutti.
13
Pleasing spring is here a - gain ; Trees and fields in bloom ap - pear ! Hark ! the birds, with art - less lays, War - ble their Cre - a - tor's praise !
r* - l s-
— Hy4r
^=?=f=F ^F?^ EES
1 — U-! — -g-LJ^^it— — ---
-X- The 3d line ma
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-X- Tbe 3d line may be sang by the Treble and Alto as a Duett.
YORK. Sevens.
s—s—s
m
tin
Hail' all hail the joy - ful morn! Tell it forth from earth to heaven, That to us a Child is born! That to as a Son is given!
1 ! I I 1
S=i7=i-
3 — er
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Allegro Mod e lato
CALVARY. 8s & 7s, ok 8s, 7s, & 4s.
Stanley.
259
m
Hark ! the voice
of
h
-, r- 1 c>-
love and mer - cy Sounds a - loud from Cal - - ra - ry! See
tT
^3
^3
-eL
TT
ft
it rends the rocks
L l ^ !
a - sun - der,
i i I
*9
J ^ J- J
> a-
A tempo. p<»-
i
>y • WIZM
Shakes
the earth, and
veils the sky! "It
fin - ished ! It
fin -
1S_
ished !
Hear
I
the dy
ing Sa
vior crv.
1' r 'ms
& —
St
BE
260
i
F L O R I O . 8s & 7s, or 8s, 7s, & 4s
as
3?*
from Zi-on's sa - cred mountain, Streams of liv - - ing wa - - ter flow; God has opened there a fountain That sup-
plies the plains be --low;
ITT^f31
They are bles - sed— they are blessed, Who its sovereign vir - - - tue know.
FT? f 'n f r r -.pH r 1 °i l T
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KNOWLES
8s & 7s.
261
i — n — r~n — i — n — I — n pr-^ — [— n~
m
Lord, dismiss us with thy blessing, Fill our hearts with joy and peace ; Let us all, thy love pos - sessing, Tri - umph in re - deeming grace.
i .- i r i j h . » . „ i i m
Blest Instructer, from thy ways, Who can tell how oft he 6trays ? Purge me from the guilt that lies Wrapt within my heart's disguise.
m
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°r r 1 °i r ' r t
262
Allegretto.
TIVERTON. 8»hs.
m
5
4
Sa - vior ! source of ev - - erjr bless - ing, Tune my heart to grate - ful lays ; Streams of
5
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S
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3^
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fr-b— *
ing, Call
for
cease - less songs of praise
— Call for cease
I
songs of
praise.
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EASTPORT. 8s A 7s. HYMN, OR SHORT ANTHEM. 263
P' p-*-*"
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Hymn
Fine.
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Praise the Lord, ye h
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eavens adore him
I N i
Praise him, ange
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Is in the he
^ 1" ** *
ght ! Sun, and moon, rej
1 NJ
jice before him ! !
'raise him, all ye
rtara of 1
F-t=l=
ight!
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Hal-le-lu.-jah!
T*
Amen. A - men.
Bal - - le - lu
— :S-
- jah!
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A - - men.
Hal - le - lu - - jah!
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Hal - le - - lu - - jah
! A - -
men, •
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264 KENT. 8« & 7s.
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cit - y
of our
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God! He, whos
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lot be
broken, I
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rf4
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SICILIAN HYMN. 7s, oe §« & 7s.
> Modeiato.
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31
j~ 3d TreWt,
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Solo.
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Solo.
Bless'd
ie thou, 0 I
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0 ' 'j
Thou.oi
r Father
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and ou
J E
r Lord ! Bless'd
thy
9
majes
1 1
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- - ty for -
ever;
1 1
Ev - er
be thy
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ne a<
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Solo.
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LYONS. ios & ik
Ilagdn. 265
3
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O, praise ye the Lord, pre - pare a new song, And let all his saints
m .U
cert join !
r
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IS
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With voi - - ces u -
BERMONDSEY, NEW. e9 & 4*.
26:
2d Treble.
1E±
Gk> - ry to God on high ! Let earth and skies re -ply, Praiseye his name; His love and grace adore, Who all our sorrows bore
~wr-T
St
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3=f
Sing a - loud, ev ermore, Worthy the Lamb !
! ■ ' i * L _ I l__i I
Worthy the Lamb! Worthy the Lamb! Sing a -loud, ev - - ermore, Worth v the Lamb
4-J
-JL ^
T I* — i 1 gr
268 FREEDOM. 7a & 5a.
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» gas
z+— >■
I "I
?ft=FF
■ i
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i i i
J !- !
q q
H — 1+— ^4f—
urn
Children
of the
glo - rious
— <s» —
dead, \
I
'9
Vho for
free - dora fought and
bled, Wit
^ her
>anner o'e
r you f
pread, Ou to vie - to -
! h
-17!
l |
=F=
I
ff
LT
— e.
!
-J — J-
rfH*
j . i ^ rn
tp- n: v
FP
t T T
r
• _ • - w
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■4= J J i
1
Si
I I
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! ^
W
. • ' *
1 ,
1
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_| — 1_
1
- 1
1
ff=l
Not for s
tern am - bition's
1 :
L<s»' — I
prize
H — *
-J-
net your h
~i — r
val - or
h
nsr
rise: Lo! our
leader f
1 i
-d — 9-
rom the
1
skies
Bid3 us
do
1
or
die!
§33=1
T • x
^#
tftf
1
-9 =T f
— <S>' —
1 _i
r- r
r r"
r p
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1
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r
^ — 1
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SETTEE
j. — ^_
1
/
SCOTLAND. 12*. »r. Ca.Ue. 269
- A ^ , e * *<7> r
'-6— IrS'—j
s>—
#^££=
f.r r r
2 5
««
s
****** * * * * * *
-n^-T^-n— f^- WHHfTW^^^f
The
Q b n S
X p f3 — f
L#. * # #
voice of free grace
1 * s P
• • 0
cries, "E
scape to the mountain, For
all that believe, Christ has
f "* * ■ M 16 -
1 * * • « S • •
0 - pened a fountain'; For
sin and uncleanness, and
2 t * > *
1 — t -0%-** * r
-^ff— •t^e? p
^ 8 0
j
J
^ # #
J . "3 J J
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• • •
n
, = 1 1 /ST
l» < I*'
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s ■ • • • • L
aha £ t 5
\rrrUl\
— R— ft— J—
Lp — — > :
- - -
? 2
* * * r
Hallelujah to the Lamb, who ha*
1 ^v
-*—?—f—*—?-r-*-T-
******
* * * *
S |^ |S ^ |V
ev - ery transgression, His
blood flows so free - ly in s
J* & 55 *
treams of sal - va-tion, — His h
1 l I 1 1 k I b
0 0 0 0 0 «
lood flows so free - ly in stre
* n ^ ^
J *- -0 0 *
ams of sal - va - tion."
s * k ULJ
1 • • - 3 J
L u u * » #
J. i J J J J
0 I ? ] A J
L£f;; «
U * J *
l> U- U- *******
bought us oar pardon ; We'll praise hitn a-gain when we pass over Jor-dan, — We'll praise him a - gain when we pass over Jordan.
270
KUREN.
10s.
f=Ff
" " # V- " * ~ -<©'■
From Jes - - se's root be - hold a branch a - rise, Whooe sa - - cred flower with fra - gTance fills the skie«
. i I i .• i iii,, i i i I
f-f-
J .
—f-y-p — jg
2S
3
i
The sick
and weak
the heal - ing plant shall aid,-
III,,.—
From storms
shel - ter, and from heat
shade.
9 o
r r
f r
2Z
H I N T O N"» us
HYMN, OR SHORT ANTHEM.
a
2=2
S3
To sheep of bis
* , V
pas - ture his mer - cies
"i~f * *
-it
a - bound.
His care and pro - tec - - tion bis flock
~ a
will
0
sm ■
— o-
"T
J. J.
-r- f t
i
i
i
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*lf used as an Anthem, the second part miy be repeated,
272
CH AUDIERE
W-
11s.
> 4 J i-J , J &
» «i ^
Couie, saints, and a - dore him; come, bow at his
feet;
0
r3
O, give him the glo - ry, the praise that
^=44
.H n
ST
meet!
# — *
BE
H i
-m — 9 »:
m
l^ei joy - ful ho - san - nas un - ceas - ing a - - rise, And join the full cho - rus that glad - dens the
skies !
J I
"i r
ZZX
i — h 1 _ lz
m
j j j
m
Allegro Agaal
MILGROVE
78 & 6«. HYMN.
32i
OR SHORT ANTHEM
B. .Vilgrere. 273
•
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1 1
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H 1
•-I
■p2 —
?-* — i
s
»• i
-i 1—
—
P* e
pi
4- r-
-J
T=3
Praise him for hie no - ble deeds ; Praise hirn for
his matchless power ; Him, from whom
^ L , J
all good
pro - ceeds, Let heaven and earth a dore,
1
r j r r
j . : j j
-J-
] J . — — -e^ -eL -eL
" i n 2» — 2# — i 1 :
s
35
May be repeated.
274
E ARLE
5s & 8s.
■si-S-
en:
t — h
Behold, how the Lard Has girt on his sword, From conquest to conquest proceeds ! How happy are they Who live in this day, And witness his wonderful deeds.
59 I
1 I 1
^r_eze
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ezczo:
°i ? r °i ^-qM— *-
I J, I J J. |J
I !
5B5
erf. » 5 1
£%*%2:
Ss.
Fh
WAN WORTH.
tlarmraod.
IB
-I — r
3&
My gracious Re - deemer I love; His praises aloud I'll proclaim ; And join, with the ar - mies a - bove, To shout bis a - dor - able name.
^ r^k^L-J>-^ pi o o> J 1 „ sOlo,ng-^i
-«g <o |0
II
/
S ANCTUS.
3?
Front a ,\!ati by Haydn. 2/D
I It w> 1 W WW I
Ho - ly, ho - ly, ho - ly ! Ho - ly, ho - ly, ho - - ly ! Ho - ly Lord God of Sab - a - oth ! Ho - ]y Lord God of Sab - a - oth !
<?s ^ ^
For.
-t>-<
Ho
ho - - ly ! Ho - ly Lord God of Sab - a - oth ! Ho - ly Lord God of Sab - a - oth
ho - ly ! Ho ly,
STM.
n — i i — i
3f-J-r|-J. Jj
Heaven and earth are full, are full of thy glo - ry,
full of thy ma - jes - ty and
276
SANCTUS. Continued.
glo - ry.
Ho - san - - na in the high - - est, in the high - - est in the
2
9 0
glo - ry.
Ho - san - - na in the high - - est, in the high
5=£
SYAIP. VnUoB
Ho - san - - na in the high - - est, in ■ the
glo - ry.
* Ho - san na in the high - - est, in the highest, — Ho - san - - na in the
f pz^g^zzp
3=^
high - - - - est, — Ho - - san - - - na, in the high - -
san - - - na in the high - - est,
jg::::z# :x # — '
est, — Ho - - san - - na in tho high - - est, in the high - - est, — Ho -
high est,— Ho - - san na in the high - - e|t,— Ho san ^ - - na in the high - -
-r if— jp-t
high - , - - - est,— > Ho
na, Ho - san - - - na,
/
SANCTUS. Concluded. 277
i6^ — r
r ^
i i i
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h
^ ■ _
— <£3 ^
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in the
Q h , , — f-i
high - - -
o
est, Ho -
- san na
» V
in the
L<S^ — r
high - - -
Op p p p p
• •••08
|% n '9 • ft l*
| a e o e • s
o
est !
■
l=tl
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— =
H
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£?■ r» f i i i i
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GLENBURN. C. M.
278
Allegro
CHORUS
'Glory be to God.'
Fall Organ, with Trumpet.
m t* _
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1 j^_J L^-J
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J . J: J .J
J.J J. J
^5
Glo - ry be to God,
TOT"18"
Glo - rv be
to God,
Glo - ry be
M. s '
to God,
Glo - ry be to God on
■ I I I
£ i
tic
.f • -f-
Efctd
5B-
3=r
E3
-TTTj
280
CHORUS
Continued
22:
peace
on earth, and
earth peace,
peace,
peace
on earth,
5
0 -G>-
Fi>.
ry, glo - ry be to
earth,
"3r
on earth,
peace on earth.
Glo - ry be to
CHORUS. Continued. 281
! — -
For.
— 1 h
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l i
1 i
rH ; 1 h
J I J J
—G>
^
1
1 r - —
1
m
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&-9
For.
■ 1 1
1 1
d0 — » — * — t
God on h
~# 1 — 9
lUt-
gh,-
-
31o - - ry,
. S -
9-
glo ry,
1
glo - ry be to
i 1
J J II
* * m 9
God on
high-
Swell.
1 1
Glo - - ry,
• •
glo - ry be to
1 , 1
God on high,-
9—T—0f
-O . 9-
-Glo - - ry
£0 *»
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Choir.
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For. Fall Organ. 8888888 8— For. Full Org.
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1
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1
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1=
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glo - - ry,
glo - ry be to
l 1 i 1 .
God on
high,
9 9 0 0
jeace on earth, goo
l will towards
—
men, —
, f--r
eace
:ra earth, goo
1
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r- 1 [-1
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282 CHORUS. Continued.
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Pla
1
£-4-
r r -
■1 1
h — ^
F=J-
-- r r
-f^-J-
r
men.
SIM.
7k F— i— -
Pi M
We
iraise thee ;
we b
-0 — •
less the» ;
we i
# —
vor - ehip t
hee,
&c
<ov
1
1 1 111
SYJI.
r voi<
e. '
, a, f t i
4—1
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5?
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4 — i l_
A !—
4—
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1 '
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|j; T: i » J:
we gib - ri -
~ i ! 1
fy thee ;
1 STBf..
we give
Voice.
r— 1 h
h©1 — <sa'-
thanka to
si — <s>'-
thee, give
-e)—e)-
-<5>-S
tlianks to
thee for
thy great
d J
glo - ry,
for thy great
JJ ,
— Cc^_
-J — #si-
-e, e —
r— t h
H— h
f Y
1T«h
I 1
8 -
1 i
/
CHORUS.
Continued
-& — * — 0-
•-
m
283
-9—9-
"~t — ~i i~r.
glo * ♦ ry, for thy great glo - ry,
A
for thy great glo - - .ry, for thy great glo - ry,
iA J \A J
we give thanks to thee for thy great
M -. L LI
J , I
rfrs> — <zr\b*
i
1 #_
glo - ry, for thy great glo - ry, —
-J-JJ^-i-Li
for thy great glo - - • - ry
S
HPej r r
5=^
9 — g-g-
J J" I I [ J ! '
b<s>-
CHORUS. Continued. 285
3= — 1 — 1-
H 1 1-
H
—
1 > — — i h
^ F- -
=E
lu — jah ! hal - le - •
T~i — i <l jf
lu - jah! hal - le -
|J I J-Hn
0 3
lu - - jah !
H 1 — ^-f3n
• J—
4 4 * - j n
■f- w • -w—w J
hal - - le - lu - jah !
r- T JSJ J
=1
A
j |
H*— E= =E
men.
i n
i a-. r~
# Ti — aj t
© L-
£ £ f
1 1 1
r— J °i
i
i i r » . •
O, a « a a a
II Si 1 •
op W |
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ii , • ,
p I y i i
• la< t> i I
•
1 8-
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ir r r ri
i
hal - -*le - lu - - jah!
A n
len.
Hal - - le - lu - jah, 1
• • • r ■
lal - - le - - lu - - jah,
r f — r — p
aal - - le - - - - lu
1 1 i
f f ,«>
jah!
1 1 P. j J |
^ 1 * s 1 p
1 « 0 f
1 ' f o ' '
J- -J. J J
i i i i i i i i
-r — r — p — E—
tp 2_L
■ "f" • •
i a I a a a
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•
r i n r f-H-
• 1 • 1 a 1 a 1
r | f j f "
■
1 r r- ! ■
# i • r b~£1 —
r n
286
CHORUS. Concluded.
\?
r-_gr-
1 r 1
i
i _
Ml
hn
J - - le - lu - jah,
Jr J"
^— f f—
hal - le - lu - jah,
II'!
hal - le - lu • - -
1 1 1
~t t A-
o • •
jah! hal - - le -
•f r or p q.r
lu - jah ! A * -
0 1
men.
^=^.
Ml
Ml
m — f
w —
-t
»-• "f- J J
j- j- j j
LP P r
"T — ' T r
-i J I 1
— i — i —
j. . i i»
F— * — ^-
-r ; Sr.
■J- J ij
-f- -0- -0- -0-
BTM.
-J-J-j-J-
Ml
ANTHEM
Andante na poco lento
'Blessed be thou, the God of Israel.'
V. Bight**.
Bless'd be thou, the God of
Israel ;
=t=T
Thou, our Father and our Loi
thy maj - es - - ty for - ev
1
lis:
2Z[
4*-
86 9
35 4
3
* 6
7
l»t Time.
ANTHEM.
Concluded
28:
3
-it
2z:
Ev - er
thv name a ♦ dored !
Thine, O Lord, are power and greatness, Glo - - ry,
i h
1st Time
1° |°
r-J ^ r
gth! 1 i
i J 'I
' 1st Time. V d
M^lti ! -1 II-
— g> A ! c? h e?
J i—
rf2—
— ■ — i —
1 1
1 P Pi
i i
— j — f —
1 i
-f
■
i — F-
• m
H2 r-r
1
<s>
*7
4 ^4
2 2
ls< <»mt, Quarteito. 2d time, Chorus.
e?
4 5
iff
i
are
All
tHine in earth and
heaven,— r
all
thv
=3E
£5*
boundless
throat.
•III
V
- ■ : -]
- - -J
— ^ N
»" ■ r "ii
^ f r
lia ^
<S> »
«7 «
'•ill
288
ANTHEM
'The Lord shall comfort Zion.
SEE
Allegro.
51 J5
3
The Lord will comfort Zion, will comfort her waste places, and make her like Eden, like the garden of the Lord, — and make her like Eden, like the
J_ I* I* * , , , , , I* ! . . * ,
i
Is* — t
garden of the Lord.
Joy and glad - ness, joy and gladness,
and gladnes3 shall be found there - in, thanks -
M. F.
~*~mr
ft
X=JC
/
ANTHEM
CoNCLUDED
a:
239
:i i
J r L _1 L
-9—4—e-
i
giv - ing, 'thanksgiving, and the voice of mel - o - dv, and the voice, the voice of mel - o - - dy, the voice of mel - o - dy.
I l J L ■> ^ '
9 0
•& 0-
i r
i
m
4 and the voice, &c.
HEBER. L. M.
~ 5 *±
3 ff8
Sitai .11 1 en, Jr.
-
i — p-
i
By cool Si - lo - am's 6ha - dy rill, How sweet the lil - y grows ! How sweet the hreath beneath the hill Of Sharon's dew - y rose.
' , 1 lr i J '" 1 Ll
°\ — w _9 r
izzrrz:
-ef- r
37
rug:
r~7 ^ '
-©i — d
& 0
290 ANTHEM.
Andantino.
il 4i Solo
HOW BEAUTIFUL UPON THE MOUNTAIN.'
-3*
How beau - - ti
Solo.
• on the moun - tain, &c.
m
How beau ti - ful up - on the raoun
tain are the feet of him, — how
ti - ful, how bean - ti -
5dta
1
■f r
-i — r-
• — 9 — I ? 1 P* — — ^ 1 P» 1 I ^ — — — L
that bringeth good ti - dings, that pub - lieheth
up - on the moun - tain,
^ — 1>-
ful up - on the mountain, up - on the moun
tain are the feet of him that bring eth good ti - dings, that pub - lisheth
ANTHEM. Continued. 291
PZ.
fT.r f-
~ " " " -
f rrrr
i ^ * + •+
1 1 !
U 1 1
! — 1
H — i —
i i i
1 ! 1
i i i
¥**-■ —
* -1- * * 9
peace, — that bringeth goo
• •
1 ti - dings, bringeth gooc
ti - - dings, that
r— a *
pub - lisheth sal -
1 1 1
^ * *
va - tion, that
i I J
saith un - to
J j J_
Zi - on, thy
God
W — #v-4^-4t--
"1" 1 1 1 — 1
1 LM(j if;
Jfz. *"™"3 J~~3
1 ^ |S ^ |S
'Lkr tf
Jfz. J J
i — -f— h
• • • •
r — r~ r
j j j
* p 1
|
J J J
4- 1 J '
p • .
[
_J — s-d-d-s-
J ^— d—
i i i
h=C=pz
r #
Allegro ass
ai.
— <s> — | —
ri®— 1»-
■r—
i i
1 &
i
•
i i
i i
— !— f
1 —
if j ^«
reign
eth. Brea
c forth in - to
joy, breal
forth
in - to j
oy. £
ing, ye waste
places of Je -
- ra -
sal
em, for the
i — ; — is^s_
LfOrd hath comforted his
peo -
.1 * +
J I "
* • . .
v-rr gr j
Allegro as so
a.
1 p Pr •
! r-^„ ^ f
&
H j l_=
F. 4
3
5
3
7
8
9
6-
4-
^ ^ i — ' —
S
6
5
292 ANTHEM. Concluded.
9 0 0
• •
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lst
Tim
1
_*:.jSr_ *^
1 •! ' If H
1
i
—
i 1
i
i
i r.
i
H
1
pie, he hath red
-ft**-
W
eemed Je
- ru - salem,
he hath rede
eraed Je -
' MS 1 ,
ru - salem, Je
- ru - sa -
m
lem,
1
Cres
mn
Break ru -
i
4
-#
sa
£>
lem.
d«
A -
^ .
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men.
Dim.
|-
A -
I
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men.
Nil
"•T P P
v
-i-y-
££££
t. iij
1
*•*
■» M-Cre
lie- r" A
i i i
8.
f
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4- -
n©7
H —
Dim.
1
6 6! 7 4 .6 6 54 567 665 465 7
4 2 33 345 33 3 m
NATIONAL HYMN. Subject from JO
&5±-
9> f
1. Oui
na - live land ! Our
j
na - tive land ! For
tliee, thou lustre of the world ; Still
f f=F p
firm, u - ni - ted
1 !
shall we
1 'F
i p
stand, With
sa - bre drawn, and flag un -
2. Ou
r country dear ! Our
9 9 9 9
country deir ! Sha
11 factic
n spurn thy ho-ly laws ? Shall ]
wm
"Veeuom's sword an
i j
l-Freedorr
's spear Be
f* f
wielded in disunion's
4-7
>-t»" i» i»H» 1>i- X
• i IP
v
9 b 1 I IP 1 P # T » I • #
P P P P P ' i 1
=^
NATIONAL HYMN
V*
Concluded.
29:
— , — ^ —
furled. The leg - a - cy our fathers left, By Freedom sanctioned still is ours ; Nor shall our noble tree be reft, While every branch is dressed in
W~ 0
=F
cause ? Thy fairy fields, shall they be strewed With brothers slain by brother's hand ? Shall fathers raise their arms of blood Against the ensign of our
» 1 nrtrs
^-g-g-{-|
1
UHUKlSi _■ i • ^ ..i ^
IS
flowers.
:#zr«:
land
^ -4- ~ 9 9 .-4- 9 .9 " -9- 0.
Huz -za! Huzza! sons of the free ! Strike, strike the bolt of treason's hand ! For God, for Fame and Liberty, For Union and our Native Land.
3. Our 3tarry flag! Our starry flag! I Shalt thou not wave o'er hill and crag, I Let him who swells Rebellion's cry I A Patriot's tear will fill his eye,
Whose eagle sits enthroned in light, | Triumphant in the hour of fight ? | In civil strife, once turn to thee, | His bright swcord Ftrike for Liberty.
*.UBla.
QUARTETTE AND CHORUS,
itsi
«>>*•#••« Ornloria,
Messed mi the dead that die iu tlio I*ml ! From henceforth find forev - - er they rest from their la - bdrs,
Biased M« the dead that «^ m the Lord! From henceforth and forev - - er they rest from their la -bow, Au.l their works, their'wTrk. '
works, their works, their 1 orks
follow them. Their works follow, follow them, Their works fol low them.
Blessed are the dead that
m i Pi . . I 'I ' r 1 1 i,L n i| j_g iLuFj^l j ' I.U.nijjjl
fol - low them, and their works
follow them, Their works follow, follow them, Their works fol .... low them.
■".US
Blessed are the dead that
f mus -.1...'!" "i-i
Their works, their works
follow them,— Their works follow, follow them,— Their works fol -
- low them, Blessed are the dead - -
/
QUARTETTE AND CHORUS.
Concluded.
Soil. PP. Chorut.
295
til
die in the Lord,
~b — r
From henceforth and forev - - er they rest from their la - hors ! Blessed are the dead,— T^ey'rest from their la
Soli. PP. 1 '
i r
33
_ ... ... -«r pp.
bors, From their la ♦ bore, From this time forth for - - ev - - er - more They rest from their labors, From this time forth forever, ev - - ermoreT 1
#2 3 6 £7 4 3 #
#6 6 6 4
ff 4 2
'PNYXIANS'
HYMN
1. When Truth's refulgent ray Poured down upon the
"1 p pr— -p p ^
4. And Beauty's form was traced Up - on the sun - lit
ky— Each flowery dell it graced, And every mountain high,— In earth, and
xr -
all his
— n
ried powers, Was filled
E - - den's bowers.
'mid storm or calm, Still lin - gered Beau-ty's mag
charm.
5. And Truth looked down from heaven, -
Light filled the glowing skies : —
" To thee, O man, 'tis given
To labor for the prize ;
With toil and care before unknown,
Ys now must make the truth your own.
6. " Error shall tireless show
Her glass of many dyes,
And Prejudice still throw
Her veil before thine eyes, —
Yet toil, — toil on, and Truth divine
For thee her laurel wreath shall twine."
7. High throbbed the heart of man,
In answering, glad accord ;
Joy through his being ran,
And thrilled each mystic chord ; —
Beauty, and Song, and Truth were given
To win the wanderer back to heaven.
FUNERAL ANTHEM.
•Arranged and partly eompoied bff C. Jfotcini, OQ7
for the funeral of a faithful minitter. w '
— . —
-
... H
M ! -
9 "
1 4—
-J — t
1 ' 0 C5*
*3=
TO
-<S> .-0-9 -9
Far from affliction, Toil, and care, the happy soul is fled, — Far from affliction,
toil, and care, — Far from af ■
1 1
■ll- I
i
1 1
1 1
! .
I
+-4-4
1
(-■-
1 II
H— r
— 1 h
i i
"ST
!
1ZT
- i i
-S- 9 9
— r"-
& 0 9
1
-H-H
fliction, toil, and care, The hap - py 6oul is fled ; The breathless clay shall slumber here, shall slumber here Among the silent dead.
i
298
The goa
TREBLE SOLO.
pel
ANTHEM. Continued.
was his joy and 8ong,-
The gos - - - pel was
his
, . Rlioluto con apr.
IkVS-^F- ~ id f^Fr-v
— r— ^ 1~
"1
Wi —
( — 1 h
F*=4f
2 . m TT
1 TT
^
t
-M
— 1
—
"L
J
' r
r -
=Hr«-i 1 1
joy and song, E'en
! .1 J 1
— => — if — ±*
to hia la - - test breath ;
>^
1 , . . — 1 r ., .
d
The truth
— l —
— s*- —
he
»**.. _
n
r
F r- r
Perdcndotil.
ORGAN.
3
-n* r
Tempo Priaso.
had
P2^
pro - - claimed so long, — The truth he had proclaimed so long, Was
• • ^ ii r i i , ,
sup - « port in death.
znn — r
i
/
IO. Base,
Treble, a
nd Alto.
A
NT
HE1V
[.
CON'
PINUED .
-7 - 4-- -- - — -
299
(@ P4:
_ |
1 — 1 -
h Ft
The
m-1
churches'
loss we
Ll__jJ
all de
■ plore,
Ant
— — 0
shed the
falling
tear, Sine
e we shall see his face no more, Till Je - sus
shall ap - pear.
*^ — —
i
Ltr~
i
«H
-sr-4
, — g>
m
i 1 i
-r —
-I
L«L-r-
|%- I ' ||
l* — 1 LL
if ll« II
l> 1)4, ^-
^
— V-
c
4—
-Ff-h — -^r «ry ff
loss deplore, And shed, and shed, &c.
f q ^ Con mono
i V
-Vr
1
1 i f N
1* h
* ■ 1
n , Base, Trebl
jf^2 -
e, ant
l Tenor.
*d
i V~~
^#
Now he re -
ides
where Je - sus
is, —
Now he resides where Je
- sue
is,
Above this
3us - ky,
dus - ky spi
-m
iere;
His soul was
ripened
J J
for that
« — '
'■ 1 \
la aFf
r*
• •
.a La_
^— ' —
1 1
- 1
i C
-#—*#--
i 1 ■
H 'LI b±£^j
-1 —
-JL
300
ftjrijJl-irT3ircrff
ANTHEM
CHORIJS.
Concluded.
mi -
5 JTj^^i
bliss, While yet ho sojourned here. But we are hastening to the tomb, O, may we rea - dy stand, — O, may we ready, rea - dy stand.
fefcE
C 0
Then, dearest Lord, receive us home, re - ceivc us home, To dwell at thy right hand, — receive us home, To dwell at thy right hand.
TEMPERANCE HYMN. 'How long shall virtue languish.' b. Wyi
301
^ ^.Andaiite e mezzo piano.
/«7vPia. Rclard.
M. Tempo
— wm
E3E TJLjtzarz: I
^ ^
How long shall virtue languish .' How long shall folly reign, While many a heart with anguish. Is weepinor o'er the slain 5 How loner shall dissipation Her de
Her deadly waters pour,
i — i — i i r
i — r
j i r~ ~Jf_
m
6 J #6 5 ^6 6 5 4 | 7 * 6 | 4
M. Tempo.
~n — i
Throughout this favored nation, Her millions to devour ? When shall the veil of blindness Fall from the sons of wealth, Restoring human kindness, And industrv and health
rt,. I ll - I ri — I I n 1 : H — i -i . . ^ fli
6 4
3
302 TEMPERANCE HYMN. Continued.
. - jfc WVFTt 8 Trebles. CHORUS.
35
When shall the charm, so lur-ing, Of bad ex - ample cease ? The enilsat once se -
When shall the charm, so lur - ing, Of bad ex - ample cease ? The ends at once se - curing Of in - dustry and peace ? When shall the charm so
EE
p — rf— r—r
xz:cz::r~T:
i Li_r=r
-h-F
luring, Of bad exam - pie cease ; The ends at once se - cuf - ing Of industry and peace ? — The ends at once securing Of industry and peace?
lill
t 7
TEMPERANCE HYMN. Continued
304
TEMPERANCE HYMN
S3
Concluded
a:
Their virtues, never failing, Shall lead to brighter days, When holiness, prevailing, Shall fill the earth with praise,— Shall fill, shall fill, shall
the earth with praise, — Shall fill, 6hall fill, 6hall fill the earth with praise, —
Shall fill the earth with praise.
FF. ,
11
* * *
— *
ft
1
/
DOXOLOGY. 'Glory be to the Father.'
mm
3?
Dr. Jack, oh. 305
Eft
-el — s
Glo - ry be to the Father, and to the Son,
-g — r
3
to the Ho - ly, Ho - - ly Ghost; As ft was in the be - ginning
» »
1
1
xzrzr
6*
-Is— w-w-
world without end,
II
now, and ev - er shall be,
±±
«^
world with - out end, world with - out end, world without end. A - men, A - men.
world without end,
I i 8 39
306 ANTHEM FOR THANKSGIVING.
RECITATIVE.
J ~ ALTO. ^ , w ^ | | | A tempo. Recitative. | ' , .
O Lord, liow excellent is thy name in all the earth. O, mag - nify the Lord with me ; And let us ex - alt his name to - gether.
O give thanks, O give thanks un - to the Lord. Call upon his name ; Make known his deeds a - mong the people: O give thanks, O give
■ «5 "
r-G> 1
-Gf
r
mm
S3
«5>
1
I fSh
s>— —
-«s>— -
<S>-
Ml
-<s>—
1
4- —
>^> m
0
I
e
6 5
4 3
5
3
5" 0 7
3 4 8
5
3
7
s
3
0 0 5
4 6
J-
ANTHEM, Continued.
307
thanks un - to the Lord,
mong the peo - pie. Sing unto the Lord, sing psalms unto
-& — m-
0
1 N
<2 i°
R =F
l~n
i " «d
— 7
1 •
Call up - on his name, make known his deeds a - mong the peo - pie.
him ; talk ye of all his wondrous works, — talk ye of all his wondrous works, and magnify his holy name, — and magnify his ho - - ly name.
SX _ — . — - . . . . . , -m-m-n rz.rz ■ S &
308
SOLO.
ANTHEM, Continued.
TREBLE.
fr
The Lord is good to all :
and bia
q k STM.
i ^ 1
-g r h
|)b 8 ~j-
b 0
— J>-8 L
K-l k-
-J
=1=
J
TV ^
* •
1 0 0
if ff f-4-
3^
tender mercies are
«
0 - V€
r all his y
-i
rorks.
All thy
PS
irorks shall
sraise thee, 0
l<ord ; shall
praise thee, shall
_^L_|= k-
praise thee, 0
Lord.
y-r 3 i5
©j' j • — «U-
■f ^T-JJ
1-0 0'. 0—
Pin
^3
m
] r |>
-i — ' — u
H=M=
/
DUETT.
ANTHEM, Continued
309
2d. TREBLE.
^ 9
1
Sing un-to the Lord; sing un-to the Lord with thanksgiving. Sing praise upon the harp un-to our God, who veileth the heavens with clouds, who pre-
f • . r 1 fr~j I « f
5T
-f —
I -i^ -p-
Si
J 5T
/ rt TENOR and BASS. w *» | ^ ,
!
• *• #
-i —
i
i |
U— ^-
-<si — d
pareth
rain for the e
1 i 1* ft
arth, who
1 !
tna - keth the
grass to
grow upon the n
lountains.
Sing unto the
Lord,
ing unto the ]
jord with thank
sgiving. Sing
& nd. <r
' °l S' * 1
S — r~
m
em
j.
iczr
310
ANTHEM, Continued.
rirreir n
rfp
si
i
praise upon the harp ua-to our God, -who veileth the heavens with clouds, who prepar - eth rain for the earth, who maketh the grass to grow upon the mountains.
I
I _
1 w
teJL
® 1—
«s •
~^ — f~
i
-i
-I 1-
Nl
f i
1 T> >
1 1
— 1—
' 1 ■ I
1 T-1
I
»-
& 0 0
<Z> 4
«5» •
1 "
>Z> 4
-
4 J-
C3* •
I will ex - - tol thee, my God, O King ; and will bless thy name for - ev - - - - er and ev - er.
HS> 0 —
i
g 3
■ <5> •
— h
1 — 1 — 1
— — i 1
I
1
I
<5»
/
CHORUS. Allegro assai.
ANTHEM,
CONTINU "E~D.
-f-f-r^ 1 — h
311
p cres.
f
ff
f dim.
f
MS-
[
>-
— h- p-
i 1
p re
-J W«-£-
-w-r-;-
i —
V
i i
G> 9
-9—9
Let every thing that hath breath praise the Lord, praise the Lord; Praise ye the Lord from the heavens ; praise ye him all ye angels.
MS
©set;
v..
— -
/ dim.
f
s
3ZI
praise ye him
ye hosts; praise ye him,
surr and' moon";
praise
him all ye stars of light:
=5=
Si
Si
12
l — si
4- -<sT^
ANTHEM,
Continued.
b#
V >
Kings of the earth and all the pooplo,
Let them praise the name of the Lord, for - - ev - er. Praise the Lord for - ev - er, — Let them
m
19 *
-J-l
l>4>
ri.1 1 rg
prnlse the name of the Lord fof - - ev er more,
for - ev - er, and ev - er and ev - er more.
3
E
la
3
to:
Kings of the earth,
ev - er more.
[jo In b»
for - ev - er, and cv - cr and ev - er more.
5 4
/
ANTHEM, Concluded
313
for - ev - er, and ev - er, and ev - ermore,-
I I h
Praise ye the Lord, for - ev - er - more, Praise ye the Lord.
And all the peo . ple(
ev - ermore,-
for - ev - er, and ev - er, and ev - ermore,— 6 6 5
3
54 6 6 5
33 4 3
m
J SOLO.
A men. A - men. A - men. A - men. A - men. A - men. A - mon a *
314
SOLO and CHORUS.
4 Strike the harp.'
Tenor or Treble Solo.
1. Strike, strike the harp in praise of God ! Wake the timbrel's loud - er mirth !
2. Hon - - or Him, ye host of heaven ! Wor • ship him, ye realms be - low!
Glo - - ri - ous the song must be
Not with out - ward form a - - lone,
t-f-T
3£
Of the great Cre - a - - - tor's worth.
But with hearts that pure - - ly glow.
Na - - ture, in her calm - ness, rais - ea
He, who rules the earth, the o - - cean,
mm
dh — i — p
1
14
f
=3
I ! I
test
r?
SOLO and CHORUS, Concluded
3 1 S
Strains of glad - - ness, peace, and love ;
Keep - eth si - - - lent watch o'er thee j
Man re - - ech - oes forth her prais - - es, — Glo - ry to the God a - bove !
He can tell with what de - - vo - - tion Bows the heart, or bends the knee.
E
CIS
113
m
CHORUS.
eg #
-h—
Strike! s.Jrike the harp in praise of God! Wake the timbrel's louder mirth, Glo - ri - ous the song must be
J_J ! i J_
Of the gTeat Cre - a - tor's worth.
316 ANTHEM, 'Sing unto the Lord.'
j n 1 Moderato Tempo Ginato-
ShH~^ §
- i
gr 2
PIA. I
Jill,
<©Hr3 *-J-J-+-
t— t*f
-1
' 1 1 -|-
TOR.
4-
-«> — ■ —
— b-s-J
N
TRIO.
_ . Tenor.
-<S>
5 -
«s
-<s>
a -
m
Sing,
sing,
1 I ' i
6ing un - to the
Lord,
Sing unto the
-1 —
Lord,
-h-= —
! Ill
1 1
Sing unto the
l_J_ 1.1
-4 -
Lor
-car
A
all the
earth,
LeTJ
f-f-
£^
I I
— «»
I
2 —
0^
i
1 1
J-^?
—
Sing, sing unto the Lord, sing un-to the Lord, the Lord,
:
3«
m
<5> •
all the
eartli, —
m
Sing untc
the
i
Lord,
all the
earth ;
shew - -
forth, from
day t<
— 1 f—
)
day,
shew
o * *■ ■
1»-
— 1 i ~
— «>
— cs> —
\ U — ,
- I 7
r—
shew his sal -
/
ANTHEM,
Jg-ig hp~t
Continued
317
F4
Si
his
va - tion, from day to day, from day to day, — shew
forth
1 1 !
i —
a & i
— s> — "
— S» ;
s 1 1
■H r
i i
h
1 I 1
I [MM
va tion forth, sal - va - tion, from day
to day, &c.
m -
i 1 «
i
m
— —
f> J -
— l3-«-
his sal -
- va - tion.
De
. Vo
- clare his
ce.
glo - ry a -
- mong the
heathen, his
marvel - lous
O
h
! , i
h-: — h
i
O
J 1
h
*
SY
off
^ &
d 1
rP^=
^ his
■ 1
o P -
• o
I
— 1 f—
1 1
±=tt
works a - - mong all na - tions, de - clare his glo - ry a - - mong
the heathen, de - - clare
glo - ry a - - mong
^
i I I
1 i '
; i i h
— 1 1 r
-4*4-
^ i j
Ld — r-s>'J
i i o
«3
<5>
4
1 — p
318 ANTHEM, Continued.
F-
~& — zJ~
s <g r
-<s> s> <g -
heathen ; — his
marvel - lous i
vorks, his
1 — 1 — 1 — 1 —
mar - vellous i
vorks, his
i 1 1
mar - vel - lous
I
-! — ' i [ r
works a - - i
nong all
l I
nations, — his
1
mar - vel - loua
¥^
— 1 — i — h
i i i
\
& & &
I
o & &
FOR.
i h
o J
-<S
«d
N 1 1
-<s> m-
i i
h
i i r
works, his
marrel - lous
\ >-
works, his
1 1
mar - vel - lous
works
a • i
1 i
° &
nong all
-P-T5'
H — 1 1
na - tiona.
I Si
I lJ i
w
— 1 — \~r-
sh SYS
1
1
r.
j LU
— F-
eJ g>
6YiI,
ANTHEM, Continued. 519
, n . CHORl'S.
— 1 1
— i □
i—l c
^ 4 1— 1
For
£J>4. ,
1
1
great is the
— i — M*"
J
Lord,
| _
[ 1
1
jreat is the
1 MV
"I
Lord, g
" l
-j — !— V-1
reat is the )
—
— 1 ~
jord, and j
:==!
Teatly
-J— H-" H —
to be prais - ed ; —
r— *J
great is the
1 K.
Lord, and
greatly
— j-— Hp
- ...
1
G>
S3-
1 1 J
I i
3
j i ^11
1
~~r~ tr
1 ' 1 r .
1 I ^
M ! 1
For great is the Lord, great is the Lord, great is the Lord, And greatly to be prais - ed ;— great is the Lord, and greatly
JS_
\&
— <s> —
1
1 3,
■-G>-\ U
4
1
-iS>
_l j
1
r-*- 1—
r t
i—i—
M
f—
i i1
KB—
to
>e
p
' w
raia
e<L He
is to be
feared, he
i r
is to be f
eared above
all
gods,— he
is to
=F
be
1
"eared, he
i i
is to be f
i •
eared abov
3 all
g«ds.
j
■ i i
]
i
I r
— - tj
=Rt-H=
!fr
— t—
m
#
— i —
1 # »'
to be
us -
ed. He
is to be
feared, he
is to be
l i~n
feared abo*
e all
gods, — he
is to
1^ P
be f
2ared, he
is to be ft
ared above
— H «-
all n
ods.
t
— b <s>-
-4
1
4 — H-
! 1
.. , .
320
ANTHEM, Continued,
pia. for. - i 1 1 i u i r -J- 1 '
PIA
STM,
Give unto the Lord
ru r r
the glory due un - to his name,-
b l>4 _
. CRES.
Voice.
a=fc
Give un - to the Lord the
■ 1 r* k i i
rl J" rSJ M
M=ir-H
• . • • • •
^- y »• -e —
1
ring an of - fering and (
CRES.
1 1 K M
• t r r
:ome before him;
r
'orship the Lord,
T jj1 |..jTm '
worship the Lord in the
beauty
u
of
f T 1.
ho - - li - ness,
r f j r
T
r=*=f=
glory due un - to his name ; Bring, &c
n n s
w m \ flip f—-f — si >T p
tr
*• • •
J I
Give unto the Lord, Give unto the Lord the glo - ry due un - to his name, bring an offering, and come before him ; worship the Lord,
FOR.* . .N
FP=r=rr^
r8—
-I — |
9
•
FOR.
r*^r-
J — r n»
^ *1 1
Give unto the Lord,
Give the Lord glo - ry due un - to his name, bring an offering and come before him ; worship the Lord,
ANTHEM. Continued. 321
— n-
1 *~
9 p p. a _ l_j
r
worship the Lord in the
beauty of
k> - li - ness,
P si si P
worship the Lord, i
vorship the Lord in the
r#- 0. - 1
£=Ep^
beauty of
- 0 J*Lj_
tio-li-
ness.
SIM.
a
N4H
* * 1 1 1
— #-
CHORUS.
-P=P=^£
32L
I
T5 r
Let the heavens be glad, let the earth re - - joice, — let the heavens be glad, let the earth re - joice, re
Alto to be snug an octave lower.
jS 9. .<->_*-> m m _ m it> . ffi 0 a &
••••
H M
5
-p—p—-<S
(s-F1
Let the heavens be
glad, let the earth re - - joice,-
let the heavens be glad, let the earth re - joice,
— 1 —
<*5-
0 0
1 1
P P
-f r- r r
-f-p r r
41
322
ANTHEM. Concluded
m
joice, —
lei the heavens be glad, and let the earth re - - joice
i
joice, —
let the heavens be glad, and let the earth re - « joice ;
e3
jC2 _, . '
"II
joice,
re - - joice, re - - joice,
re - joice, —
BE
^ * ^
and let men say among the nations, the Lord reigneth, — let men say among the nations, the Lord reign - - eth.
?=F=f
sdttc
and let men say among the nations, the nations, the Lord reign - eth, — let men say among the nations, the Lord reign - eth.
e=e£eeee£
a
SENTENCE.
Tnttl.
4 I WILL ARISE
Subject by Cecil. 323
j— M
[ ^1
0-0 +
(^-3
—
=FFf
J «
1 l
^0-0-*-
1 !
> *
3H 6 4|
Lfntaado Pia.
IS
ginned, I have sinned against heaven and before thee, before thee, and am no more worthy to be called thy son ; and am no more worthy to be called thy son.
-fr— ; * N Ft
i
i
■| i
i
i— fl
9 0 lS |
^ • * 'i V g J
1 ^
-# — #-
i — +
i
1 i 0 •
Andante. j IS
j^H-j-jj
2£
5^5
E
EES
mrrrf
PIA. DOLCE.
&4
E
bdfc
SOIiO....Treble.
1 p i i , p p— t 1 -i 1 " | 1 m ■— «ar
On the breeze of evening stealing, Hark ! the sol - emn an - them swells ! Waking ev - ery thought and feeling To the truths re - li - gion tell
i
SOLO.. ..2d stanza.
I p r— ] | p p i |
O, how sweet is that e - motion, When the thoughts are fixed above ; And man kneels down, in pure de - votion, To suppli - cate a God of lore !
Cfaorna Adagio.
ANTHEM. Concluded.
325
m
35:
Sing praises to our God, to our God,
-^-p — — -
to our God, to our God, for his mercy en - dur-eth for - ev - - er. Hark ! hark ! again it
Praise ye tue Lord! Sing praises to our God
* n r> I I
to our (jod, to our Lrod, tor his mercy en - uur-(
r rf m^. — ifzihapfci* "
f o, ' r — &
|PP|
fzz3z
»— <S
1
IS
BE
glides along, Come, let us join the ho - ly song, — Come let us join the ho - ly song, the ho - ly song, the
ho - ly
I
I, the ho - ly
song.
r i b r
* 0 & Lg
m
°\ r Li
J. m
^3L
r-s rPr~r
3E=3t
I I J
j i i
326
PRAYER
Pia. ,
'Lord God of Israel.'
1st & 2d Tenor
J?
From the Oratorio of ' Joteph,
by .Hi hul.
! . I
Base.
Lord God of Is - rael, and Fa - ther of be - - ing,
1 "ill -on.
Pia. A
re - store the har - - vest to our fields.
±
Lord God
0
Is rael, bless
thy peo pie:
On thee
lone
still
we rest
0° *
^ ^ — ,
^ —
r=*C
-i »
i
i
1
1 1 1
i
i i i
1st & 2d Treble.
I
^ Alto. Pia.
jtg"
1 f-
1—1 1 K
-J
-J
— F
m
Lord God of Is rael, bless
thy peo - - pie:
thee
lone
still we rest.
PRAYER. Concluded.
a ■
!27
I
Lord God of Is
For.
Father of be - ing, re - 6tore the har - vest to our fields.
r— t— h
in
Lord God of Is - rael, and Father of be - - ing, re - store the har - - vest to
. js>- -0- ^- i°-
our fields.
^1 o
Lord God of Is - rael, and
Fa - - ther,
and Father of
re - store the har - vest to our fields.
I
"g? 9
Lord God of Is
rael, bless thy peo - pie : On thee a - lone still we rest -
1 1 c
1 1
& - 9
! 1 !
— <S> '
— <s — 1
■■ 1
— I — 1 — J=
c-' o
9 »
o r i
*
-#e-h^ o-
"Ml
Lord God of Israel, bless thy peo - pie :
On thee a - lone 6till we rest
~e! J J^-SL
fi
Lord God of
rael,
bless thy peo - pie: On thee a - lone still we rest - -
Treble Solo.
** ' **
m
—
-u-J k«-
pig
* 5.
3t
Give ear, O Lord, give ear un - to my prayer, For dai - - ly I will call, O Lord, will call on th»e.
■X- The Accompaniment to the Base Solo may be played to the Tenor and Treble Solos.
42
30
SOLO and CHORUS.
SOLO and CHORUS
Concluded .
Ml
Lord
er - more,
thy
name,
Lord, thy name,
Lord.
k 1 1
fF =d
Lord for - ev - -
& • i
will praise thy name, O Lord,
• t
~9
thy name,
5 " $
thv name, O Lord.
i
MERRILL. C. M
O ho - ly, ho - ly, ho - ly Lord,
Whom heavenly hosts obey, The world is with the glo
I I N > N 1 1 N» S ^
filled
Of thy ma
332 CHRISTMAS ANTHEM
nut
And tlierc were shepherds and there were sliepherds, and there were shepherds abiding in the field,
'And there were shepherds
Chap P, I.
lante All. tuowo. . . ~ ^ | I , . — - II |
rT. l*t &. 3d Treble. ■ , !_ P ! J I | , , , J III 1
keeping watch over their flocks by night ;
Accompaniment.
H r— w— l—i "rj tp pf f j i i i i r-LT-r^.).. i i i i I f ■ \ -Li i i f j~~ P^t |
And there were shepherds, keeping watch over their flocks by night, were shepherds keeping watch over their flocks, over their flocks, their flocks by night,
5
i
Accompaniment Anlmato
EE
0 - 0 m ■fg--g.-3- f-
mm
And lo ! tho an - gel of tho Lord came upon them, the angel of the Lord, — And lo ! the* angel of the Lord, the angel of the Lord came upon them.
ANTHEM. Continued,
333
bout them.
1
P*
l I
1 1
, 1
-J-
1 • I
l
1
! 1
334
Andante Egpresalone
ANTHEM
Continued .
the an - gel -said unto them.
fear not, fear not,
Andontlno Affctnoso.
for he - hold
glad tidings,
7=^
is:
1 — r— f
i— 1:
^ r-o, — r ~8 — n-*;*— r
ti - dings, glad ti - dings of great joy,— Be - hold
I bring you glad tidings of great joy, great joy, great
glad
ft
r
ti
great
joy,
bring you glad ti - dings
great joy ;
r
fear
£ — E
Ipse
lib*:
1 r"
r
not,
I bring
glad ti - - - - - dings,
I • bring glad
m
ti - - - dings of
great joy.
g —
S> fS>
- 1 1
— ^s> r
-i® 'r—
- i r
H —
I
-d
1 I- «
c' 1 1
frrf
-| J-
ANTHEM
Continued.
335
^r_^ si ! .oC
For uu
you is bom this day,
is born this day
a Sa - - vior, who is Christ the
mm
5=T
: • I
For un - - - to you
i-S-*
22
bom this day,
to you is bora this daj
Sa - - - vior, who is Christ the
Lord,
-gr— sr
Sa • - vior who is Christ the Lord,
Sa «• - vior who i3 Christ the Lord. Glo - - ry to
Pla. PP
3
i§— i-j-
Lord,
the Lord, a Sa - vior who is Christ the Lord, a Sa - vior who is Christ the Lord. Glo - - ry to
/-S Presto Moderate , i | i P»*. ?** i I i_
33 3 3
336
ANTHEM
Concluded.
— 1 H
i i
1 !
- 1
— 1 '
1-
fees
— <s> —
J r J
—G>-<3-
_(e'_J —
God in the high - - est, good will and peace to - - wards men, and on earth peace, good
will,
and peace, good
r i i
"ST
^(3
is
— ' — i -
1 — 1
^ —
I
God in -the
and peace, good
— i h
"I 1—
-=^=^
"I -
1
-o 1
1 1
i i
i i
-<S>
— S>
-<S>
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and
good will, and peace, good will, and peace to - wards
1
1
1
1 ,
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i i
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4
3
7
7
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7
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3
CHORUS. 'N OW THE SHADES OF NIGHT ARE GONE. Handel. 337
V'\ n i — h
P"l 1 1
5P ±-±.9 9 9
Now the
— ! h
Le —
shades of
1 i i
z± -+
night are
gone,
j — . 1—
HH — r
Now the
i !
morning
FN
-j r
ight is
>^
j i
come,—
I
1 r>*
Now the
shades of
1*— f~
! 1 !
night are g
f \
one,
{fir- 4 $ — -
1 1
H r—
i
i
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i
— k
-1 r
1
1 l
1 1
i i
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j f "
'3Tt>
1 K
Now the
morn - ing ]
H — h
ight is
"f 1"
1 1
come,
—
— <>
Lord, may
— i r
—
we be t
1 T
line to
i h
1 1
day,
1
m
Drive the
, I
1 f
shades of
sin a -
way.
i — ' — r
M
-{Sh
1
-* — f-
-H f-
-j *-
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+-'-
i
i
43
338 CHORUS. Continued.
'tte —
F
i — 1 — f
1
i i
i i
i
-1 — V-
i
9
H
"SJ »"
Fill our
souls with
— 'r-4
heaven - ly-
w
light,
1 — f~n
-<s>' — J-
Ban - ish
-«*— J-
3oubt, anc
ck
J — ^
ar our
H h
sight ;-
1
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doubt, and
clear our
1 ^ 1
sight ;
-S^ «■
Ban - ish
doubt, t
i
nd
^ 1™, i m
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FN
H — H
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i
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l
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1
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0
■ g>. -p
I
i i Mr
i j j
J Jr -
l|-
Pi*.
1 i
For.
j
Li — ! —
it
clear our s
-J — • — fl-
ight ; Let our
voi - cea
ev - er
II
be,
Warbling s
trains of
lore,—
Let our
voices
-F-
ei
r - er
be,
ev - er
be
Ff=F
1
-f2-
f-
~\ 1"
For.
— *"
> — *>■
4+
. 1
i
-«L —
CHORUS
Continued.
339
War
3S£
f-4
war - - bling strains of love to thee.
§5
[J l I Mi
War
bling strains
bling, war - - bling strains of love to
^3
bling,
bling strains
of love to
Jt.
i — r
bling
EE
strains
-ft
of
love, — war - -- -- -- - blingf strains
of love to
thee.-
bling,
bling strains of love to
340 CHORUS. Concluded.
=P F
I9 M
*
■ ^ *
1 1
1 1
— 1 h
1 i
1 1"
! 1
1
1 1
MM
-1® — f —
1
- - - bling
^=
thee. Ban - ish <
oubt, and
-^-^
clear our
1
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1 1
love to
F-
thee, —
^ r~
^ r 1 J 1 ^ 0
^~~p * ^ —
• -
H 1»-
i
H r»
\
i
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1 — 1
H — U
=Rf-F
i
-«>— —
"I9 1
-fS> — -
rn.-fm.-fm.-f-
T 1 1 rr i —
to thee, ----- war - -
-f~~> f-'
- :f
W=t=
EP
. . . b
ling,
f—
1 l
war - bling
strains of
1 I I
i 1 1
love to
-p
thee,
i
i i
to
ains of love to
thee, warbling
strains of
love to
thee.
bling str
•
"I® 1—
pa
iins of love to
i
i i
V
i 2 i i
1
i 1 1
--J-
i i
i
bling, war - - bling strains of love to thee,
GENERAL INDEX.
L, M.
Adam, 45
Andover, 45
Anderson, 47
Alfreton, 82
Appleton, 98
Babylon, . .* . . .94
Beckett, 100
Berlin, 105
Blake, 50 I
Brent, 63
Blendou, 63
Blessedness, . . . .71
Bo wen, 71
Brentford, 84
Brewer, 87
Buckfield, 90
Camden, 78
Carlton, 46
Charleston, .... 41
Chapman's Chant, . . 86
Chandler, .... 92"
Chickering's Chant, . 97
Chatham, 100
Chelsea, 34
Condit's Chant, . . . 78
Creation, 42
Cumberland, ... 76
Darwen, 101
Denton, 94
Dunbar, 69
Dwight, 88
Ellenthorpe, .... 75
Emerson's Chant, . . 84
Evening Hymn, ... 67
J Everett's Chant,
| Expostulation,
| Fryeburg, . . .
j Franconia, . .
. 2-24
. 104
224
j Germany, 93
j Gould, 89
j Gordon, 55
j Gray, 58
Gratitude, 72
i Middle-Street, ... 57
| Munich, 44
►Mitchell, 81
| Music, 80
j Natick, .38
! Nazareth, 82
| Neukomm's Song, . . 64
j Nichols, 51
Hague 53
Hamden, 85
Hamburg, .... 49
High-Street, .... 61
] Holiness, 34
I Hollis, . . . . ' . .59
iHeber, 289
»Hosea Esley's Chant, 102
Hosea, 66
Humilitv, 91
Old Hundred,
Oxford-Street,
Patterson,
PleyePs Hymn,
} Stonefield, 79 ! Bradley, ....
Sweden, 87 Brattle-Street, . .
Burford, ....
Temple-Street, ... 68
j Tempest, 93 Canaan, ....
i Thaver, 99 J China, ....
^Thomas, 37 ! Christmas, . . .
Timsbury, 97 j Chestnut-Street, .
Topsham, . . . .103 Conway, ....
| Trenton, 60 Codman, ....
| Truro, 98 j Crowle, ....
j j Cu turnings, . . .
i Veazie, 36 j
135 i Incarnation, • . . . 129
153 1 Israel, 154
109 i
| J. Whitman's Chant, 158
69 | Washington,
Portland, 46 I Warrineton, .
| Pomfret, 48
I Prince, 51
Impenitence,
Usley,. . .
Jackson, .
iKingsbury, .
Liffleton, .
Limerick, . . .
Luther's Choral,
Luton, . . . .
. 58
88
. 91
86
. 53
103
. 57
95
96
Maine, (6 lines,) . . .So
Marksborough, ... 59
Mercy, . . . - . . .44
Mount Vernon, ... 40
Monmouth, .... 68
Mozart, .... 74
Quito,
Rainsford, 99
Ripley, 37
Robinson, 49
Romberg's Song, . . 90
Rumford, 89
Sabbath Morning, . . 52
Sabaoth, . « . . .54
Saugus, 76
School-Street, ... 62
Seasons, 5u
Southgate, 56
j Springfield, .... 55
| St Andrews, .... 52
St Peters, .... 70
St Albans, .... 75
St Pauls, 102
{ Sterling, 73
j Stone Church, ... 77
| Waterrille, . . .
i Washington-Street
I Warren, . . . .
\ Westbrook, . . .
i tsr.
Winchester,
Danforth-Street .
33 j Danvers, ...
39 1 Deering, . . .
74 { Delacourt, . . .
93 f Dedham, . .. .
95 \ Devizes, . . . .
83 ! Dinsmora, . . .
Douglas,
■** j Dorchester,
39 j
| Winchelsea, .... 41
| Windham, 56 \
| Wilderness, . . . . 104 1 Emerv,
| Worship, 73"frEniap',
i Eternity
C. M.
Abridge,
Adams, .
j Alba,
{ Amherst,
j Arlington,
i Archland,
| Barker, .
j Barby, . .
| Berwick,
{Belfast, .
i
| Falmouth, ....
j Freeport, ....
156 | Gilman, ....
143 j Glenbum, ....
117 | Gorham, ....
145 i Goodwin, ....
110 j Gosford, ....
118 I Greenwood's Chant,
151 j Havman,
125 Howe, .
107 Hope, . ,
136 j Hosanna,
• .
144 < Kenduskeacr,
149 |
. 142 j Lanesborough,
120 i Landers, . .
. 108 | Lincoln's Chant
109 Liverpool, . .
• 134 j London, .
j Lutzen, . .
159 j Lyman, .
. 132 ; '
111 ( Marlow, . .
. 117 j Manchester,
123 | Merrill, . .
. 145 | Memphis,
154 | Meriden,
. 155 i Melody, .
106{Mear," . . .
Miller, . . .
. 112 Mount Pleasant,
119 i Mount Desert
. 146|
. -a j New Conwav,
\ri Newcastle,' .
• 110 New London,
. 158 | New York, .
277 | Norton, . .
. 131 j Nottingham,
135 i Norway, . .
. 157 | Norridgewock,
143
Osgood, . .
. 134 Oscar, . . ,
125 |
. 124 J Patmos, . .
133 j Penobscot, . ,
GENERAL INDEX.
Prayer, ....
Providence, . .
Reverence, . . .
Richardson's Chant,
Saco, . . . .
Sebago, . . .
Shaw, ....
St. Anns, . .
St. Marks, . .
St. Davida, . .
St. James, . .
Stanley's Hymn,
Stick ney, . . .
Tallis's Chant, .
Throne, . . .
Tolland, . . .
I Furbish 194
Haverhill, .... 186
Handel 197
Harpswell, .... 203
Wareham, . . . .
Warwick
Weber's Chant, . .
Whitney, ....
Wheelock, . . . .
W. H. Wood's Hymn,
Wilson's Chant, . .
un
133
U9
121
138
138
144
123
160
152
132
141
130
152
136
159
148
150
112
191
205
S. M.
Athol,
. 195
Bladenburg, . .
. 200
Christmas Chant,
Clark,
. 199
. 199
Evening Hymn, . .
. 192
Fairfield's Hymn,
185
Kearsarge, . .
Kennebunk, . .
Little Marlborough,
Lonsdale, . . .
Mornington, .... 198
Mount Ephraim, . . 204
Nobleborough, . . .195
Norwalk 202
Olmutz, 201
Pentonville, ... 197
Porter, 193
L. P. M.
Brooks, . . .
Mazzinghi, .
Martin's Lane,
Shirley, . .
{ Furber, ,
Hardy, .
209 ' Katalulin,
Spener, 189
Spilsby, 193
St. Bride's, .... 202 j
St. Simon's, . . . . 192 1
Silver Street, ... 188 {
Skowhegan, . . . .185
Shirland, .... 190
Stockholm, . . . .190
Song of Moses, . . 191
Sutton 206
Thacher, . . . . 19(5
Troy, ..... .206
Unity 196
Watchman, .... 203
Walker's Chant, . . 194
Westminster, . . . 198
Webster's Chant, . . 205
Williams' Chant, . . 200
Wisconsin, .... 186
Yarmouth, 204
C. P. M
Kew,
Rapture,
S. P. M.
Dalston, . . .
Limington, .
St. Jerome's, .
H. M.
Grove, . . .
Haddam, . . .
J. Pope's Hymn,
Newbury, . . .
Payson, . . .
Triumph, . . .
Waterford, . .
215
314
916
991 '
.218'
219
,217
222
990
99S
Lowell,
Oti
Park-Stfeet Church,
Turin, . . . . '.
Whelan, . . . .
Wiscasset, . . .
#VVood, , . . . .
York,
. 253
.258
. 252
.250
. 251
.257
. 256
.250
249
.254
258
8s!
Wanworth,
Duren, ',.
10s.
974
270
Us.
Chaudiere 272
Hinton, 271
10t & u8.
Lyons, 265
12s.
Scotland, . .
989
8s & 7s.
Eastport,
Knowles,
Kent, .
Messina,
Tiverton,
. 263
261
.2(54
2(k)
.262
88, 7s, & 4s.
7 s.
Bucksport, .
.255
Congress-Street, .
. 255
Calvary, . .
Florio, . . .
Sicilian Hymn,
Earle,
5s & 8s.
7s & 5s.
Freedom
7s & 6s.
6s & 4s.
Bermondsey, New, .
Italian Hymn, . .
. 259
260
.264
274
268
273
987
906
ANTHEMS, CHORUSES, &c.
And there were shepherds, (Christmas Anthem,)
Blessed be thou, Uie God of Israel,
Blessed are the dead, (Anthem,)
Bow down thine ear, (Prayer,)
Far from affliction, (Funeral Anthem,)
Glory to God on high^
Glory be to God on high, (Chorus,)
Glory be to the Father, (Doxology,)
Holy, holy, Lord, (Sanctus,)
How beautiful upon the mountain,
How long shall virtue, (Temperance Hymn,)
I will arise,
Let all the earth,
Lord God of Israel,
Now the shades of night,
O Lord, how excellent, (Thanksgiving Anthem,)
On the breeze of evening,
Our native land, (National Hymn,)
Praise ye th^ord,
Praise the Lord,
Sing unto the Lord,
Strike the harp,
Thy praise, O God,
The hill of Zion,
The Lord my pasture,
The voice of free grace,
The Lord is our shepherd,
The Lord will comfort Zion,
When truth's refulgent ray, • 296
332
286
994
328
297
267
278
305
275
290
301
323
64
326
337
306
394
999
2(S3
273
316
314
42
187
210
969
271
INDEX OF FIKST LINES OF HYMNS.
Another six days'. work,
All ye bright armies,
Amid displays of wrath,
Arm of the Lord,
Awake my soul, lift,
Awake our souls, away,
Almighty Father of
Alas ! and did,
Almighty God, thy wondrous,
And let them say,
Awake, my soul, to sound,
Awake my soul, stretch,
Awake, ye saints,
Again the Lord of life,
At morn, at noon,
Awake, and sing the song,
All yesterday is gone,
And must this body,
And am I born to die,
All power is thine, L.
Angels bending from the sky,
L.M.
5a
*
68
■
u
58
u
99
103
"
85
CM.
108
*
136
■
138
in;
u
143
u
149
u
150
"
158
1G0
S.M.
Iftl
202
202
a
189
P.M.
209
7s
250
Before the heavens were L. M. 95
Beset with snares, " 89
Be with me, Lord, " 87
Be thou exalted, O, my God, " 39
Be all my heart, " 84, 88
Be thou, O God, « 72
Blest is the man whose, 90 i
Bless, O my soul, the living, " 37 '\
Blest is the man whose tender, **■ 71
Blest are the men, * 77 !
Broad is the road, £* 56 |
By cool Siloam's shady rill, " 289
Bless'd morning, C. M. 128
Bless'd be the Lord, " 133
Behold the morning sun, S. M. 190 j
Behold the gift of God, " 193
Behold with awful pomp, C ' 201
Behold the lofty sky, « 206 ! ;
Blest are the sons of peace, 195, 205
Behold, how the Lord, 5s &.J7s 274
Blest Instructor, 7s 251
Bless'd be thou, O Lord, 8s & 7s 264
Come, blessed Spirit, L. M. 74
Come, gracious Spirit, " 100
Create my nature pure, " 94
Come, let us join our cheerful, CM. 114
145, 277
Come, happy souls approach, C. M. 117
Come, let us lift,
Come, humble souls,
Come, Holy Spirit,
Come, let us use,
Come, sound his praise,
Come, Holy Spirit, come,
Come, said Jesus' sacred,
Christ, the Lord, is risen,
Come, saints, and adore, 6s
Come, thou almighty King
Children of the glorious, 7s
IJear Savior,
Eternal Power,
Eternal God, Almighty,
! Eternal Spirit, we confess,
] Eternal Wisdom,
Eternal Source of life,
Early, my God,
Exalt the Lord,
7s.
f 120
" 124
« 131
" 147
S. M. 188
195
250
" 253
& 4s. 272
" 266
&* 5s, 268
C. M. 118
L. M. 40
" 61, 69
63
C. M. 107
« 148
* 106
S, M. 200
Father, to thy kind love,
Father of light, we sing,
From deep distress,
From north to south,
From thee, the overflowing,
L.M. 39
« 78, 84
" 44, 45
u 82
85
Father of mercies,
Firm as the earth thy,
Firm and unmoved,
Father, in whom we live,
From Jesse's root,
Father, thy paternal,
C M. 106, 122
C M. 123
S. M. 191
" 193
10s 270
7s 257
L. M.
" 38, 92
C M. 115
" 160
" 156
S. M. 198
Give to the Lord,
Glory to thee, my God,
God of the morning,
God of the seas,
God of my life,
Great Lord of earth,
God's perfect law,
God moves in a,
Great God, to thee my,
Great is the Lord our God
Glorious things, 8s & 7, or,8, 7s & 4s 264
Glory to God on high, 6s & 4s 267
Holy as thou, O Lord,
Happy the man,
How vain are all,
Hark ! 'tis our
Happy is he who fears,
Hear, gracious God,
His mercy reigns,
Hope looks beyond,
*How large the promise,
Hosanna to th' anointed,
How sweet and awful,
How gentle God's,
How beauteous,
How pleasant 'tis to see,
How pleased and bless'd,
Hark the voice of love,
Heaven and earth must,
Hail, all hail the joyful,
L. M.
34
55
86
CM.
U9
135
147
u
113
125
It
130
132
151
S.M.
186
197
8. P. M.
214
u
215
8a & 7s
259
7s
24! •
7s 253,
258
Incumbent on the bending,
In robes of judgment,
I will extol thee,
I lay my body down,
In God's own house,
I sing thy mighty,
In every joy,
I'll praise my Maker,
L. M.
41
68
90
97
134
" 141
■ 159
L P. M. 211
CM.
Jehovah reigns, he dwells, L. M. 57
Jehovah reigns, his throne, " 97
Joy to the world, C. M. Ill, 129
Kingdoms and thrones, L. M. 33
Let every creature rise, L. M. 47
Let all the earth, (2 verses,) " 64
Lord, how secure and blest, " 49
Lord, what a thoughtless, " 55
Lord, I can suffer, u 56
Lord, when thou didst, " 63
Lord, at thy feet, " 69
Lord, how delightful, " 73
Lo, God is here, " 51
Let all the lands, with, C M. 105
Let all the lands, " 112
Let every mortal, " 134
Let not despair, u 114
Love is the golden chain, " 107
Lord, thou hast scourged, " 109
Life is a span, u 109
Lift up to God, u 125
Let sinners, S. M. 205
Let party names, " 196
Lord, what our ears, u 185
Let all the earth, L. P. M. 208
Let all the nations fear, H. M. 221
Let every creature join, " 219
Let us with a joyful, 7s. 252
INDEX OF FIRST LINES OF HYMNS.
Lord, dismiss us, 8s & 7s. 261
Lovely is tho face of nature, " 2G6
My God, accept, L. M. 41
My God, in whom are all, " 58, GO
My God and king, " 92
My God, my portion C. M. 121
My father, let, " 145
My gracious God, S. M. 198
My God, my strength, " 207
My gracious Redeemer, 8s. 274
Now to the Lord,
Now be my heart,
No change of time,
Not to the terrors,
Now living waters,
O, all ye people clap,
O, long expected day,
O, thou that hearcst,
O, come, loud anthems,
O, holy, holy, holy Lord,
O, learn of me,
O, \e% me, gracious,
O, turn, great ruler,
Our harps, that when,
O, all ye nations, praise,
O, how I love thy,
O, have I ever,
O, holy Lord, whom,
O, praise the Lord with,
O, that thou wouldst,
O, for a heart-to praise,
O, for a shout,
O, God our strength,
O, 6peed our progress,
O, bless the Lord,
O, for the death,
L. M. 98
« 102
" 100
CM. 122
S. M. 203
L. M. 3G, 54
" 50
" 88, 57
" 73, 98
78
91
« 99
» 101
52
152
137
« 154
« 331
« 115
" 142
•* 126
« 158
146, 151
« 148
S. M. 190
" 204
C. M.
O, Lord, our heavenly king, 185, 200
O, Lord, how vile am I, " 189
O, where shall rest, * 205
O, could I speak, C. P. M. 212
O, that men, 7s. 254
O, praise ye the Lord, 10s & lis. 265
O, happy souls, whose peace, H. M. 217
O, Zion, tune thy voice, " 223
Praise ye the Lord, exalt,
Placed on the verge,
Praise to the Lord on high,
Praise to God,
Pleasing spring,
Praise the Lord, ye,
L. M. 34
C. M. 157
H. M. 222
7s. . 252
« 258
3 & 7s. 263
Praise the Lord who reigns, 7s & 6s. 273
Return, my soul,
Return, O God of love,
Rejoice, the Lord,
L. M. 82
C. M. 159
H. M. 220
Shew pity. Lord, L. M. 94
Salvation is forever, " 75, 76
Say, how may earth, " 75
Sing to the Lord with, " 49
Stand up, my soul, 60, 66, 86
Sinner, O why, " 104
Softly the shades, " 93
Sweet is the scene, " 89
See Israel's gentle shepherd, C M. 154
Sing to the Lord, ye distant, " 110
142, 136, 113
Sing to the Lord a new made, " 111
Shew, mighty God, 121, 152
Some seraph lend your, u 140
Songs of immortaVpraise, c 15©
Soon shall the glorious, u 108
Sweet was the time, a 123
Son of God, thy blessing, 7e. 256
Songs of praise the angels, " 249
Softly now the light, " 251
See from Zion's, 8s, 7s, & 4s. 260
Savior, source of every,
There is a stream whose,
The rising God,
The heavens declare,
Thy praise, O God, shall,
'Twas on that dark,
'Twas by an order,
Thy goodness, Lord, doth,
Thus far the Lord,
To God the great,
Triumphant Lord,
Through every age,
This is the word of truth,
The flowery spring,
The turf shall be,
Then let the wildest storm,
The Lord is good,
The wandering star,
Th' Almighty reigns,
The time is short,
Thou lovely source,
There is a land of pure,
There is a land of living,
This is the day the Lord,
This is the first,
The time is short,
Thou lovely source,
Thou blest Redeemer,
To celebrate thy praise,
To our Almighty Maker,
The Lord my shepherd
The day is past,
The hill of Zion,
Thy name, Almighty,
262
L. M. 36
« 37
40
" 42
44
"45, 62
» 50
« 53
70
« 72
53
" 74
• 81
« 83
« 93
" 102
« 224
224
110
112
« 127
" 129
« 133
« 155
« 14(5
"• 143
« 140
« 132
138, 144
<* 117
6. M. 186
« 192
« 187
" 194
C. M.
To God in whom,
To bless thy chosen,
The Lord my pasture,
The joyful morn to God,
The Lord Jehovah,
The Lord is our shepherd,
The voice of free grace,
Up to the fields,
Upheld by thy,
" liJ6
" 197
L. P.M. 210
C. P. M. 213
H. M. 918
lis. 271
12e. 269
L. M.
H. M.
7]
216
When I survey, L. M. 35
What are those soul rev iving, " 46
When all bespeaks, " 91
Who is this stranger, L. M. 96
Who is this fair one, " 104
With all my pow'rs of heart, " 96 59
With all our hearts,
With glory clad,
With songs and honors,
When I with pleasing,
When trouble fills,
When passing through,
While thee I seek,
With joy we hail,
With stately towers,
Why do we mourn,
Where shall the man,
We come with joyful,
When the morning,
When before thy throne,
CM.
51
87
157
" 156
« 116
« 124
■« 153
" 119
» 126
« 144
S.M. 192
« 203
7s, 255,254
7s. 255
Ye nations round the, L. M. 59
Ye Christian heroes, w 105
Yes, we'll record, a 103
Ye hearts with youthful C M. 135
Ye sons of man, a feeble, " 139
Your harps, ye trending, 8. M.204, 2Q1
1
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