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Full text of "Repository of sacred music : selected from the most eminent and approved authors in that science, for the use of Christian churches of every denomination, singing schools and private societies ; together with a plain and concise introduction to the grounds of music, and rules for learners"

J"*-' 




46.10: 




•C*" 



FROM THE LIBRARY OF 
REV. LOUIS FITZGERALD BENSON, D. D. 

BEQUEATHED BY HIM TO 

THE LIBRARY OF 

PRINCETON THEOLOGICAL SEMINARY 



Dirfikd S<So 



Sectioa 








WYETH'S 

REPOSITORY OF SACRED 

SELECTED FROM THE MOST EMINENT AND APPROVED AUTHORS IN THAT SCIENCBT" 

FOR THE USE OF 
CHRISTIAN CHURCHES OF EVERY DENOMINATION, SINGING SCHOOLS AND PRIVATE SOCIETIES. 

TOGETHER WITH A PLAIJt" AJfD COJVCISE 

AND RULES FOR LEARNERS. 



BY JOHN WYETH. 



STEREOTYPE EDITION, ENLARGED AND IMPROVED. 



PRINTED AT HARRISBURG, PENNSYLVANIA, BY JOHN WYETH, 

AND SOLD BY HIM, AND BY CAREY & LEA, AND JOHN GRIGG, BOOKSELLERS, PHILADELPHIA, EITHER OF WHOM WILL GIVE A 

LIBERAL ALLOWANCE TO WHOLESALE PURCHASERS. 



1826. 



ifJSisgijgM^^eeiJfJseseisese 



Eastern District of Pennsylvania, to wit: 
******* BE IX REMEMBERED, That on the twenty-fourth day of August, in the fifty-first year of 

JL. S.* the Independence of the United States of America, A. D. 1826, John WYETH,of the said district, 

t^^^^^i hath deposited in this office the title of a book, the right whereof he claims as Proprietor, in the 

******* ^ 

words following, to wit : 

" Wyeth's Repository of Sacred Music. Selected from the most eminent and approved authors in that 
" science, for the use of Christian Churches of every denomination. Singing Schools and private Societies. 
" Together with a plain and concise Introduction to the Grounds of Music, and Rules for Learners. By 
" John Wveth," 

In conformity to the Act of the Congress of the United States, intituled, "An Act for the encouragement 
of learning, by securing the copies of maps, charts, and books, to the authors and proprietors of such copies, 
during the times therein mentioned:" And also to the Act, entitled, "An Act supplementary to an Act. 
entitled, ' An Act for the encouragement of learning, by securing the copies of maps, charts, and books, to 
the authors and proprietors of such copies during the times therein mentioned.' and extending the benefits 
thereof to the arts of designing, engraving, and etching hiatorical and other prints." 

D. CALDWELL, Clerk of the Eastern 

District of rennsylvcmio 



PREFACE TO THE FORMER EDITIONS. 

As it is unusual to meet -with a book, however trifling, \Aathout a preface, the editor to avoid singularity, and feeling 
desirous to .say a few words explanatory of his motives, in ushering to the world his Repository of Sacred Music, has 
adopted the usual course. It must be confest^cd, that although most musical compilations contain many pieces of ac- 
knowledged merit, the airs of which, if performed with taste and judgment, are capable of inclining the soul, if it is 
not harder than adamant, to the most exalted and sacred adoration ; it is equally certain, that they likewise contain 
many, which neither do honour to the authors, nor credit to the taste of the compilers, being considered generally 
improper for divine worship, and seldom used as such ; consequently laid aside as so much trash-— introduced, as pur- 
chasers often observe, to swell the book and enhance the price. But few of the tunes introduced in this work have 
claim to originality. In the selection, the editor has not depended entirely upon his own judgment ; well aware, that 
to ' please with his airs,' much depends on the variety of taste among the admirers of sacred music. The lovers of 
ancient melody, will here recognize a good number of old acquaintances, that were almost ' dead and forgotten lie ;* 
while the friends to modem composition will find themselves by no means neglected. In short, if many years at- 
tention to the charms of church music — if an extensive acquaintance with the taste of teachers of the first eminence 
in the United States, and with the possession of some thousand pages of selected music to cull from, be considerations, 
which may add to the merit of the editor's undertaking, he is confident that his Repository will claim a patronage 
among the admirers of sacred music. J. WYETH. 



QJ" The editor returns sincere thanks for the flattering manner, in which his former editions have been received by 
the gentlemen teachers and others, and now selicits their further patronage for this edition improved aud corrected. 
Barmburg, October, 1826. 



MUSICAL TERMS. 



Adagio. Denotes the slowest movement ; and is the 
proper name of the first mood in common time. 

Mlegro. Denotes a quick movement, and is the name 
of the third mood in common time. 

Andante. Implies a moderate, equal and distinct man- 
ner of performing. 

Affetiioso. Tender and afTectionate. 

Crescendo. This implies that the force of the voice must 
increase gradually till the strain is ended. 

Diminuendo or Dim. Means the reverse of the fore- 
going, and is sometimes set in opposition to it ; when 
properly performed they make no trifling addition to the 
beauties of music. 

Duetto. Two parts only. 

Da Capo. To conclude with the first strain. 

Divoto. In a devout manner. 



Forte or For. Full, loud or strong. 

Fortissimo or Fortis. Louder than forte. 

Grave. Denotes a slow movement, between Adagio, 
and Largo ; it requires also a solemn manner of singing. 

LanguissaiU. In a languishing manner. 

Maestoso. Passages which have this term placed 
over them must be performed slowly, with majesty and 
grandeur. 

Moderato. Somewhat slower than the true time. 

Mezza Piano. Not so soft as Piano. 

Piano or Pia. Directs one to sing soft like an echo. 

Pianissimo or Pianis. Very soft. 

Solo. One part alone. 

Trio. A piece in tliree parts. 

Vivace. In a lively, cheerful manner. 

Vigoroso. With strength and firmness. 



INTRODUCTION TO THE GROUNDS OF MUSIC, &c. 



OF THE SCALE OF MUSICAL NOTES, COMMONLY JJALLED THE GAMUT. 

Music is written on five lines, which, including; the spaces between them, and immediately above and below them, are called by musicians a 
Stave, and are thus placed : 



It often happens that notes of music ascend above, or descend below these five lines, and then another line is occasionally added, and is called the 
Ledger line. Notes on the upper ledger line, are called notes in M, and those on the lower ledger line, are called Doubles. These lines and 
spaces are represented by the first seven letters of the alphabet, which are placed on the stave, according to the part of music for which it was 
designed. The parts of church music arc commonly four, viz. Treble, Cornier, Tenor and Bass. The letters on the Treble and Tenor staves are 



placed in the following order ; 



r 



IVeble and Tenor. 



Every part of music has placed at the beginning of the'stave, what is called a Cliff, or a musical character, which shows what part of music 
is on that stave — whether Trebk, Tenor, Counter, or Bass. 



vi 

The Treble and Tenor cliff is the same. It is always placed on G, the lower line but 
one in the Treble and Tenor stave, and is therefore called the G chff, and is thus marked : 



Ceaose 



In (Mnter the letters on the stave are thus placed : 

A The Counter cliff, thus marked, is calledn 

*^7 the C cliff, being always placed on that let-fl 

E^ ter, which is the middle line of the Counter^ 

stave, and is now generally used for this 

part of music. 



In Bass the seven letters are thus placed on the stave, viz. 
B The third and last cliff is the F cliff, used onTy m 

'"S Bass, and always placed on F, the upper line but ohc 

'-; in the Baas slave, and is thus marked - 



m 



in aUmusic, if either of the cliffs be moved to another Hneor space, the letters L^^^^^^^^^^ 
compositions of music this seldom happens. In th.s collection J^-^^^^' ^^fj^,'";;X,^^^^^^^^^ seven letters used,every eighth being the same 

Although there are more than seven places on the stav^ '° ^^ "Tfi L^ 'eUe^ abo>^^ is A, the next B, and so on, always reckoning both 
repeated, and they always keep the same order; where G is found, the next letier aoo>e , 

lines and spaces. „^i„„ ti,^.,,, hv four names, viz. JWe, /a, »o?, fa-* 3/e is the leading note, and whea 

All notes of music which represent sounds, are called, .n so nding them by four '^ames v ,/ , ^ ^^^ . ^^^^^ ^^^^^ ^ 

that is found, the notes on the lines and spaces above are called fa, sol, to, Ja, sot, la, anu uiu 

will come again, as in the following example of the Treble or T^nor; c<nmter^.d 5««, after finding ;nMhe other notes are named 

i i- Q 3 -^-J:^" _la_so^ la_sol__ita__me ^^^^^ ^^^ ^^^ ^^^ ^ ,„ „ the 

#ZZ:===ir§=rD=zkZ=?ZZZZI=:=±ZrdZr^^d_-j-^ i„ this collection, the learner will find the heretofore prac- 

&— ^Z::E=Z=r=r==^===d^3E^^=d-^==i tire greatly simplified, as the/«,W,/", and me, are d.stmgu.shed 

^m^-fa-s-orra-l^so.-ra- me— ^ f^"^^- ^^ th-ghoul by tLir shape, vi. the/a is a triangle, the .<. round. 

the la square, and the me, a diamond shape, as follows 
Fa Sol 1-" 



Me 



Triangle 



Round 



-.-,&BVpV-|»T^?^t-t:t£z 0:5- The learner will easily perceive the readiness in "^'^■"S '^^ 
-S3ir£f±}=&&=£= n^s in anv tune by merely acquiring a knowledge of these fou.^ 

::tlE?±££E±^±3^£=t= shapes. ' 



tiquaie 



Dtaiuoiid 






There are said to be but seven natural sounds, every eighth sound being the same, and called an octave ; therefore these sounds are renresenled 
by only seven letters. 1 he sounds are called in music Tones, five of them are called whole tones, and two of them semitones or half notes The 
semitones are between B and C, and between E and F, as marked in the foregoing example. 

Although this is the natural situation of the semitones, yet their places on the staves, are very often altered by flats and sharps- therefor* ob- 
serve, that, the natural place for me, is, in all parts of music, on that line or space of the stave, which is called B : 
But if B or one -b is set at the beginning of a tunc, me is in ..... E 

B and E or two ^^ are set, it is In A 

B II and A or three bbb are set, it is in D 



B E A and D or four bbbt) , it is ir 



If F or one* is set, it is in p 

F and C or two *# are set, it is in ' Q, 

F C and G or three *#•#■ are set, it is in '.'.'.".'. G 

F C G and D or four **•#♦ are set, it is in '...".'.'.' J> 



As in the following example, viz. 




* 



V Zah ^ '\''^"^ '* ^^^^* *.«'^^ «°"e h^ly>ttn B and C, and leaves only half a tone between E and F, consequently but half a tone between 
Lh w 7'^^/«/^°" °f ^h^l'^ the alteration of me; for, find me where you will, the notes above are cdled, as before obseTved fa loll^ tc 
and bdow, la, sol, fa, &c. and the two semitones are always found between me and /a, and la, and fa oDserved,ya, sol, la, &c. 

tuit';Ei::j:;eTtt.:S;o^tro^?' '^^^"'^ ''^ '"° ^°^"'^ ^^^ ^-'"^ ^"^ ^^"' ^^"^ ^^^ ^P' ^« ^^^"^ ^- ^^ ^^^^h as C/« in ,h.rp-k.ytd 



THE NAMES AND MEASURES OF THE NOTES USBp IN MUSIC VVTT^THEIR RESTS. 



Semibrfve. 
1 Bar. 



Mimm. 



Crotchet. 
i Bar. 



Quauer. 
1 Bar. 



Semiquaver. 
t'- Bar. 



Bemkemiquaver. 
■ ,V Bar. 



NoTEs.: X aiii^ zi-.-:— nip: 

Rests. AJ.^ - — -j- [— 



^zz:zz=:zz;^ 






The folloiring Scale will .show at one view the proportion one note bears 
' to another. 

• . IS Semiln-eve contains 



r: Alinims. 







Crotchets 



Quavers. 






Semiquavers. ^ f 



-7' 



|k ^f ^|t:|k:f:RBi^SIt^«a:«W««|aja^E:jl^?[^«S^ Demisemiquavcs. ^ 



EXPLANATION OF. THE SCALE. 

This scale comprehends the six musical notes, with their rests and 
the proportion they bear to each other. 

1. The Semibreve, © is now the loBgest note used, though anciently it 
was the shortest. It Z is the measure note, and guides all the others. 

2. TheMnim, I is but half the length of the SQpiibreve, and has a 
tail to it.? If 

3. The Crotcliel, t is but half the length of the minim, and has a 
black head. \Z 

4. The Quaver,U. is but half the length of the crotchet, having one 
turn to its tail, t which is crooked, sometimes one way and some- 
times another. ^ 

5. The Semigmi}er,C. Is half the length of the quaver, having two 
turfisto its tail, wljicU^ turn* are crooked as variously as that of the 

6. The Demise77iiqmiver.\^ is half the length of the semiquaver, and 
as three turns to its tail, £ crooked like those of the semiquaver. 



Thesi notes are sounded sometimes quicker, and sometimes slower, according to the several moods of time hereafter to be explained ; the 
notes of the«nseJves always bear the same proportion to^each other, whatever the time may be. - 



Semibreve ^^nim Crotchet Quaver Semu/uaver Demistmiquaver 2 bars 4 bars 8 bars 



IH RMti' 



=i=l^^l=?=l=i=i==ii^=^l=i=liiE 



Kcepting the semibreve rest, which is called the bur rest, always filling a bar, let the mood of time be what it ma) 
OF THE OTHER CHARACTERS USED IN MUSIC, AND THEIR USES. 



are notes of silence, which signify that you 

St rest or keep silent, so long time as 

takes, to sound the notes they represent ; 



'oint'cf 
Mditian. 



Point of 
Diminution. 



l^=l=p_=ir=EMiiyiiiy=i^=iifigiliiiEi^ 

I Sharp. I Natural. I Slur. I Bar. I Double Repeat. Shake or I Double I Notts of I Close. 



Flat. I Sharp. I Natural. 



Double 
Bar. 



Shake or 
Trill. 



Double 

Ending. 



Notes of 
Distinction. 



The Point of Addition, set at the right hand of any note, adds to the time of that note half as much as it — n~j ~^- ^-r— 1*-^— ^— j- P-— B- g-fir~ 
as before. When this point is set to a semibreve, it is as Ion? as three minims, fee. as for examnle, (93SH---t 1- P— T»-*»4— I — (i^n™— 

A figure of 3, or Diminution, set over or under any three notes, shows that they must be sung ^^^ 'he time of tvoo notes of the same kind as for 
xample: Tq^ — «f^^ which shows that when this figure is set over three crotchets, they must be sung in the time of one minim ; and three 
Ic P fe^^T" 1"^^'^''^ ^^"'^^ '^^5 figure, in the lime of Qne crotchet. 

A Fiat -^ is a mark of depression, and causeth any note before which it is placed to be sounded half a tone lower than if the flat was not there ; 
nd when a flat is set al the beginning of a stave, it has the influence of flatting all such notes as happen to be on that line or space through 
he whole strain, unless regulated by the intervention of sharps, or naturals, which answer only for those notes where those naturals or sharps 
re placed, and respect the tone of those notes only, but do not alter their names. 

A Sharp » is a mark of elevation, just the reverse of a flat, and raises any note before which it is placed, half a tone higher : if set at the be^ 
inning of a stave, it sharpens, or raises every note on that line or space, throughout the strain, except contradicted by flats or naturals. 

A Natural^ is a mark of restoration, which, being set before any note that was made flat or sharp at the beginning of a stave, restores it to ita 
!>rmer natural tone, as for example : ^ZmiZZZZZH Here you may see that B is made flat at the beginning of a stave, hut the note which* 

^ct^^lpZ stands on B must be sung as if there had been no flat there,' because it is restored by the? 
— P^^— Natural placed before it. 



A Slur or 7\e, links any number of notes together " — T '~'^^^°^'~| 
which should be sung to one syllable,* as for. example, - p - ^-^-^^ -j 

J. . J 'fo ~fai - i.t I 

T IS to divide the music according to the measure note into 
A Bar +equal parts. 

IT shows the end of a strain, and in modem music, is 
A Double Bar-f-T commonly preceded by a repeat. 

A Repeat t shows that a part of the tune is to be sung twice, beginning 
the second x time of singing, at the note placed at the right side, and end 
^t the next —double bar or close ; therefore having sung that part oiice, 
you must immediately sing it again. 

A Shake ^or Trill is or ought to be placed over any note that ought 



HEfiti^E 



to be shaken, something like the following ■J^_-^^^^^ ^ 

This is called one of the graces in music,— p—^^-i»-(S^»)t»Pi»yii 

but unless it is well down, it had better be— 1—^1 | 

unattempted by the performer and sung~^ ^ 

plain. Notes may sometimes be graced, but not disgraced. Observe, that 

a note cannot be shaken without breaking it to pieces, as in the example ; 

see the minim marked with ah' and the example hovv' to perform it. 
A Double Ending, shown by the figures 1 2 set over notes at the close 

of a tunc, when there is a repeat, thus, FiT-i F.zampU. l 2 

informs the singer, that the note under the figure5.iIIIZIi;iir;ZIIZIC 

1, is sung before the repeat, and the note underitlix^$tpi.Jj:^ 

2, must be sung the second time, omitting the ']7J, jTl'am^, ~^^^~ 
note under figure 1. But if the notes are tied asvftT — ^TI — ZII CZ 
in the second example, then both notes are sungiJl^E^JElQ^I^tl 
the second time. -•- — 1| — tttj Li~t_; 

Such notes as have Marks of Distinclion placed over or under them. 

' ' ' 

should be sounded very distinct, and with some em-~~~j ~tr — 
phasis. thus, 



A Close, is two or three bars together, which show 

the tune to be ended, thus, ; 



) I I 



* In singing slurred notes in words, great care shmtld be taken to pronounce 
the words properly, for which purpose observe these directions: Keep your 
lips and teeth asunder, from the, beginning to the (nd of the slur, warble the 
.totes in your throat, sliding easily from one sound to another, without any 
kind of hitch or jolt, (which is too often practised) and if possible do not stop 
to take breath until you luive done; otherwise you break the slur and spoil 
the pronunciation. 

OF THE VARIOUS MOODS OF TIME USED IN PSALMODY. 

Nine different Moods of time are now used in psalmody, four of which are called Common Tisne, viz. Mdagio, Largo, 12 3 4 

Mlkgro, and 2-4, or 2 Fours, and are thus characterized at the beginning of tunes or strains, viz. — — — i ■'.- — -t- — ^ — ; 

These four are called common time, because they are measured by even numbers, as 2, 4, 8, &c. Adagio denotes-f4— (p—— t^ , ^ — ■ 

a very slow movement; it has a semibreve for its measure note; every bar containing that or other notes or rests ^ ^' — — — - 

amounting to the same cjuantity of time ; so in the example following, a semibreve fills the first bar; the second bar is filled by four crotchets, the 
third bar by a semibreve rest. In order to give these notes and rests their proper regular time, a motion of the hand is necessary, which is called 
Beating of (ime,- every motion or swing of the hand, is called a Beat. This mood has four beats in a bar, which should be beaten two down and 



1, 2, 3, 4. 



^^mi 



two up, in the following manner; First, lightly strike the ends of your fingers; secondly the heel of ■^■^V 
your hand ; thirdly, raise your hand a little, and shut it partly up ; fourthly, raise it still higher, and _/\_ 
throw it open at the same time, which completes the bar. It is best to distinguish the third motion ^ «' - 
from the fourth, by shutting or opening the hand. Every bar in this mood of time is performed in " 

like manner. Each beat should be exactly one second of time. * 

Lnrgo, the second mood in common time, has likewise a semibreve for its measure note, and contains notes or rests to that amount in each bar. 
This has four beats to a bar, performed in the same manner as in Adagio, only one quarter quicker, or four beats in the time of three seconds.. 

iMrgo. I 2 -1 4 I 2 3 4 I 'i :l 4 i 2 12 

; T~W ~ W ~ " — I ^^ here the music, in Largo, consists chiefly of minims, sometimes "ZH^J^ySl 

-(^-p-0—»—\-i-^- T' *— H but two beats are given to a bar thus: 



ES^ 



Allegro, the third common time mood, has also a semibreve for its measure note, and contains notes or rests to that amount, in each bar; but 
has only two beats to a bar, which are one down and one up, allowing one second to each beat as in the example. 
■""■'' '■ '^' _ ' _'f_ J f The fourth common time mood, 2-t, or two fours, has a minim for its measure note and \ -_ \ 2 ' ' 



[^notes or rests to that amount in each bar ; its has also two beats to a bar, one. down and on e— ^— P— t — c — c — ~p" 

-^— +up. Four beats in this bar are performed as quick as three in Largo, when four beats are— ^— t— J— C-^— \- 

given to that mood. (See l/ie note at page 6.) d\^~ d~u" ~d « 

The next moods of time in order, are called Triple time moods, of which there are three, viz. 3 fivos, 3 fours, 3 eighths. They are called Triple, 
because they are measured by odd numbers, each bar containing either three minims, three crotchets, or three quavers; two of which must be 
sung with the hand down and one up. The marks of triple time are thus set at the beginning of staves: 

The first 3 7\oos, contains three minims, or one pointed semibreve, or other notes which measure equal to them in a bar; 
which are sung in the time of three seconds, two beats down, and one up, as in the example, 
ift Tn-i. tnif 1 ' 1 12!) 123 N. B. A minim in 3 Thvos is performed in the same time as a crotchet in the first mood of common time. 



— -— T— g -— — T The second mood of triple time, 3 Fours, fontains three crotchets, or other notes or rests equivalent, in a 

—Z~t +bar, which has three beats, two down, and the other up, one half quicker than the first triple time mood : A 

ti"u ~i 'i~u crotchet in this time is equal to a crotchet in the second mood of common time. 

The third triple time mood, has three quavers, or one pointed crotchet, ^'' ^'•'?fe ''""•■ i 




•-♦T jv w"T "p -^ — ^ or other notes, or rests, equivalent, in a bar, but they are performed as 
£l — A-^- 1 ' A qwick again as in the mood last mentioned, and has also three beats. 



4 d o d d • 



The two remaining moods are called Compound Moods ; being compounded of common and triple 
measure; of commcn, as the bar is divided equally, the fall being equal to the rise; and of triple 
s(s cuch half of the bar is threefold. They are distinguished, at the beginning of staves thus: 

The first, 6 Fours, contain six crotchets in a bar, or other notes or rests equivalent, which are sung / » T — ~ ~~ — ~ 
in the time of two seconds, and by two equal beats, one down and one up, as for example, ■ ^ * . " 1 1 



^i^i: 



SE 



-H- 



S^ 



^t=f 



The second compound mood contains six quavers in a bar; has also two beats in a bar, one -'' ^ -— — t 

<k)wn and one up. A beat tn this mood has the same time as the second in common time, called • (\ ^-c — — | p ITT *~-r " "g-V" • 

Ur/ro. ■ ~^— ■■ I F-j _ *T - H- ~r IT'Tr-^'' " 

The figures in the examples placed over the bars, show the number of beats in each bar; and the ' d . a J a a 

letters placed under the bars show how they must be beat, viz. the letter d shows when the hand must go douT., and the letter u when it must rise «;». 

The bar rest is properlv so called, because it is allowed to fill a bar in all moods of time. 

Observe here, that the hand falls at the beginning, and rises at the end of every bar, in all moods of time. 

That in the Adagio and Largo moods, a semibreve is four beats, a minim two, a crotchet one, a quaver half, Ecc. 

That in the Allegro and 3-2 moods, a semibreve is two beats, a minim one, a crotchet half, 6cc. 

That in the 2-4, 3-4, 3-8, and 6-8 moods, a semibreve cannot be used because it will more than fill a bar. 

That in 3-8, where a minim cannot be used, a crotchet is two beats, a quaver one, ^c. 

That in 6-4, a pointed minim is one beat, crotchets three at a beat, he. 

That in 6-8, a pointed crotchet is one beat, quavers three at a beat, &c. 

Observe also — That in those moods of time which are not marked with figures, a semibreve fills a bar; but in all those moods which arc 
snarked with figures, the upper figure expresses a certain number of notes of some kind which fill a bar, and the under figure shows how many 
of that kind of notes are equal to a semibreve ; as, for example, in the mood marked 3-2, the upper figure being 3, shows that three notes of some 
kind will fill a bar in that mood, and the under figure 2, shows that two of them are equal to a semibreve ; now two minims are equal to a semi- 
breve, therefore three minims fill a bar in that mood of time. The same rule holds good with regard to the other moods marked with figurea. 

The performing the several moods in their proper time, is a matter which should be well attended to : And yet singers often fail in this point. 
That some moods are quicker and some slower, all agree, yet some will sing every mood alike, or so nearly alike, that the difference is scarcely 
perceptible. This, in many pieces, especially in such as change from one mood to another, entirely frustrates the design of the composer, and 
ruins the music. Others again will sing all moods too slow; this is so common, that many persons who profess to be good singers, will scarcely 
.iJlow it to be an error. It is generally most prevalent in those companies where the spirit of music is on the decline, and the singers grown dull 



xiu 

aod indifferent ibout singing; they >»ill then drag heavily through a piece of m,.sic, and render it not only a burthen to themselves but^ di^s^ 
agreeable to all who hear them. On the other hand, some may err by beating time too fast ; tins error is found sometimes m P ;;°"^ jjl" "f^ 
possessed of too great a share of ostentation. To enable young singers and young teachers of music to avoid all these f =-™"';"f^'° f '^^.^^ i3 
mood its proper time, I have added the following directions :-Take a leaden ball, the size thereof is immaterial ; about an inch '"J^i^m^^^^ '! 
as suitable as any ; suspend it by a small tight cord, in such a manner that it may swing each way without interruption and for the seveial mooas 
of time, let the length of the cord from the centre of the ball to the pin or nail from which it is suspended, be as loUows : 

For the Adagio, Allegro, 3-2 and 6-4 moods, 39 and 2-lOths inches 

For the Largo, 3-4, 6-8 moods, 22 and 1-lOth do. 

For 2-4 12 and 4-lOths do. 

For 3-8, 5 and 1-21 do. ... 

Then for e^-erv swing or vitiration of the ball, i. e. every time that it crosses the perpendicular line, or place of its natural situation when at 
rest, count one beat, and for the different moods of time, according to the different lengths of the cord as expressed al)ove. 1 his is so easy a 
way of ascertaining the true time of each moo<l, that it is presumed uo one who designs to be a singer, will think it too much trouble to maKe 
'.rial of. These moods are however, sometimes varied from their true time, by arbitrary words, such as quick, slow, &c. being placed ovei ine 
tune or anthem, in which case no certain rules can be given : the followipg general directions however may not be amiss— \V hen the term slow 
occurs, let the music be performed about one sixth slower than the true time, and when the term very slow occurs, about as much slower siui , 
and contrary for terms quick and very quick. 



OF THE BRACE. 

The several parts of a piece of music, which are sung together, are shown by a brace, placed at the beginning oi 
(he staves, as in the example. If two parts only are sung together, the brace encloses the two staves : and if the 
three parts are sung together, then the brace is extended to enclose the three; and so of four. 



OF CHOOSING NOTES. 

Notes are often set immediately over each other in the same stave and bar, only one of which , 

is to be sounded by the same person ; the singer may sound which of them he pleases : if two 
persons are singing the same part, one of them may take the upper note, and the other the lower 
Tiote. Notes set an eighth below the common bass, are called Ground Bass. 

Minim Bests are sometimes placed over each other, but the time of both is to be reckoned. 






XIV 



. OF THE SEVERAL CONCORDS AND DISCORDS, BOTH PERFECT AND IMPERFECT. 

^.T^^f"! ^ J* ^"! *^°"'' ^''"'■'"■'* »" '""^i'^' ^iz. Unison, Third, Fifth, and &xM, (their eighths or octaves are also meant.) The Unison Is called a 
^yectc/,ord,■a^^A commonly the Fifth is so called ; but the Fifth may be made irpperfwl, if the composer pleases. The Third and Sixth are called 
imperject; their chords not being so full nor so agreeable to the ear as the perfect ; but in four parts, the Sixth is often used instead of the Fifth 
m some certain narps wliPn tl,o Fir.h ;= i^ff «„f. .„ ;„ „n-,..-. »u„,.„ ..„„ u../ .i,..„„ /^ ,. -„_i_.. Ji . _ ., • .. mc i iiui. 




as the lesser or im- 



an imperfect chord, it being the same in ratio as the minor Fifth 
octaves under them CONCORDS. 

Single Chords — 1. 3. 5. 6 
fi t; lu 1 



gh sometimes the greater Fourth comes very near to the sound of 
The following is a table of the several Concords and Discords^ witJi their 



T/ieir octaves.. 



19 20 



3I27 



DISCORDS. 

2. 4. 7. 



[An OCTAVE contains 12 
semitones 



N. B. Il a voice or instrument, could reach to ten thousand octaves, they are all counted as otie in nature. Erery eighth or octave, contains 
twelve semitones, the five whole tones being divided into semitones, and the two natural semitones, make the twelve, as in the following example : 
""" jj^ |.j^j^ scale of semitones, the lower liue G is made the foundation from which the others are reckoned, and is there- 

fore called unison, because one and the same sound is a unis^m. The right liand column of figures show the number 
of semitones between G at the bottom, and each of the other letters, both in their natural situation, and when made 
flat or sharp. Next above G you will find G sharp or A flat, which is called a flat second, containing but one semi- 
tone ; the next is A, which is a sharp second, containing two semitones; the next is B fiat, or A sharp, which is a 
flat third containing three semitones; the next is B, which is a sharp third, containing four semitones ; the next is 
C, which is a fourth, containing five semitones, Jcc. kc. The flat second, third, sixth and seventh, are called lesser 
seconds, thirds, &c. and the sharp second, third, fourth, sixth and seventh, are called greater seconds, thirds, &c, 
which is the common distinction, and the greater always contains a semitone more than the lesser. 




8th 12 
*7th II 



-»7th 
*6th 
'e b or d * 5 6th 
-D-^ 5th 



c*or d t) 
C 
l_B — 



•#4th 
4th 
-* 3d 
b^or a* b 3d 

A ♦2d 

g*or a b b 2d 
G unison. 



OF THE KEYS IN MUSIC. 

In music there are only two natural, or primitive Keys; one of which is cheerful, and is called fthjirp; the other 

melancholy, and called Flat. C is called the sharp key, and A the flat key. Without the aid of flats iind sharps placed 

at the beginning of staves, no tune can rightly be formed on any other, than natural keys. Flats an»l sli.arps placed at 

the beginuijig of staves transpoees B-me, tlie c-entre and master note, together with all the rest in thoir order, and by 



XV 



forming what are called artificial keys bring the same effect as the two natnral keys. The reason why the two natural keys are transposed 
by flats and sharps at the beginning' of the staves is, to bring them within the compass of the voice. The last note in the Bass is the key note, 
and is immediately above or below me ; if above, it is a sharp key ; and if below, it is a flat key ; or, in plainer terms, all tunes are either on 3l sharp 
or a. flat key : if the last note of the Bass, or key note, is fa, then it is a sharp key ; but if it is la, then it is a flat key. The key note can never 
properly be me or sol. Thp reason one tune is on a sharp, lively key, and another on a flat, melancholy one, is, that every third, sixth and seventh,, 
in the sharp key, is half a tone higher than in the flat key, as for example : 



A, the natural FLAT KEY. 



La. 



C, the natural SHARP KEY. 



Fa. 



liliSiiEliii^iliil 



NOTES of syncopation are those which are driven out of; 
their proper order in the bar, or driven through it, and require ; 
the beat to be performed while such notes are sounding. 
few examples follow, which, with the help of a master, will 
soon be understood by singers of tolerable capacities. 

OF SOUNDING THE EIGHT NOTES. 




^^iiEHiigiia 



lliUlliPli 



xEii|iiiHiig|3|ii|3ii|i|^ 



T/ie learner may sing i.'te notes as they stand in the following slave. 



-^H 






Hi 



In sounding the eigltt notes, I think it proper to begin at one of the key notes rather g. . z 

than with the upper Sol, as taught by most authors ; then ascend and descend, first from ^ >S"^Z~ 

Fa the sharp key note ; afterwards, taking the same pitch, ascend and descend from La, ^ ^ 

the flat key note, as in the examples. By this means the learner will become acquainted 

■with, and perceive the diffVrence of the major and minor keys. ^ ^ZXI 

It. is of the greatest importance that learners be taught to ascend and descend the I*! '^ ZIZZ 
eight notes properly; and the teacher ought frequently to sound them, after this man- 
ner with his pupils — mere directions will not do ; The gradations of sound in music are so very nice, that it is only by hearing and singing-, with 
a person of correct ear, that the true sounds of the notes are to be obtained. Pupils ought also, even when considerably adwiuccd in singing, be 
taught to discriminate between the different sounds of the intervals, thirds, fourths, fifths and sixths, when started from different notes ; for in- 
stance, a third ascending- from the sharp key note Fa, (being a major third) is very difftrent from a third ascending fiorn a flat key nnte (a minor 
third,) and so of other intervals. Any person may be convinced of this, by hearing a tune sung first in a sharp, and afterwards in a flat key—- 
when, if the parts are carried on, the chorda will b« entirely changed, and the tune as first sung, will be scarcely recognized. 



ALPHA. 



Sharp Key on G. 




liiiiaaiii^g BS^ ^Sj 



SiiP^iigiieBi^ii^iil^ieiii 



; M'hen faith presents the Saviour's death, And whispers this is thine, Sweetly the rising hours advance, And peacefully decline. 



MACEDONIA. C. M. Flat Key on E. 



ilsfcli 



H.— JijrtH 



-«— T-^ 



ilfiSiiiiigiiiili^ii 



&-0f- 



i^sisi 



:^Si-iii^^iS^ii^l^ii: 



:^-f 



t^3 



Not from the dust afflictions grovT, Nor troubles rise by chance, But we are born to care and woe, A sad inheritance. A sad inheritance. 



j ^^pii^']ii=iP 



irt 



m 



==!^; 



^z|^rfyzi^;^;^3rf: 



^Sfflii 



,i^1ill^^i^^-^%Silii^ll 




St. MARTINS. C. ff. Sharp Key on A. 17 

*-.HE=liliig|S^i^i^liMil?^iMiiiiiiSilii 



-©-+-e- 



With cheerful notes let all the earth, To hcav'n their voices raise, Let all inspir'd with godly mirth, Sing solemn hymns of praise. 






Pl ^^ !S"^'^if^3f^?'^~^'i~?"f'^?^^ 






MOUNT VERNON. 

IK'ir'Ur T 1 



C. M, Sharp Key on C. 







AU hail the pow'r of Jesus' name. Let saints and angels fall. Bring forth the royal <iiadem, And crown Lira, crown him, And crown bim Lord of all. 






i>^ 



GARDEN. L. :^f : Flat Key on A. 

lili^liiiiiil^iigiiilSiiiiiliSill 




iiPitt^Siie 



God from his cloudy cistern, pours On the parch'd earlli enriching show'rs: The grove, the garden, and the field, Tlic grove, i:c. A thousand joyful blessings yield. 






VIRGINIA. C. M, Flat Key on E. 



1IIIT2; 



siiigiiigiiiiiiSiigpi^iiiSgigii 



i^^^^^^m^Mmmmf^i^^mmMm 



Thy woros the raging winds control, And rule the boist'rous deep, Thou mak'st the sleeping billows roll, The rolling billows sleep, The, S^g^ 



STAFFORD. S. U. Sharp Key on A. 



lb 



§5 
i:. 



iiilE||iiigsili^liiiiliiili§iiiiiggM 

See what a Uving stone, The builders did refuse. Yet Gcx! hath built Ids church thereon, Ycl God, &c. In bpile of env ous Jews. 



Yet God hath biiiU liis church, Vet 



S^HzFE: 






SUFFIELD. C. M. Flat Key on E. 



iiiliiiiiiPlliiill^lilPfiSlliiiiii^ 
I i^^iSliSi^iiiiiliiiiiiliilliillis 



s-H b-It — 



T«ach me the measure of my days, Thou Mu.ker of my frame, I would survey life's nari'o-.v space. And learn how frail I am. 

1 ^^2 






Qd 




REPENTANCE. C. M. Flat Key on F. 



1 ^^ „-. 






f^ 



i^^^m^m^^^^^m^^^m 



O if ray soul was furiii'd for woe, How would I vent my sighs ! Fcpentance should like rivers flow, From boUi my streaming eyes. 'Twas for my sins my 
1 I!^: — ^ — Ml ^ -[♦-■»— »-| — \\ ^-s^-B — — i\ — ''} I ^ — -\\ r — n — t' I — r~^M I LJZl^ — O C C — tltl~J~ J 



il dearest Lord Hung on tliat cursed tree, Hung, Szc. 



jS nd groan'd away liis dying life. And groand, &c. For thee, my soul, for thcc. For thee, &c. i 






SHERBURNE. CM. Sharp Key on D. 21 



in.-.- 



iiile shoi:Iif'ids watch'd llieir flocks by night, All soatei! on the ground, Thean^'cl of the I.ord came down, And plory shone aroi:nd. And irlory, kc. Tl;c ansel, &c. 



SE 



fS 



li-Xi^X:f 



!EEJ 



.ilpiPlBSiiiiiiSiiliigiiiriliiiiiigilill 

WANTAGE. C. M. Flat Key on D. 



Continued. 



A 






-=— j^^a-g^}^iJ^^B^^=^p— $^^a-^ 



tzt: 






^E 



raHims iiiHHfi^iiiliiii^lllililiili 



Lord cr.me down, And, &c. 



!\Iy God, tiie visits of thy face, Afford superior joy. To all tlic (Ia,U'ring world can give. Or mortal hopes employ. 



Si 






ctS-F-j 



i^g|EEg|ipiaii5Sp3pi^^apgEqiipP|iJPPi^ 



'22 



PORTUGAL. L. M. Sharp Key on G. 







SSdS 






5H^g^i2iffl-^j3 



5f:f£±i?.Tf±t_S=3^^i 



How lovely, how divinely tweet, O LorJ. thy saf-ral cjurts a-peir; Fain would my Iciging passions meet T'le glories of Ihy prcseacL thore. 






:zzr-r-u-r^: 



= --^ 



i=)aq 



Fi 1 1 iVhFF-H- 



— - — H^F-F+^hJ- -^h ■ 



-j_. 



Hi 






HIDING PLACE. L. M. Flat Key on G. 



-^feSil!'^saiil^?^lEi3iiil|ggi5|pi^i:giiPli= 



li^ig^^gflsl^iiiii^^gigiilig^iiii^i ' 



Hail sov'rciL'Q love tlat first bc^an, The sclieine to rescue fallen man ; Hail nr^lcMi ss, free, cttri.al g- -icp, Tuat gave rr.y soul a liidiDg place. 



t=:::i3: 






LITCHFIELD. L. M. feliarp Key on A. Qr> 

Jliai^ffiiPliiii=Sii^liiiiiiii^SSi 
|il^llililiijg|j|i|:pilii.§g=iip|iiiiilis 

IIdw soft the words my favicar speaks. How kind t)ic prom - i - ses he make*, A bruised rccd he never breaks, Nor will lie quench the smoking flax. 

JlgiSiiiiiiiSiiilliiiiriiilifiii^^^ 



COLESHILL. 



C. M. Flat Key on A. 



'IlliigiiifiliilgliL^liiiiiii^^ 



r"=§irg=5iz 



'-iz!^zt^b±t. 






Lord, what is man, poor feeble man, Born of the earth at first, His life a shadow, light and vain, Still hast'ning to the dust 



N^iEiiil^;iiMr^llii^l^ig&:iSl|S?lll 
liiiSilgiiiiigiiiliSiiii^liiiPil 




SMYRNA. CM. Sharp K.ey on A. 



win slu.uM the cliiUren of the Ki:i2, Co 



^^4 = 



"Ea- 



+ k^ 






3 ====^jjg lglg|il;g 



Great corriroricr d-'sccnd and brin?. Some ickens of tty grace, Tfaoti art Uie earr.p*t of his )ove. The 



liiiii^^liiMIgiiii^iii^EilisiPsi 



Egp^^gE|';pp;» p^g g:gffgygg3g;^g gg^ 



ii^iiiiiitlEliiE'iligEiEtl^SSigS^' 



plc4^s of j 



Aiid U)T so^^ 



Q je <o ■» 



I home, And 'by. if. 






i^^ 



— — T — ri- 



Fil?ii^iii^iiil 



CANON. Four in one. 7's. Flat Key on A. 



m^^^ 



T=f~^ n^:i:-^ ^ 



Welcome, welcome cviy gi:est, ^^'elcome to our music feast: Blusic is our on- ly cheer, F*iUs both sou! and rarish'd car. 

Sacred Nice teach us tlie tnouJ, Sweetest notes to le explor'd. SoWy s-kcII tJ:e treirbling ain To complete our concert fer. 



. SYLVAN STREAM. L. M. Sharp Key on E. 



^5 



-0^m^^^^^^^B^^s^^^^^ 



\-r-i^h-4^ 



^^^mmmmmmmmmnmm^m^. 



From plcasanltrees ivhic.h shade the brink, Tlic lark and linnet light to drink. Their son gs tlic lark and linnot raise, And chide our silence in his praise. 



|iSiiggl|g| 






s 



sa 



=;pi|_i-l-ii-u-n-] 



rtbrEl±±:EzJ 



SILVER SPRING. C. M. Flat Key on E. 



ilS^=Bi:-igilllE^iE^^EEi| 



tiisi^ 



iSii 



ttrt 



iSiliiliiilliiiiiii^ 



Were I in heav'n without my God, 'Twould be no joy to me, And while this earth is my abode, I long for none but thee. 

|§liiilillll§i 






HUNDRED AND THlKTi^-SlXTH PSALM. P. M. Sharp Key on C 

And I can trust my I,ord Ti 



To I'U go and come nor fear to die, I'll go and 



aiiiiiiiiigiliHii 

Hart thou cot {;iv'n thy won!, To save my b'-mI frooi dt-aih 1 



Hart thoii cot giv'n thy woni, To save my B..11I from di/alh ! And I can trust, Anil I car. trust my Lord To keep my nu.rtal brcilb. I'll so and come nor fear to die. I'll £o and 






And I can trust my I.crd, And 1 can trust my Lord To keep my morial breath. 



ru go and come nor fe.iJ 



[iiigg^p^iiisg ii i i gpi igfe ^^p^^ 



Continued. 



I'liii I ca.i trust, And I can trust, And I can trust my Lord To keep my mortal brcail;. 

SAINT ANNE'S. C. M. Shaqj Key on C. 



^i^^ 



My God, my portion and my love, My everiastingall : I've none but fhee in heav'n above, Nor on this eartlily ball. 



i 



come nor fear to die, Till from, Ix. 



di.-, Ti:l from cm hifh, fie calls me hM 



glL^gfillLliiiiiiiiiliiSifiirg] 



feer to die, Till, ix 



27 



FOUTY Sixth psalm L. p. M. sharp Key on F. 



ffifJtliiiliPiiSiiiiiiliMiil^iiiii 



I'll praise my Maker with my brcatli, And when my voice is lost in death, Praise shall employ my nobler pow'rs : My 

jiliiliilPliiliilF^aliiirirlii^iii^ii^l 
'^iilS^iiiiil^iiiiii^igiigiilliiii^iiili 

^ii^iiliiiiiiiiiliiiiiMiiii^iiiii^ 



davs of praise shall ne'er be past, While life and thought and being last, Or immortal - ity en - diires. 

i^iiiiiiiiiiiiiig;iiijpiiiiiiiiiiigiii^£ 



:=£. 



-I — u- 



liiiiili.|iiilil.ii;iiiiiiii^piilp 



28 



MEDITATION. C. M. Flat Key on A. 






ia 



^i?^ 



My ioul, come med - i tatc the day, Aiui iliink how near it stands, Wben tliou must quit this house of clay, And fl - 



nknoHTi liind*, Ai-d fl 



Continued. WINTER. CM. Sharp Key on F.. 



mii 



4PIE 



to unknown lands. 



MB 



F=)=; 



i^iiSiiiiiiiPliriegiliigi! 

His hoary frost, bis fleecy snow, Descend and clothe the ground. The liquid streams forbear to flow, In i - cy fetters bound. 



.i^iilSiig^gilliiilSiilsii 



29 






POLAND. C. M. Flat Key on C. 

God of my life, look gently down, Behold the pains I feel, But I am dumb before thy face, Nor dare dispute thy ivill. 



h±^~-bi^Mizzz 



SUPPLICATION. L. M. Flat Key on A. 



— :zaz 



O thou that hear'st when sinners cry, Though all my crimes before thee he, Behold them not with angry look, But blot their mem'ry from thy book. 



iiaiii^ii^;SlllgS:iHiiili^ll^iii 



% )fr 



-0--9I- 



ee 



gjp;E| gp ;g^;pg;g ^^pp: ;j|gg;iEj gg :z|Tggg 



30 OCEAN. C. M. Sharp Key on l\ 

T;.y works of glory, mighty Lord, That rule the boist'rous sea, The S0B3 of courage shall rfcoid. Who luniiit tlicdang'rous way. At thy command the winds arise, And 

illiii^iiSiilii§iii§liiiiiiiiSlil-l^iii 
lii:miilPliliSriiiiil 



11=5: 



At Uiy coiri.-iaiul the w i;i<id arise, And 



^pz^r^TpiS 



U llie tow'riug w 



gsf^^igniiigi 



1 2 






swell the tow'ring 



nish'd mount the skies, And tink 



gggSlil=fei 



eiiiiiiiiiil'ES^EteiiS^? 



vindsarir-. And - 



1 2 



^Mm 



)r hr- + Sr-- 






ENFIELD. C. M. Sharp Key on E. 



31 



ii-^iiiiisiiiii^igiigiifigfeiii 

)By dawn of (lav, Toltiee, my God, I'll siiig, Awake my =oft and tuneful lyre, Awake each cliarming string; Awalce an 

liiii^gSliiiiiiiiilgiil 



Before the rosy dawn of day, To thee, inyGnd, I'll siiig, Awake my =oft and tuneful lyre, Awake each cliarming string; Awalce and bt thy flowiiis strains, Glidethro' the midnight air, While liigh amidst her 






-^^s^w^- 



SAINT THOMAS. S. M. Sharp Key on A. 



Continued. 



'^'^^ 



f 



S^isii 



1 2 



silent orb, The silver moon rolls clear. 



i^miifi 



|lliii@i^iilieiiliiiliiiS^- 



Hark, it is wisdom's voice, That spreads herself around, Come hither all ye sons of death, And listen to the oound. 



yiiSrSgliigliiiiiSEiiiii^ 



fel^liEiiteiiiiiiiililSiiiiiSii^ 



33 MILFORD. CM. Sharp Key on A. 

^*iiiiiiiiiii^EE|ggigiEig^iiiiiia 



^: 



If ang-els sung a Saviour's birth, If angels sung a 



ili-niiiiili^^iitliiSiiiiSilililiSiiiMii 



If angels sung a Saviour's Saviour's birtli, On that auspicious morn, 



! |!5ip-jpi|gg^i^EEp;iiipppgz^gpijp g^p gpp^^ 



If angels sung a Saviour's birth. If angels sung a Sa - viour's Saviour's birth, On that auspicious morn We 



liilliri^lgiiiii^liiiPiliiiiliilSp 

If ungels sung a Saviour's birth, If angels sung a 



We well may imi- 






We, Sec. 



:^«^zti==^--T-^^-rT— -T^-I 



Now, kc. 



Now, Sec. 



l^^^ii^iPiiSl^ii^iiiirgii 



We well may imi - late their mirth, Now he again is 



born, 



Now he again. Now he again is born. 



illliiiilisiiiliisl^i^sl^i^isiiigiiS"l 



well may imitate their mirth, We well 



Now he 



Now, S;c. 



SliSiiliillilil^iligi^iiiiiil^ 



tate their mirth, We well may imitate their mirth, 



Nov^ he again is born, Now, kc. 




FLORIDA. S. M. Flat Key on U. 

iiligl§S|igig|l^iiiipi 



m 



mmBm^^mMmmMmmimi^M^m 



Let eitmeiG take their course, And chnose the road lo death, Put in the worship of ray God I'M 3p«nd my daily breath, 



^ase|^gi|S|gi^gig^p|gEpgg^gpgpjgg 



^^^m^^m^E^^^i^Mi 



«7 — 



NORWICH. S. M. Flat Key on A. 



P>5 



Iteii^ifeillli 






fp^aflJsT^' 



r.T-.trTt 



±r±:r3r=t:. 









V^^-it^ 



My son>.ws like a tloiKi, Im - pa - tit-nt of re - straint, In'o thy bosom O, Into lay bosom O my C4od. Pour out a long complainf. 



Into thy bosom O uiy God. Inf j thy 



P-^.ur cur a li^n.- cc.t pl'.in!. 



;-v-. Ht»'«-» -t r — i — t— E-'^ x-r — I — i r rK-Vr^-m-r-n. |-T-r~ iTPa^^T ''T~T Tra-"'*-»*T-C TZTUi — T" 



ii-i 



RUSSIA. L. M. Flat Key on A. 

I _ _ a ■- ■_ • 12 

I! F-.dse are the sn-.-n of high degree, Tiic baser sort are vanity j l^aid in a balance both appear, Laid, kc. lAgiit as a putf of empty air. 

ALSTEAD. C. M. Sharp Key on D. 

II iNcws from the rejions of th« stiis, Bah ilioirs liniii lo .lay, News li-Jiil '.'.i» r^-ttmH a( lb« skus, galvauoii's born lo (tuy. 
* (• • v_ _ ' A A if.a m-ft-a-Wt o . • 12 

iilHPiiililHllgiSliiil^lililS 



l-WMl 



1 



Mi^iilicrdsitju.f, !iH up (our ryes, AiidMMid yuurftari nway 



News from Uie rcgiona of the tlics. Xews, fee 



r^ililig:ililiigiSii-iiiiigi 



X-w.v from lilt r..5i,>n4 0f t!ic Mm, t;,r'valinn's born to day, Xe 



— j.-,^ 



^EEfeiEE? 



^'^iigiigi^iis^ili^lgigl^KiiiiiiS 



SARDINIA. C. M. Flat Key on D. 



35 



(i^^^^^^^^^^^^^^i^w^wft^^^^^'^^i 



'^^mm^^^^^m^^m 



How did his flow - ing tea-s condole, As (or a brother dead, And fastin.q;, mortify'd Ins soul. While for their lives he pray'd. 



ir beds, Yet still lic plca<1s and 



They groanJ and curs'd bin, ou tlieir beds, Yet stdl l,c pleads and _,noui-ns : And double blesidnrs on tlieir heads. Tie rigbleous Lord .-ctiirnF. 



3G NEWPORT. L. M. Flat Key on B. 



ri ^^gggg ggiiii^igiigiiiiiii^;^! 

I send the joys of earth away, Away ye tempters of the mind, False as the smooth deceitfvl sea. And empty as the whistling wind. Yout 



P ^P^^F^^ jiig^^^jgH^Jil-^ ^g a 



ll^^l^b'SligSilliglfeife^^i^tl^iyi 



W^ 



-Jt:iso±: 






streams were floating me along, Down to the gulf of black despair, And while I Ilsteu'd to your song, Your streams had e'en ccnvey'd me there 



m 



IK 



E-rfEigfEEEEg 



!|:^i^f^^p^iE|jfgE||^gilggi|g|^^s=ii^ 



rr= 



-T5^^-^-T^- 



s 



ill 



HUNTINGDON. L. M. Sharp Key on A. 37 

But 



Lord, what a thoughdess wretch was I, To moum and murmur and repine, To sec the wicked plac'd on hijih, In pride and robes of honour sliine ; 



>#^ 



^ggi^^^^ilg|liEii|gig^ilii§^i^f| 



But O their end, Uj* 






ilS^iii^aiiiii-si"^:giii«il 






)>:i 1 



O tiieir end 

r.uiO ihcircr.d, Oicir di'.adful cml, Tliy sanctuary taught mc so, Dut 



On elipp' - ly 



illiii^i^i^&giiililiiii^ii 



I gvn them 5land, And ft* - ry bill; 



U be!.- 



' drcudliil end, Thy riiMclua.y tr.ii:;!:l rre tvi, Uut On 



=3n<i»uii:y tua^'it n.u do, Lu 



IN'EW JERUSALEM. C, M. Sharp Key on G. 



:3 



zfftt^t: 



si^ 



^. 






The New Jerusalem comes down, adorn'J 



^^m 



Tlie New Jeru - sa- 



§^igij^l^Eii§gilgiEilgE|E^ iJ!=E=: Jii;gl 



I be New Jeru -salem comes down, A 



dorn J with 



rC- ■- 



liilgii^giiilHiEiEiEiiiiiiii^il^i^^ 



From the tljirdheav'u where God resides, That holy happy place, The New Jerusalem comes down, A 



durn'd with shicinw grace. 



sliiniiijr grace. The New A - dorn'd 



l'.;n comes down, A - - d^.rn'd \-, uh thining iiracc, Adorii'd 



!E|=^i^r§gipii^iii^piiiMii^iri^^i^- 



shming grace. The New Adurn'd A - dorn'd 



'•rjsalcra come? flovfn, Adiyrn\] witli s''iir.ii>;j ^rracc, Adorn'd 



WHITESTOWN. L. M. F! :.i Kcv en E. 



39 



|igg||g^l^^l=^E|E^-^^3^-|i|p:^£^ 






V.'heK mulling i\icl\. but Leasts of jircy, Or 



I'lP.cc a:..l \vi;.i il« tlwy, Ih Viih Hi' opprcs-'J lind fKr: reimir, Aa.l Ijjilrt tliciu :i'>wil3 and ci - lies there. 



Ttt-ytow ihtfiUaaaad 



Tivy »)W th.- field, .-.lid lues tliry plan;, Wlinw; ypo.ly fiiii; fiipi^ios Uie.r waat : 'nm: rr.rc tl•lll^s \:f 



m^M±M^^^M^^d=^=^Mit§&S^^^^3B 



I'lil hincks, Tiieirtvi-aKhi 



i!)i t;ifjr!i^K.ltS. 



T Uie fmlii and trees llr-y plajjt, Whose yearly fnJ :;ii;.)iii*-s tJii-lr iva 

1— j-T---f^— r I — 



'i^^^^^m^=i=^=m. 



i iUcy finiil, V.'liost; y^iii !y iiiiu si l'; llss unji; ws 



ui: Tlii.-iriiu. 



^piHl^4r:btSEB^ 



40 

If" 



SYIVIPHONY. P.M. Sharp Key on E. 

sHi^^:giliiliii^giil|gliiiiigiiig 



fcSi 



[^SPiiiiliilliigiiie^ieiiSliiig 






Beboid ihe .TuiJgc do?ctiui>:, his guards are nigh, Tniopci's and fire attend IrJiii down tl.c eky. Hf-a 



lid Itell, drew near, k-t ail x'a.:>Zi COLIC, To hk 



i5£2 



=a: 



=ft±S^fcs 



s^Hii^ii^ililgiillg^Eit^^Elii 






if ng» 



^ 



iE^llE: 



^gp-^FP^I i^i^pg|ii^"=j^ ii ^p^l^ 



and the sinners doom : But gathef first my saints, the Judge commands, Bring ihern, ye an 



i 



ir 



gels, from their distant lands. 



m^ 



ti 



f=Ff ^| ^^^^ 



S 



PWi 



NEWBURGH. b. r,I. Sharp Key on C. 



i^iSISP 



:^ 



me^i^^iiiiPi^i 



41 



iiiii: 



m: 



-T^ 






?liiiiteliiiii^l 



Let ev'ry creature join, To praise th' eternal God ; Ye heav'nly hosts the song hegin, Ye heav'nly, Sec. 



And sound his name abroad. 



;fc:. 






^l^iiiliiiiifiiiilll^ie.iSill^eil^i^ 

Thou sun with golden beams, And moon with paler rays ; Ye starry lights, ye twinkling flames, Shhie to your Maker's praise. Ye starry, &c. 

1 2 



^iiy?;SSiifs^l^=iis^iiiill 



i.^^#^ipp^PfjEEg=j;g^^p^liii|ii^^^^gig3 



42 



EDOM. C. M. Shar}) Key on F. 



lii^ffiigUi 



iiii'^gigplg^il^ 



li^Siiiiiiil:mi!:^^ili^i^li^ 



AViih Eonffs and honours soundinc Joud, AddreM the Lord on high, Over Uie heav'ns he epreads hiy cloud, And waters vv\l the «kY. And waters, i.c. 



He seiidr; his sbow're of 






gi^lffiglH 



eiiliiilgltel^iliiiii^i^^ii^ii 



blfKil ii» 'lowB, Ti' cheer the plains bulnw, He makes the jnass the mountains croTi'n, And com In vMie^ grow. He maties 



^iiiiiiiii 



mm^^^m^^^^^ 



-MONTGOMEHY. C. 11. Sharo Key on C. 



43 



:E^iii|-illiiii^^g 



ffligiterai 



'^ 



s3e: 



Early, my God, wilhoul delay, I haste toseck tliy face; My tliirsty spirit faints a 



way Witliout thy cheering g 



i^o piigrints on ths 



igiHii 






giUt^iEig 




^"^^^li^im^lii^igg^Bffii 



So ptlgriuifi un ihe scorching saivda, So, &.o. 



^JP^igSi 




siggiiigi^aji 



^^^m ^^mm m^^m^^^^wmm= 



A^* 



pilgriaw, &c. Bene&lli s burning sky, Long for a cooling stream at hand. Long 



And t!:Gy mu&l drink or die. 
1 2 



^KSi 



^IMiiigli^EiliiiJiiiilliligl 



e^^^Bl^^li 



GRAFTON. C. M. Shaip Key on C. 



Ef ijj^ -i 



ii#i§ i^ iigigiigjgsif^gp^g^-p^pg 



Jesus ! the vision of thy face, Hath overpow'ring charms, 



i^isiie 



^ 



Scarce shall I feel death's cold embrace, If Christ be in my arms. 



ii^4iigigigi^r^^fisgi 



Scarce shall I ft el dealli'3 cold etnbioce, If Christ be ir; my arms. 6cai cc, &;c 



Oiiiiigii^ig^iiil-^iiliilll^iil^iftiri 



Scarce 



Then while you hear my heart-strings break. How sweet the minutes roll ; 



^^iiigiii^liiliE^^i^-ili^Ji^iifel 



cull! cmljrai,c, If Christ be 



l^iliiMiiilPliilgggiiiilMli 



Vlst^'. hhi is, csy arnie. 



Chii=i be in my arn;a 



45 



Grafton, continued. 



;^^ 



FF 



^iiliiiilliilllilllliliiiSlli 



How sweet the minutes ro 



A mortal paleness on my clieck, And gli ry in my soul, And glory in my soul. 



iiB^^^grEiili!i-Siiii^jiiiiiili-^l^_ 



A nior - tal palc'iiL'=ri 



^teSiiiiiiBi^lpisiilgSiiil^' 



A mortal jiaJeness on my cUetk, And giory in my eoul. 

BRIDGEWATER. L. M. Sharp Key on C. 




ig^iiiii^^iiiiiii^ii:gigiiiii 



iSSiSSfi 



j^p g gi a iii M 



Life is the time to serve the Lord, Tiie time t' ensure the great reward; And while the lamp holds out to burn, The vilest sinner may return. The vilest, &c. 



i^gsg^iii 



igifeiigSiililiii: 



SiHll^^iiiliiBiliMiliigi^: 



l^ 



^^^^^m 



1 2 



iii^liSiSiii 



DEVOTION. L. M. Sharp Key on C. 



lis: 



irrcx is the Jay of sacred rest, No mortal care shaJI seize my breael ; 



O may my heart in tunc'be fouH^l, Like David's harp of •olci 



jgjj^^lgl^i^igl^iS gEl gg g^^ ^gffliggi 



.^gjSEia^g^ 



WM 



O may my hca-^t ii» tant he fuuml, O may 

DAUPHIN. S. M. Flat Key on A 



iBigga a ^i 



il§^iiiiis:^^ii^iggigiii5ii^iiii 



To serve anil pleasv tlic- Lord, To 



^mSiliil^^^iiiii^ilSilimiiiO 



For life without thy love. No relish can afford ; 



No joy can be compar'd with this, To »^i < e aud plpa»e the Lord. 



iiis==SEiiSiiifiilfi?|g^lfesiEl?giiiiWf?fi 



g g^S ig^Migiii 



No joy can be compar'd to this, No joy 



ifisli^iiii 




LENOX. P. M. Sharp Key on C. 



47 



-r^ 



m 



^^m^^ m^ ^^^^^^ mm^mB^ 



Ye tribeeof Adain join, VViUi lieav'n and earth ontl eeas, Ami offer notes divine To your Craator's prake. 



ii^ilSigi^Ji 



Ye holy throng Of angels bright, In worVte of light, Begin the song. 

1 2 



Ye holy Ye holy 

.ilfSgiiEiiilliiSiigSiiftSiiigiiii 

Ye huiy Uirong Ot ang.IiUriyhi, \e, fiu. In woi.d« of li^hi, litgin the song. 

CHESTER. L. M. Sharp Key on F. 




SiiirS-nagE B rggiii^ 



e ^ggg-g naSfeniiiiiiiiiEgiiifeii 



Let thehL'hheav'ns ycmrsoii^ is\i.«, Those Bi«cioiifl (ie!(l3 of brU - liant light. Where gun and moon and jilai'cts mU, Ar.d .'t^m tlmt qio-,v froin pote lo pole 




P^i^HB^iigglgf^iiSi 



i^sSSHiiiSiiiiMii&^i^^iSi 



iS DOMINION. L. M. Sharp Key on E. 



ItEZ 



----"-—£ 



■^e:^ 



Jesus shall reip-n where'er the sun Does his successive journies run : His kingdom stretch from shore to shore, Till moons shall wax and 






TiJ iiiooiid sha.l win and 



Iljs ivingdoni glrctch I'roiii gliore to shore, from ehore lo shore, Till 



p ilEg^ :ip^ppppi§ ^ pii^p p iii 



Till mcxjns shall wax and wane no more. His kint'dom, ^c. 



mms^^^^^mmm^^^m 



waae oo roorSf 



^^^rffffglJEfpi^zB^kiSi^i 




SOLITUDE NEW. C. M. Flat Key on A. 



4d 



Fly like a tiiu'rous, treinbhng dove, Fly like a tim'rous, trembling dove, To dit-taiit mou.i - tains fiy. 

My refuge ia tiie God of tjvo, My foes insuU and cr>-» 

iiULiillSglii 



Fly like a lim'rous, trembling dove, Fly like a tini'ioua, trembling dove, To diFtant 



T 



HSI^iiiilligigSgli 



i^isiiigiiiiisgi: 



SSSffi^ 



Fly like atimVoue} trembling dovo, 



l!llii^£SiiSilgiiggl^iiii^Sggliigife§l 



;:^nce I Iiave pUc'd my trust in God, A refnj;e always nigh, Why sliould I like a lim'touij dove, Why should I like atim'miis dove, To distant oiounlains ily ? Wby, &e. 



To diaiBM mo«niasn6 fly 1 



ii3§iigiiii!i^f^!iiiigiiiSiiiiSi^s 



My trust in God, A reOiee ajwayg 



Why should I like a lini'roud dove, to disi 



i dove, To distant raovitairtf fly 1 



^ 



JEE^Ef^JEf^ii^jpfp^pJF^^^j 






A rtfuge always ii^h, 



tatf irwt ui S«4, 4 wAige always nigli, Why Bb«(^4 . 



k tiak'xvus iluT«, To dielaot ia»uuMuu: Oj ** 



50 



CLAKEIMONT. Flat Key on A. 



TreiiililiiLi;, &c. 



^iPiaiggliliiii^lSia^telSSii 



Vual :-iark ot* ;;eav'n!y flame, Q.uit, oh 1 quit tfiis uiorial frame : Trembling, hoping, UntE'rin*, 



fij" - i'*! flyinf, fly - iag, Oil I tbe pun, tbe bliss M' dying! 



I 

iHii 



Hark; they T^lusptT, airele »ey, Hark! tti»> whisi>er, angels say, 



;^i^iiiigili 



i 



C«oM, fond nslurc, cease thy strife, And let me Isnguisli into life, Aoi] let me languish in - to lii«, 



^lisip^i&isiiii^^Siii^^^ 



g=^ 



Ilnrk ' thf.Y whispiT, ante'.s edy, Fister •pint tome awny. 



lii|gi^^iii=S^S^i^^ii 



51 



if 



SEE5 



Claremont, continued. 



Hark ! Sister wpiril conit away, Sisior spirit 



^l^irJilliiiiiilli^iiiiigilSlSI^P 



Wliaiii; this Db.-;orbsme quite, Steals my senses, shuts rny ^iii^i, Dmwnsmy spirits, draws my breath, 



IgiKsi^SiiiSiffiii^giBieiiiiiSfei 



Haik! they wiiisp.?] 



, Sisier spirit come away, Pister 



s^g|^gl^iiiiii^ii gmffig ii|g|^^^ 



If? 



iS 



^ 



I^ 



Ei?^!iiggiiiii^j§^iiiiiimii 



TfTtf ^^^' 



titj: 



gmiiiliiiSiiilli^i^iiiiMi^iig 



Ttn mo my soul can this t»e death ! Till me my soul c;in t]iU U- death ? TlH 



The world receipt, it discppcar^, Ileav'n opens on my eye?, My ears witfe 



liiiil^ilili^iglfii^liiiiSgigg 



w^^^mi^^mMmaMMi^M 



4i 



Claremout, continuet. 



- iig, My ears wiUi eoua^ &«rapiuc ring. Lend, lend youj winge, I uK'UJit. I riy, I inoaut, 1 tiy, O grave, where k thy vkiory ? i^ 



?ouD(k aerapbic ring, My ears with e&uiidp scrapliic ri 



:^i|g^iiSgig^Eipiil 



3EESI 



aijgj^pff^Pf^ 



i^li^i^l^iiiL^ii^lii-liiii^gSgi 



^lilSlli^JlliililSlte^Slilliiaiii 



J - ry, O £rave ; where is Uiy viciory 7 thy 



ry \ O drati ; where is thy eting"! Lend, lend your wings, I mounts I fly 

3; 



I inonni, I fly, I mount, i fty, I fly^ O grarv, when 



pg^fL^g^gga^g 






Claremont, cnntmued. 



53 



fli^S'^ii^g^Jlil^S^liiiS^^ 



is thy Ticto - ry ? O death, where is thy sting ? I mount, I fly, I mount, I fly, O grave ! where is thy victory ? O death, where is thy sting ? 



^i 



i 



^-9- 



^l^^illi'Sg^iiiii-li 



KICKMANSWORTH. L. M. Sharp Key on G. 




^^WiigaiSfiiiiiisil 



i^azi^tzz 



iSS&fi 



Great God, attend, whUe Zion sings The joys that from thy presence springs : To spend one day with thee on earth, Exceeds a thousand days of mirth. 



S^SiiiilSiliiiiii; 



Hiilliiiiggili^Biiill^iiliiBli 



6i AMANDA. Flat Key on A. 

iflliiiiiSilLiiiilliiiill^lSlliigiyigi 

Death, like an o - ror - flow ing stream, Sweeps us awa^s our life's a drc;iin, An empty tak-, a nio DJng flow'r. Cut down and wither'd in an iionr. 



liiSl^^PiaiiiSiiSli^i^i 



SUTTON. S. M. Sharp Key on F. 



-SzHE 






»-T-© 0- 



i^i^^l^ 



Maker and sov'reign Lord Of Iieav'n, and earth, and seas, Thy providence aonfirms thy word, And answers thy decrees. 



'i^^giiili a^SSg g^^^l^iilgii 



^^mm^m^EmM^^m^m^^s 



SUTTON. C. M. Flat Key on F. 



fSiSSm^- 



. _i lb 



"ja: 



m 



^SES 



g-BTB 



i=l= 



obzSzs: 



m 



\ m^ mm^m^m m^^3^m ^ w^^^m 




•'hxe me, O God, the swelling floods Break in ufvon uiy soul ; 



I sink, and sorrows o'er mv liead. Like mislitj' vratera roll. 

1 2 



li^Si^gE^iliyiisSHSEiiiEi^ii 



iisi 



I i>u»k, and, &c. __^™__, Like 

1 sink, aiid sorrows o'c-r my litad, Like niigljly waurs rull ' ' •■ 

OLD HUNDRED. L. M. Sharp Key on A. 

:iz~TT-rzp3 



iliggia^ilSi^i^^iiliii^^^iS^ 






O come, loud anthems let us sinj^, Loud thanks to our almighty King ; For we our voices high should raise, When our salvatioiv s Rock we praise. 






ADESTE FIDELLES. L. M. Sharp Key on A. 

iSlliiillilSiiliiiiliPJ^^ieiiiigiiffi 

O conic, loiii] anthems let ns Biiig, Loud ttianks to our Almighty King, For wc our voices fiigli should raise, When our salvation's Tock we praise, When our, &o. 



S^iiiigiiiiiiiigigiiilsa^^Silglii 






mmm. 



-^jrk T-F hr— I 



B: 






SS^tti^il^iiS!it§ 



f^is^ 



^du-~^ 



BATH, L. M. Sharp Key on A 



:s=5::®zr::s=^:. 



2^: --.^rr e^g-j^e-pT-g^g^^-pTe-pTe-iSiTP-Qj-G^ 






ZTZc: 



BzB ^ 



t>^ 



;-^^' 



Nature with open volume stands, To spread her Maker's praise abroad; And eT'ry labour of his hands. Shows something worthy of a God. 

nztT-rCTD.-—]^ 



Si; 



31 



sisi: 






fe^?;gllgE=iiy3;ii?i 



1 



iSli^IiiiLSyiii^illligiiHli^lll 



BROOKFIELD. L. M. Flat Key on B. S7 

iiliiiS^ifiiiiiiiSiiaiiiiiSli^ 

'Twas oa that dark, that doleful niglit, When povr'rs of earth and hell arose Against tlie Son of God's delight, And friends bctraj'd him to his foes. 



7^-- o r T^~^T~]~t1T'^~i T F T "T r^'^'F'T T'"'^'"i\TP~^'PT>r-~~~T"^"r^T^~-^T— ^^^' 



:S=p: 



-^ 



'^a: 



[T^ 



BRAY. C. M. Sharp Key on G. 

Awake my heart, arise my tongue, Prepare a tuneful voice; In God the life of all my joys, Aloud will I re - joice, Aloud will I rejoice. 



58 



rf; 



NEW DURHAM. C. M. Flat Key on B. 



.g.uu.m Wl.weyou, 



1 doleful s.iund. Mine ears attend the cry ; Ye living men come view 



Hark, from ihctnmbs a dotefuleound. Mine ears attend theory; 



Ye living men come view the ^oui d, W'here you must ehorlly lie. Ye living men come 



ie. Ye living men come 



Ye bving jiitii ccme view Hit ground, Where you muBl S'lonly lie. 



WELLS. L. M. Sharp Key on G. 



^:^mmmwm^mi^^M^^i 




,».w the ground, Where, tec. 



^^^^M 






Ye nati'ins round the eartij rejoice. Beforo Ihc Lord your si.v'relgn Klne, Serve him with clieerfcil heart and voice, With all your tonRuea his glory sing. 



S-S 



xn — TrrrrE-qK-f^i- 

-^ G-l en^ -• »-«i-L.4 — -r*-; — I 






sJiiiiiiBrEi^ 



DELIGHT.. P. U. Mat Key on £. 



^9 



^■( 



mi^^MummmMmmti^Mm^^m 



The sparrow for her vouhl;, Wd', pleasure seeks her nest, 4nd wand'ring swallows long To find their wonted rest. 



ES: 






My spirit faiuti. H lUi equ d zeal To 



=iT^^'feSi^:Siili§liiiiJiiiiiii 



spiri: taints wUh equal zeal To 



ajid (iwcll a - mong ihy saints. 



liS^p^iii^iiiiiii^ii^i 



m 



^lE^S-iSJ 



i^^rEEizdlf 



B!y spirit faints with equal zenl Tu ri-se and dwuU among tliy saints. To tise and dwell among thy ^ainU. My spirit 



fi^iiiSi^^ii^EE^iiifisiiiiii^iii 



equal zeal :o ri • se and dwtll a 



=^;=f!»zr^yriirr5;:zT==--z.T:^=-r^^^g^|-|^r=-^^i-r;-x:c 



,^iiii^=Sl?Ei:ll^iil^^e5i£;f*-i-^-iH 



i&iMi 



i-ise aud dwell a - nioug thy sai 



69 



MORETON. L. M, Sharp Key on C, 



Ti^o' jjour, loo dtar 



mm^^mm^^^^^^^^m 



iii^^iili 






i:. 



iiliiiiilglrSSiiliSilii 



3SEE35f; 



S^iiiiiili 




AMHERST 



P.M. 



immm 






Sharp Key on G. 



Ti sec my God. 



iiiiaii^^^iiii§liaSligiiiiMii 



Lord of the worlds above, How pleasant and how ftiir, The dwellings of thv love, Thine earthly temples are. To thine abode, My heart aspires. With warm desire* 



*gliSfiiliiiglSiili^i^SSil 






BERNE. C. M. Flat Key on A. 



61 



My dav3 arc wasii 

iiliiiiiftglLiiliiliiiiliiriiiiii 



Ile«r 11U-, O Lord, nor hide thy face, Rut antwor l.'st I die, Ha 



t Liuil: a lliroiie of grace, To liear vhL 



My days are wasted like Ide smoke Dii^holijrjg in the air. My 
■ ry 1 y days are w;u-ted kke tl(e emr.ke, Dissoivin- in the air, My strength is dry'd, My 



E^igi^^ii#j||iiigliiSili!!iSigigi^^ 



sigiiii^iiilieifiiiiSliiiil-mi^S 



;:^T 



Continued. 



AYLESBURY. S. M. Flat Key on A. 



jeagit) ia dry'd, my heart is broke, And eiiiki.i;:, &e 



iiililiiliiiiisii^ 



ll^iiiil'liffil^iiiS^ilgiiiig 



heart is bioke, AnJ sinking in despair. 



strength is dry'd, &.C. 



The Lorl my Shepherd is, I shall be well supply'd, Since be is mine and I am his, What can I want beside? 



i^^l^illiiligSl^i^ifiSiiiiii^ 



ANTHEM. Luke, 2d Chap. Sharp Key on G. 



Behold I bring jou glad tidings, glad tidings of juj , wnich sl.ail be iu all p-jopJs. 



=» 



;r 






Lilill*!^ 



13 



m 



Bfbold I bring you slad tidings, glnd tiJing? of joy, wbich shall be to all peorle. 

1 -2 



^±S:^ 



m 



• — .ir^c-^—Tu-r 



mmi 



:^-±^ 



mmmmm^^^^^ 



3=3 



il^^liti^^i^illMM 



For unto you, unto you is born this day, In the city of David, In the ritv of David. 



^^^mmm^m^mm^^^mmm 



:pr 



A Ss - - viour who is Chri - 3t tlie Lord. 



^=?T==^ 



T3-^ 



For unto you, unto you is 



born this day, 



In the city, In the 



I 



yH^i^aiiSiiiiiiiiifiilSi 



Anthem, continued. 



63 






(1 tliiings, 



Gla . - d tidings of joy, 



S: 






Gia - - d tidings, glad tidings of joy, glad tidings 



A Sa - - viour who, ix 






Gla - - d tidings, 



Glad tidings, 



Gla » - d tidings of joy, 



PiSii^iii^lteiiiiiE®ffiPlii#i 



A Saviour who is Chri - st the Lord- 



Gla - r d tidings. 



Gl^ tidings, glad tidings, glad tidings of joy, 



■S^r^l^l 






g§iiiiiil[B^^E^E=IN^i=s^^SiW 



wliicii slall be to all people. 
1 



Yon shall Snd the babe wrapt iu swaddling clothes, ly • ing 



^■»*^"^- 



sjiiig£ssiiji^g^a^i j^j^i^ ^pp^ig=g 



And this shall be a si 



liliil^ 



^Se 



gn uu - to you, Yov! siiall find the babe. Sic 



3E^^Efi= 



i^:e 



=^3 



t Anthem, Continued. 



ly - - - luy in a manger. 



And suUdenly there H-as witli the angel a multitude of the l^cav'n .... ly, heavnly -.[y 



ing, &c. And suddenly, &c. 



in a manger, Ly . ing, Szc. 



And, &c. 



heav'n - - ly 



«<[z:szr: 



J 2 Slow. 



'Ears^ 



ilsii 



EEjEEf 



HI 



i host. 

1 2 



IHg 



:EI^ 



Glory to God in the highest, Glory to God in the highest, 



itei^^^Egli?i?Li^H*i 



SEigiSlii^i^Eii^il^^Pim 



icitsd 

.■;aiiing, prai-,uig, praising, pr-jii . ing God aud fr-'JU'S, 



Anthem, Continued, 



65 






HaUeluja'i, &c. 






aad on earth peace, peace, good will toward: men. 



iHi^liiigi-li 

Hallelujah, Hallelujah, Hallelujah, llallclnjah. Hallelujah. 






^Sl^^iS^iiii^^'^iliiiigggiiJiiiii 



HalleiujaJi, Hallelujah, &c. 



PENITENCE. CM. Flat Key on A. 



[^^^^ 



■-#e— 



'-aei 



m 



-° T-e 



:?E 



IZfH 



I — p-l-3-S 



.a — p—-, — © e- 



-E — X 



L&; 






To thee, O God, my cries ascend, O haste to my relief, And with ac - custom'd pi - ty hear, The accents of my grief. 



?i^Sriiglirii^iS^Miiil^l-Si 



iiii^S^i^^^ 






tc 



POOL. L. j\I Flat Key on G. 






Aud in the deep, Aod id the 

G" 



^ 



They tliat in shijis with courage buld, O'lt swcllin;; waves tlicir trade pursue, Po God's amazing norl-s he - l.tld, Anil in tl:f dcf p, 



^-r-t^-^T— ; 



I iE|5 p_^;^^ g^|E p^ ^j-: ^ | E. ^pigEj |gg-:g| ^P 



And ip the deep. And in tlie 



EiiP 



And iu tlie deep. 



,ii^Eiii§Eli=iEiElSSiSiP=^iiiS^iiii^ 



deep. And iu the deep his wonJel'^ view - 



32::; 



Siii^iiii! 



ders, wonders view 



voiidcrs view. 



iHgil 



::zsi 



m 



And in the deep, And in the deep, his wonders, wonders, wonders view, his wonders, wonders, wonders, 



1=Z5: 



"^^^^^s^^^^^^m ^^^^ M 



dii p, And ia the deep, the 



Ms wo 



ders wonders view, 



ders wonders view. 



iggi^iiiprii^giiiiii.giggii gE=i=ig^ ^ 



Aac ;u the ilcupi Aud a tjic deep his v. uu . . - ^j. 



- dti* vicH-his-wc 



icit view. 



iliHi^llil 



CALVARY. C. M. Flat Key on A. 



r=x^ 









ATy tlioiiglits that often mount the skits. Go scarrli the \rorld bf ncath, 



Where nature all in ruin lies, Where, tc. 



iil^-lgiiil=iiiillilii^l 



mWi 



Where nature all in ruin lies, Where, &c. And owns, AnA owns, And 



iii-liiga»ilirigS^^SffiiiiE^lM: 



Continued. 



f^gili 



W^here nature all in ruin lies, Where, &c. 

MEAR. C. M. Sharp Key on G. 



And owns, And 



oirns her Sov'rcign's death 



ieath. 

J _ 



EEEESEr 



l^^' 



ig^iiSfflt 



'»i»- 



Will God for ever cast us off. His wrath for ever smoke. Against the people of his love. Hi? little chosen flock. 

liiS^iSggiliilii^iiiiiiiilil 



68 



WESLEY. C. M. Flat Kev or I. 



^gUi^^iiSi^iHiiig^i^is-iiSgigl 



With inward pain my hcan-strings aound, My soul difleolves away, 



Dear Sov'reign, whirl the seasons round, And bring, And bring the promis'd day, And bring ihc protnis'd day. 



mtdir;; 



fe^Hil^iii^Si^i^S 



Dear Sov'reign, whirl the gcasons round, Dear, &.c. And bring, And bring, And bring the promis'd day. 



i^li^Hil^ligliraiSiitt 



Dear Sov'reign, whirl the seasons round, r»e;ir, &r.. And brinj^, And bring the jTomisM day» Ai.d trincr, 4tc. 

COMMUNION. C. M Flat Key on A. 



iilifiiiSliiliiiiiiiiiEliSiiig^l 



ii^iiMiiPJig^liliEli 



iH^iiSiiSiiii 



^?~ 






Alas ! and did my Saviour bleed ? And did my Sov'reign die ? Would he devote thatsacied head, For such a worm as 1 



irii^ii-Siliril&^B^^SlLilitiii 



((^^ 



ZC2ZI 



FRIENDSHIP. L. U. Flat Key on E. 



ea 



From low pursuits exalt my mind, From ev'ry vice of ev'ry kind; Nor let my conduct ev - er tend To wound the feelings of a friend. Though 



r 



i=i"^iliE^i^^iilii^l"i5gilSS^ 



-►r-T- 



lH^il^ 



^g^SiiiiEiiiE^ii 



golden flow'rs my path should grace, And joys salute me as I pass, Yet may my gen'rous bosom kno-\v, And learn to feel another's woe. 



^^iSliSlligliPiii^ 



iiSlillliillEEiliii^^il^iiEEEpiil^^^^^ 



70 



BUCKINGHAM. CM. Flat Key on A. 



^-f"- 



ifeS^ 



^ ^Fl-a - 



m 



ii^iilggg^EgffEii ggg giiii 



Help, Lord] for men of virtue fail, Religion lo - ses ground; The sons of wicked - ness prevail, And treacheries abound. 



iifei^iil^l^liWipg^Pii^iS®^ 



*M^' 



PUTNEY. L. M. Flat Key on A. 



^ 



^^ ^^=f^||p 



IffiLrd 



iii|l=il^lil^SigiiSiii^i^igii 



Man has a soul of vast desire, He burns within with restless fire ; Toss'd to and fro his passions fly, From vanity lo vanity. 



1-.. 



-b- 



iieiiiiiiiiiiiiPi^igg^^iiiil^^^iiiif 



71 



MANTUA. CM. Sharp Key on A. 



SE^IliiSilgiii^liig^igii^ 



Htt: 



izBES^z^f:^* 



SP 



^-- 



A blooming par - a - dise of joy, In tliia wild desert springs, And ev'ry sense linda su-aigbt employ On rwci/l relcslial tilings. White lilies all around appear, And - cacli Ins glury »l.ows. 



illl^lilEl^iil&iiiiliiiigpmil'iiiilii 



l^^gpgS^^^^iiigHiaiS^iliiaE 



The Rose of Sharon blossoms here, The Rose, &c. The fairest fl.iw'r tliat hlows, I he Rose, kc. 



iiEglllig:^iilifjgiigigg§gil't^ 



riie Kd.-e of Sharon hliwsoms I: 

■L 



The Ruse ol" Sharon blosaoms here, The t^urest flow r that blows, T.i^ Ro^ 



i-^i^^^iHii^g 



Hf— t^ 



lAiiltai 



The Rose of Sliaroo blossoms here, Tho Rose, ic. The Rose, tc. The fairest flow'r that blows, The Rose, kc. The fairest fluw'r that blows, 

MARINERS. 8 U 7. Sharp Key on F. 



^S^. 



Si^i 



Saviour, canst thou love a traitor? Canst thou love a child-of wrath ? Can a hell de - serving creature Be tlie pur - chase ol" thy death 



^l^^g^^^l^b-^E^I^^ ■:. 



::ipJ 



^* ^"P^ ~=rT~: — IT — 1~ — 



i^lili-^li^ifeiB^^ii^iiiSI^&^ii 



72 



CONFIDENCE. L. M. Sharp Key on G. 

Hold n;e, O Je&u 

tfggiiii^ii^iiliii^ii^ii 



Hold n;e, O Je&ui., in thine 



mm^. 



: :Jirsr«rS 



Noiv ca'i my sciul in God rejoice, I iVc) my Saviour's cheering voice, My heart awakes to sing his praise, And lones to join immortal lays. 



^i^ii^Sgii^iii^iiiiiSilillll^i 



Hold 1 

Very snft. Loud. 



m 



Hold ir.e, O Jesus, in thine 



arms. And cheer me with immortal charms, 



3E 



^ji'Ei^g^l^iiiiili^pii 



l^i^l^^lgiiiii^glllgliigii^ 



Till I awake in realms above. Forever to enjoy thy love. Till I awalce in realms above. Forever to enjny tliy love. 



anas, Acd cl»eer mo with inunortai ciiajnn% TUl I 



ig^g ^ pl^iap# Nm# fpiiliig^ 



a'HE ROSE OF SHARON. Sharp Key on A. 



7i 



fe 



m^ 



I am the rose of Sharon and the lily of tke vallies. 



S 



m^i^m^^ 



I am the rose of Sharon and the lily of the vallies. 



^iSi^^SI^I^ 



}*^ 



^^t'i=zr 



K^± 



S 



iSSiiiisS^ 



i^^^^il^l^gEi 



As the apple tree, the apple tree among the trees of the wood, 



I^^SiiiSgiliiii^ 



:15 



As the lily among the thorns, so is my love among the daughters. 



I Rose of Sharon, continued. 

i^g^ig^ii;^iiiii:iiiiiiip^iiiili 

I sat, &LC. 



so is my be - loved among tlie sons, so is my beloved among the sons. 



I sat down under his shadow with gi-eat delight, 






I sat down, &c. 






igSiliSliliiiiili^iiiS 



I sat down, &c. 



ii^si^^glilP^^llE^i 



i 



& 



4- 



And his fru 



it was sweet to my tas.tc, And his fruit, and his fruit was sweet to my taste. 



^I: 



^Eii pl lip lllip^PplESii 



And his fruit, and 



IliiiiSgiiiiliig^i^ 



And liis fru - - it was sweet to my taste. 



liliiiiSfeiiiiilteiiPiiiK-gl-^iligl 



And his fruit, aud his fruu was sweet to uiy taste, Aad liis fruit, aud liis fruit was sweet to iny tasteT 



He brought me to the baocjuctiug lious? 



:E"EEEl=Er~!Ei 



llose of Sharon, continued. ''5 



'^ 



iliigiiiii^igl^S 



stay me with Cagons, 



He bro'l mc lu the ban^iueling lioust-, his banner o - vcr me was love. 



:-=?: 



^iiiii^igSig^igi^il^^^i 



Coir.Corl me with 



.^^fer=@iiilitiiPiiiiiEt3i^=^^=i^^l 



ius banner o - ver me was lore. He, &c. 



(r==^ 






for I am sick, for, &c. 



SililiiilisliiJi^iiii^liiil 



for I am si 



ck of love. I charge you, O ye daughters of Jerusalem, 



^EdZ^rBE^ 



[^~0^ 



apples, lor I am sick. 



^Mm^^^mMM^^mm 



f£|z;: 



31 






T6 



Rose of Sharon, continued. 



i-L-L-L4-: 



r-g 



a £i a:t 3: g 



J^s 



CiiLitr: 



=F:«t 



3£ 



i^^ii^^-fe 



that yoa stir not up, that you stir not up, nor 



By the roes ana by the hinds of the field, 



_L I ai W A i 



z±z-i — rzcr 



^^. 



=C=u==i: 



that you stir not up, 



1^^^ 



i-L-t^tL-LJ — b= 



itri::^ 



tbal >ou slir uot up, 



pg;ii| ff 3sr43^ |^ K:"!:i53p5?j^3g ^f 



The voice o;' mv belovo J, 



^gUiiSittaiil^ 



a - wake, a - wake, a - wake, a - wake, my love till he please. 



I jfT-R 



EE 



ESS 



iSiSi 



m 



i^^ifflPHi^SP^^^^l^liSssI 



Beho - Id he cometh. 



Rose of Sharon, continued. 



77 



£^Pl=II^E!iSs^SlEii^i=^=^Ey"^ 



skipping. 



It-apiny, 



iii^iSi^iililiiiilils^^^ 



skipping;, leaping upon the mountains, skipping upon the hills. 
I I 



^illiliil^lgl^lgggiiE^EE^ 



skipping, leaping 



.i^^si^Egis^illsilii^^gigyi^lS 



leaping upon the mountains, skipping;, 

m 



leaping, 



Jly beloved spake, 



^t=^ 



i 



^aid unto ine, 



'^ m&mi m^^^^ 



^. 



iimHi 



w^^^MW^M 



rise up my love, my fair one, and come away, 



For lo, the winter is 



^^m^lTiiiSiia^ii^i^l^ 



rise up, 



illigiliilgiii^iiiiiiiii 



Rose of Sharon, concluded. 



'iEiEilfiii^iiiii'^M^^lEi^^"Eiisll=?^ii 



=l^li=i=iii^liil^^iFigi^iiiiliiBillil 



past, the rain is over and gone, For lo, the winter is past, the rain is over and gone, the rain is over the 



|c^: 



£££EEa 



lm^=j===lggiiiiiSiii^gigiiiiii&llB 



dr^^^^=^ ^^^ ^p Eig''^^^P^F^^^^^^^fippF^^FPM^ 



pfe;g#pl^ ^^i^i iggi^^p ^ ^p jE^ppip=Pippi 



rain is over the rain is over and gone, For lo, the winter is past, the rain is over and gone. 



icrfe 



^^^^gll^gi|5^i^E|g|i 






: nr-Pr:. i=3-^ - *- jt 



-V--^ 



.^^gii^^Piiiiiiiiiii^iltllililil 



BRISTOL. L. M. Sharu Kev on F. 



The lof - ty pillars of the sky, And spacious concave rais'd on high ; Spangled with stars a shining frame Their great Oriffi- 

illiiillligigiSliii^iilii^^ 



lET;) , ^g7|^rSz 



iz:«r: 



i:!i:Jt:zti!i; 



3:z~zt: 



[^EEE||g=¥E^S 



z±t 



— tA 



^^P?iiiliiliiiiEgiP?iiiiiiiggisj 



i^S^iiiMiliii^^iiiliiii^SSiiiii 



nal proclaim, 



Th' unwearied sun from day to day, Tours knowledge on his golden ray, And publishes to ev'ry land The work of an Almighty hand. 

' ' "~^ ' " I. 2 



.SiilSilgiSiiiL&SiilliiSsrtS 



so 



NEWTON. S. M. Sharp Key on C. 







SiHiiiiisilPliiiiiE 



iliiiil^l^iPlill 



mmmm 



ijcl diffrinjr nations join, To celebrate thy fame. Let all the world, O Lord, combine. To praise tliy glorious name. Halleliial 



JIallelujah, Halleluah. 



Praise ye tlie Lord, Praise ye the Lord, 



Continued. 



EDGEWARE. C. M. Sharp Key on G. 




5f$feEP|5|^^3i^Si$^3&|p3SfeSS;fSf 



O God, my heart is fully bent, to magnify thy Dame, My tongue with cheerful songs of praise Shall celebrate thy fame. 

_iiiilig^Miiiiiiiiiiiii.^^iii^ 



BALTIMORE. S. M. Sharp Key on C. 

i^iil^Siliiii^ilililiiBiliiiiiiiiilil 



81 



Let all my youthful crimes, Be blotted out by thee, And for thy woiid'rous goodness sake, And for, &c. In mercy think of me 



q*^3 



:^±z.flE|^rH[j^^ tiE i: ': 



i^^- 



LISBON. S. M. Sharp Key on B. 



ii^gNSs!^:El=iHy=iii§.-^ggil_^l 



iiii^giiliillCiillill^iigiiilii^iii^i 



Come sound his praise abroad, And hymns of glory sing, Jehovah is the sov'reign God, 



The universal 



King. 



^i^iSs-iiii^iliiiliii^^epi^l 






l^Wig^^llii§iiliiiliiiaiiii^iiS, 



St 



VOICE OF NATURE. P. INI. Sharp Key on C. 



rfiriBK 



SiSSgiS^ggi 



And si.anglcd heav'n~ a si ining frame, TJieir great Original procla 



^i@§ Slg ggiaigji:ESEi sip g£gj|pB^|gg^ii^ 



The !t"»ci™5 firman^ei.l on Mch, Willi all llje blue ellieriul sky, 



ggiilliiEiliiiiPiiliiiiSiii 



And f^panjiled heav'ns a sliining framp, Tlti-ir great Original proclaim, And, &c 



And Fpangled htav'n 



.i^li^giiiMiiiiiiiipg 



Their great Origjiia; protlairii Their great On - gi naJ pre- 



a==EEEJK: 



S 



Continued. 




And spangled lieav'iisa sbining fraruej Their great Original proclaim, And spangled 

LITTLE MARLBOROUGH. S. M. Flat Key on A. 






Mi 



iSiiiiiiiiiii 

Welcome sweet day of rost, That saw tbeLord arise, Welcome to this reviving breast, And these rejoicing ej'e 



liilSlil^SiilSSilimiii] 



S3 



PARADISE. L. M. Sharp Key on 1>. 

Now to the shining realms above, I stretch my hands and glance my eyes, O for the pinions of a dove. To bear me to the upper skies. 



m^^^^^^m^^^^^^^M 



k. k. r k 



ili£§i^iE3§ig^^^3li-^iill3lg-^itii^ 



^gppi^E^^l iiiilEili i^pp ^pil^plii ligii 



There from the bosom of my God, Oceans of endless pleasures roll, ThSe would I fix my last abode^ And drown the sorrows S my soul. 



ilHlil^S5Ei^3=illEiE[ 



Er' 



S4 



A JNLISONIC ODE. Sharp Key on D. 



Sacrei to btav'n behold Uie dome appears ; Lfl! what ausuit3clc;aiij:y it nears; AntelBlIie.TiseivcsbivcSeign'd M deck ibc frame, And beaut' - oof Sheba shall re - - port her fame. 



"^li^^E^fes^; 



'■ — ^ jiv P'p - — • • 1. '"'AN 



3H 



When the qnecD of ihe sou'.h sliall ] 






fe^S 



"-fttfrP 



Amon&rch Ucth graceful and wise, Deserving ihe love of a queen, And a temple weil worthy the skies." 



Ojtcn ye gates, receive a queen who sliarei With equal souse yowr happincffl and i 






Ode, coutimu-d- 



S5 



rvi riches nuicU, lut more of wisdom eee, Proportion'd workmanahip and maeoiiry. O charming Shc'ja, there behold What ni:i»sj- stores yf buriiish'd gold, Yet richtr is our art, Yet ricJier is ourart. 




i^iiiiilSSiiaiiiSiiSSiiiiS 

Wibdom &»d beauty both combine, Ourart to raise, our hearts lo}oin, Wisdom and bcauiy both combine. Oar ail to riuss, our hearts to join. Give to niasoary t!ie prize, Where the faireat clioose the wi^c. 



».—(•—». rv C'"*- fK -S •-a»— . — *— k 1 •' ~^2 ^ N ^^-: Plow, tr 



neauty Elillsliould n-isjomiove; Beautj' and or - iet reign cjt.ve. Ecautj' and or- der 

_n--i— 1-T st-»- 



igiieii^Sfi 



a*S^£ 



and or • der retain a - bove. 



il^fi^iPiiieiil 



MUNICH. L. M. ; Flat Key on B. 



tin- ifih'd ! Uia tin - i^ij'd! 



cry'd, Atid meeiily bow'.i i 



; and died 'Ti.- (.nisti'd ! ys, llu 



II, The battle's fouphi, the vict'ry wo 



liiifil^iil^iiiililliiiiilSiilgiSlS 




FUNERAL ANTHEM. Flat Key on F. 



Hiiiiii^^gl^ 



t±^ 



m 



i^liiiiiiiiiiiyl^g^iiilMiiSiSlill^ 



I heard a grea( voice from heav'n, saying unto me, Write, From henceforth, write, From, &c. write, From, &c. blessid are the dead ttat die in the Lord. 

Mt3='-=^'-^ ' --"-- ...» 



m^^m^mmi 



iiig^s^i 



n 






fl SgSf il^Efe^Eiiggiisi^giiigiz^^^li^gl 



^ - rmfrnm ^$im^^^^^$^m ^'^^^^ ^m ^ 



Yea, sailh the spirit, for they rest, 



far they rest, 



^for they rest, 



for they rest, from their labours, from their labonrs. 






^siiliPiiil^ipli-Sil^^iig^iiiS 



Funeral Anthem, continued. 



87 



MiiiSHiipEiiliiii^iiiiiiililii^ 



Samiiiiii^iiill^^Eiii^^Siiii^ 



from their labours and their works, which do follow, follow, follow, which do follow, follow them. Which do follow them. 



E 



2r 



znz 



ig^gSiiiliiiiiiiigl^^l-l 






Sl 



■ — ■ — m 



:EH: 



^^^E?iNiiiinE|gl^gl 



CORONATION. C. M. Sharp Key on A. 



rr^ 



r^i^gi^§^^g^^giigiri@^i^ig|^- 



i^H^BBIgl-^aiBig ggfegB 



AU hail tUe pow'r of Jesus' name, Lei angels prostrate fall, Bripg forth the royal diadem, And crown him Lord of all; Bria|r, &c. 



iiaS^S^i^iiSiSgi^liiiS^ 



§^i^iili^iiiS& 



AuJ crown liim 



tiz± 



^ 



mm^^^m 



88 



P^= 



i4^ 



3: 



EASTER ANTHEM. Sharp Key on A. 



The Lord is ris'ii in - deed 1 Hal - lelujah ! The Lord is ris'n indeed ! Hal - le - In - jah 



>*>^i^ 



:iggSlilii^ll^§liiP 



<l: 



Siii^ii^^ilgliiil 



kizB^^^ 



EtEE^^rEEfeS^ 



At 



H^gilMiliSiii^^ 



Now is Christ 



tbc first fniits of them Uiat slepf. 



lUl 



i^iiiiiiiig&liSg[ 



Now is Christ risen from the dcaJ, Anil bcco',!c t'ne first fruits of them tiiat slept. 



iE 



l£ir^ltl§iliiBii^ii 



liSiSifi^gillP^^P^igS^i^iS 



Now is Christ risca from the JcjmJ, Ab* becoaie the first fruits of tbeia that slept, ^'ow 



89 



Easter Anthem, contifiueci. 

iiliMeiSiiii^iiiliiilliliilEiiiiiliHpiSii 

miiriiiiigiigi 



And did he rise ? 



li^liiliiiiiili 



Hallelujah, Hallelujah, Halle - lu - jah. 



And did he rise ? 



And did he rise ? Did he rise ? Hear it ye 






ilHiiiiHE^Eiil^iiiiili 



i^JgiiiiS 



^--^T^-F-^-l 



l^iiigliig 



►reigri] 



nations, hear it, O ye dead ! He rose, he rose, he rose, he rose, lie burst the bars of death ! He, k.c. 



He, &c. 



And triumph'd o'er the grave? 



^m 



liiilliiiiiiiikftii^liiiiiiiiilill^ 



99 



Easter Anthem, continued. 



^^liiH^i^ii^iiiiliiili^ii^igJiSii 



^ii?iil==iiiJ 






Then, then, then I rose, t))cn I rose, then I rose, then I rose, Then first humanity triumphant past the crystal ports of light, and seiz'd eterna] 






.=t-L-ttt==i£ib 



Itaiiiiiiiilil^iliiili 






iiligigiSiiliiiiillliiiilii^iSlil^lili 

youth. Man all immortal hail! hail! Hcav'n all lavish of stran^je gifts to man, Tliine all the glory, man's the boundless bliss. Tli.ne all, &x. 



ill 



iiliMiliiiii^iiiiSiilgiiiiiiegi 



91 



CAMBRIDGE. Sharp Key on C. 

liiliilgliiifiiiieiiiiiliS-gSgrilgil 



IIow did my heart rejoice to hear, My friends devoutly say, In Zion let us all appear. And keep the solemn day, And keep, Ak. 



And keep 



iiiis* 



MORNING HYMN. C. M. Sharp Key on C. 

Awalce my sou!, awake my eyes, Awake my drowsy faculties. Awake and see the new-born light, Spring from the darksome womb of night. 



J-^' 



,iiii^i^igi?iiiriiiiiiEiiisiiii^iai^^ 

DYING BELIEVER. 8 & 7. Sharp Key on C. 

Happy soul! thy days are ended; Ail thy mourninsj days below j^j^,.^,,.. ^^^ Halle - lujah, Ilulle - lujaji, Halle - lujah, amen. 
Co, by an-;-l-gua;ds attended, lo the sip;ht ol Jesus go; y 



lii^illlliELiiliiiilfg^iil^iiiiigill^ 



^ — J 



92 



ASHLEY. C. M. Sharp Key on G. 



2d time I'iaii. Forte. 



Salvation ! O the joyful sound; What pleasure to our ears! 



A sovereign balm for ev'ry wound, A eordial for our fears. 



.liiiiiriiiiili^rMiimigliiiiiiil^iifi 

lilPiiiSrrr^iiiiiFiliililiiiiigiigiiiliil 
liiliiiiiiiiii^lllii^OiiiSigiEiEiSili 



Glorj-, honour, praise and power, Re unto the Lamb for ever ; Jesus Christ is our Redeemer, Halle - lujah. Ha! - Ic - hi - j ?.h, Hallelujah, praise the Lord. 

liiliiiiiiiiiiiliiiiliigigliilii^paiSi 



PSALM THIRTY-FOURTH. C. M. Sharp Key on C. 



93 



r^ 



;3iiifflSSiiliiiiiilii^iliiliSlliiiii ' 



The praises of 



The praises Rly heart, I\Iy heart and tongue employ. 



Thro' all the changing scenes of life, In trouble and in joy. The praises of my God sliall still, The praises of my God shall still, I\Iy liear - t and tongue employ 

iij^lSiiiiiijglliilliyiiigigiiliiJ ^ a 



Continued. 



AMERICA. S. M. Flat Key on A. 

llgrgii^SifJiilllil#Silliiiliiiiillgliiiai 
ii.ilr^! iiigiiliiilSlli^il^iiJigiliiiSe 

My heart and tongutj employ. My soul repeat hi= praise, Whose meTies ai-c so {jrcat, Whose antrer is so slow to rise, So ready to abate, So ready to abate. 

.iiiiiil^iiiiiilliii^SEiiiiSiiiiS^lEi^ 



94 



AMITY. P. M Sharp Key on A. 

^iiigiiElg^llliiiliiiSgg^iiii^liii 



:az: ^ t t 



itm 






How picas' J and blose'd was I, To hear the people ciy, " Come let iis seek our God lo day , 



Yes wiih a clit-erfa! zeal. We hasteto Zion's hill, And ibere our vow» and honours pay. 



iiillig^illSgliiS!i§sSgigl^lSl^'Sil 

Yeswiu'i AndU.eif And u-fre 



Yes with a cheerful zeal, We haste to Zion's hill, And Uiere Ard there 



BANGOR. 



CM. 



Flat Key on D. 






Lord, in the morning thou shall hear My voice ascending high, To thee will I direct my prayer, To thee lift up mine eye. 






Silfe§E*-:i§iS 



^igliiiifiiEligl^hiS 



GREENFIELD. L. P. M. Flat Key on A. 95 

God is our refuge in distress, A present lielp wlien dan^'ers press, Id liim undaunted we'll confide, Tlio' earth were from licr centre toss'd, And mountains, &c.^ 

-sii:iiiiiisiiliiiiiiEiiiiiiii!g^^^ 

Ttio' (.-anil were fniiu her cciitrt tos> d. 
m.- /^"N And rnounutiiis in thp ocranlosft, 

iiiiiiliiiiiiiillliilliiiilpiiiraiil^ 
liffilSiSfSiliiiligiiililiiSigEglli 



Continued. 



t.Ev'd, And mountains m the ocean lust, Taiu piecemeal by the rearing '.ide. 

LEBilNON. C. M. Flat Key on A. 



iiiilS iiiiiii^iiiilifiiiiiiiii^l^ 

Torn piecemeal, Sic. I ITark ! from tlie tombs a doleful sound, My ears attend the cry, ' Ye living men comt 



ITark ! from tlie tombs a doleful sound. My ears attend the cry, ' Ye living men come view the ground Where you must shortly lie.' 



:irpz!_:n;^ 






^^m iiiiiiilliiigil^iiiliiiiiiiliigii 



*)6 



HEAVENLY VISION. Sharp Key on G. 



I bchelJ and lo - - - a trreat multitude ivhicli no man could number, thousands of tljousar.ds and ten times tliou?ands 

thou-aiids of ihniisan.'Id and ii-u times thousands, thoubiii Js of tliousan(]& and 
tltousands o: i.':->usa:ids and ten luiies tlioufaiids, thoutanus ui tliouiaiids and ien limes thousands, tbousai 



thousands of thoui-ands and ten times thou'a:.r'3 



^^===:r:=Tcr^zzzziKTPTsz:zzzTzzzisz=rzjqzqizzzzzzzzzzzisz:qzzzzizzzzzzps:= 



Sii^iMlzEi^^ililiililiii^lliEiy^liiiiiiSlI 



9^ 



;^illiilpiiii^iiigSsiiiiiiiiliii 



I thousands of thousands and t'^n tiincs thousands, tliousands of thousands and ten times thousands, stood before the Lamb, and tl«ey had palms in tlicir 

=iEzp3EE|E=Ep~T^E^|z^5^=Eszi33L^ErEE^T^3^ 
IzzEzqzzJ^izpzzriE-— lt^-tt=^"l::EE'it3fzfzf-ztitt3:-^~=iI:^-— ^ 

ten times thousands, tliousands of tl-ou'ands and ten limes thousands, thousands of thousands and ten times thousands, stood, &c. 



thousands and tea times tliousaads. 



thousands of UiOu^aijuE and ten times thousancs of Uioutands, stood be - fore tfic Lamb, and ihty had palms iu llieir 



l^ 



Heavenly Vision, continued. 97 



rilE§|Ei|||tmiiiiiiiiiiil!i^¥Sii 

id they cease Dot day nor night saying, Holv, holy, holy, holy, holy, I 



hands, and they cease not day nor night saying. Holy, holy, holy, holy, holy, Lord God Almighty, Which was and is and is to co^le,^^'hich was and is and 






5£ 












igiBiiiiiiiii; 



IS to come. 



And I heard a mighty angel fly - ing thro' the midst of heav'n, crying with a loud voice, Wo, wo, wo, 



iiiSill^priSiill^iiliiiiti'iiiii^ 



iliiiil^^lii^P 






98 



Heavenly Vision, continued. 



-n & 



l^§!i^igilM^giiSsliiiiii^^^i^ 



src: 



-^^^^^m^ ^^mmm^^ ^ ^ ^^^^ 



V— (► 



P— ©— T 



be uuto t!ie earth by reason of the trumpet which is yet to sound. And when the last trumpet sounded, the great men and nobles, 



^m^^^^m^^m. 



IrJi-^i^ii^iiiiiiiMiiSi^iilSl 



.liiiiigilliPiiiiiiMiliiliSiiil 



A->- 



SeI 



»r-I.H* 



i 



rich mcH and poor, bond am! fr#*, pather - ed themsclvoe lo • gether and cried to the rocks and mouniainR to fall upen them, and bide them from Ibc fftee of II Ira that eineth 










99 



Heavenly Vision, contintted, 

f^^lSiiiilliiliiililiiil^iiiii^ii^ 



S:SS^ S B "fP iil£l §f -ls=l^^?t ^T^ ^ 



m 



on the throne. For the great day of his wrath is come, and who shall be able to stand ? 

1 2 



And who shall be a - hie to stand ? 



•■ ri ri- 



INVITATION. P. M. Flat Key on A. 

iiifllPigiilfiiiilSliilliigiiiiii^^^ 



-=j=. -»._j 



Come ye sinners, poor and needy, WeaV and wounded, sick and sore, Jesus ready to rod he ' ou, Full of pity, love and pow'r, He is able, he ie willlDg, doubt no irore. 



iiigJiiilPI^PiBl^ggilgiilg^EE^g^lggl 



109 



BEDFORD. C. M. Sharp Key on F. 






^^ 



i^Eg^H 



=t 



Ci^ d 1 



:sni 



Z^-p-p. 



li^ 



i-jiig^ligilii^iiiiigi S fg gg iPi 



r; 



Praise j-e the Lord with hymns of joy, And celebrate his fame, For pleasant, good and comely 'tis, To praise his holy came. 






^I'^-PT-n-r—T r-T-r i-r-t r,- 



ii^iEi^ii 



-X:-- 



:qr: 



^^=Si 



m 



[^ 



CHINA. C. M. Sharp Key on D. 



g^R=^ ^4=^^-=^ 



i.^^i^igmiiiiig^l^l^iiiiiliiiiii 



Why shottld we mourn departing friends. Or shake at death's alarms ? 'Tis but the voice that Jesus sends To call them to his arms. 






[r:^s^; 



COLCHESTER NEW. C. M. Sharp Ke^- on D. 



101 



My never ceasing songs shall show The mercy of the Lord, And make succeeding nations know, How faithful is thy word. 



iiMil^liHr^iilliMiS^gilil^i 



,li3g^ii=ilgiii^l^lil^H^I^^4il^gi^lll 



PARIS. L. M. Sharp Key on A. 






liH^iiiiiiiiief^Siiieggg^ 



i^i^iliiSliiaiiiiiliiiiiii^liii^i 



This spacious earth is all the Lord's, And men and worms, and beasts and birds ; He rais'd the building on the seas, And gave it for their dwelling place. 

iiiii^iiiiHI^S^lSirSlii^iilliiS 
ll^iiSiiliiigiiifeltiifeiiilSiiB 



:sr 



2i 



JORDAN. C. M. Sharp Key on A. 



^m[ 



l^^^i^iiiiPiliiflilii^^SifeP^i 



There is a land of pure delight Where saints immortal reign, Infinite day excludes the night. And pleasures banish paiit. 



^iSsg|if^li§l?lsSgf^S^^i: 



:i^igigii^©^S 



d^T^T^t^EB 






&2' 



^ 



± 



3; 







K:=2 



Swe«t fields beyond the swelling flood, Stand dress'd in living green, So to the Jews old Canaan stood. While Jordan roU'd between. 






JUDGMENT. P. M. Sharp Key on C. 



103 



a^lBiSliiiESlzEgiiiE-giiSsigli^g 



nsmi 



^giig|.l;fii^ ^r^i;i igi a^^p¥ § 



Behold the Judge descends, his guards are uigh ; Tempest and fire attend liim down the sky ; Ileav'n, earth and hell draw noar, let all things come, 



gi^iS-Piil^SiSigiiii^iSii^ 



lii^ai^illftilii 



t3Z2 



i^gHiSig 



f^iSiEgiii^ili^glililii^S^^^ 



iilii§il^iiiiiEg|gggig |g ^ gg|=rJ:#giite ^ 



To hear his justice and the sinners' doom. But gather first my saints, the Judge commands, Bring them, ye angels, from their distant lands. 



lO-i 



WINDHAM. L. M. Flat Key on F. 

^iif^iiisSEiSiiiiSilSfiii"i*- 



mmm^ 



^^^m^mM^mmm^M^^^ 



^ 



I send the joys of earth away, Away ye tempters of the mind, False as the smooth deceitful sea, And empty as the whistling wind. 

^li^liSf^iiggiiiiHiiiilLili-l 



i^^Sliii^liiSiiilMi^Si 




>3giiii 



CONCORD. S. M, Sharp Key on C. 



iiSiiiiiiiigl^iiii^ilSiiiilil& 



The hill ef Zion yields A thousand sacred sweets, Before we reach the heav'Dly fields. Before we reach the heav'nly fields, Or walk the guldea streets. 



Isiifeiyiliiiiii^iSi^^iieggg^i 



^g^i^piliagpe^p ^ip fflJifflip^ iiai 



. WORTHINGTON. C. M. Flat Key on^R iOS 

. _» _ — _ Wiai dying wouut, Wliai dying, &e. 

siS^i^illliiiijIiiiiiiiiig^^gii 

Thee, we adore, eternjl Name, And humbly own to thee, How feeble is our mortal frame. How, &c. What dying worms are we ! What dying worms, What dying fa:. 



^^ii^^ 



il&!SiiiIgiteiiii 




FUNERAL THOUGHT. CM. Flat Key on A. 






-Pt&- 



-#^ 



n^^^ 



^1^^^ 



Hark !. from the tombs a doleful sound, My ears attend the cry, « Ye Uving men come view the ground, Where you must shortly lie; 



i^ PP^ ^ pggp ilpig.: 






iHM 



pina: 



106 



MIDDLETOWN. P. M. Sharp Key on A. 



^mw^^^^^^i^^&mm 



Hail the day that saw him rise, Ravish'd froni our wishful eyes, Christ awhile to mortals giv'n, Re-ascends his native hear'n, 



iiggiSliiillligi^il^ii^ilSiiiii 



:iii^iii'-:i^^-E^Sliiiii==i 



t=f- 



a 



iSSl 



^^^m^mi^^^s^^^^^^m 



mm m^m^m mmmmm^mm^^^m^ 



There the pompoiis triumph waits, Lift your heads eternal gates, Wide unfold the radiant scene, Take the King of glory in. 



?S: 



lililSliP^giS^ilgiiiS^isipl^ 






lllii^^^i^ilia^i^^PS:^ 



FRIENDSHIP. P. M. Flat Key on D. 



107 



iiifgfiglliii^iti^iigliii^ii=ii^if^ 



Thy wrath Kes heavy on my soul, And waves of sorrow o'er me roll. While dust and silence spread the gloom ; IVIy friends belov'd in happier days, The 



^li^^sig^i®ii=giigis^iii[iii^^ 



S^gi3^|iig^^gi^i|gE^:|g5^g|:^ 



^=^=:: 






dear cotnpanions of my ways, Descend around me to the tomb, My friends belov'd, kc. 



iiii^i^3||ili4gl^3iig|gfiiiiPiE 






1.08 

r: 



GREENWICH. L. M. Flat Key on E. 



-e-.. 



^^UliH^iiSlpg^iiMlSilSg 



Lord, what a thoughtless wretch was I, To mourn and murmur and repine, To see the wicked plac'd on high, In pride and robes of honour shine. 






ip 



HE^§iig jggS EE§IS^aiggsS 




Pi^jH^iiliM^^i^S^: 



But oh ! their end, their dreadful end, Thy sanctuary taught me so. On slipp'ry rocks I see them stand. And fi'ry billows roll below. 



iiiHiiiiiiSi^Silili^ 



riQife 



ELLENBOROUGH. 

=-T— =T-Kr-(C— T-©-K 



^^g^isifli 



■3r--B- 



CM. 

P— p 



109 



Flat Key on G. 



iiiiiiiiiiiig^giiiiigirtK§Si"?g^ 



li.S. 



How vain are all things here below ! How false and yet how fair! Each pleasure hath its poison too, Each pleasure hath its poison loo, And ev'ry 



gp^f^g ^ 



TAMWORTH. 8 & 7. Sharp Key on F. 



f^^ 



^H 



PEff ffi S^ 



ry sweft a cnmre. 



F5 



:=?? 



^?t= ll 



i?^^§ggi^^l^^Mpll 



i^^JpiiillSig^ 



Guide me, O tiion great Jehovah, Pilgrun, Uirougu this barren land; I am weak, but thou art migtity, Held me 






with thy powerfuJ i,aod ; Kread of Ucaro, Bread of hcsT u, I'efd me till I wa«t no Hior«. 



5 Open, Lord, the crystal fountain, 

Whence the healing streams do flow, 

Let the fi'ry cloudy pillar 

Lead me all my journey through ; 
Strong Dehv'rer, 

Be thou still my strength and shield. 

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

Death of death, and heU's destruction, 
1 and me safe on Canaan's side-. 
Songs of praisei 

I will cvar give to thee. 



1 1 DENMARK^ _^ L^M. Sharp Key on D. 

* iTqzi}prt5p:Tr-r-Tr--Tr--Tr-r*» I ■- 






t^ 



sip 



^-1 



Silg^I'Miill^gi^gSiiiilJ^ 



B^rore Jehovah's awful throne, Ye nations bow with sacred joy; Know that the Lord is God alone, He can create, and he destroy 



l??:#£iiiiilili3iiliSilii1Si^iiiliH^iii 



Si 



;S^ 



xife--SzPiQ-c-:T^iP 



g:Si=xipt:'£Ssj 



,_^^:e.j^V 



H|^||||g^gp||g3g||^g^^^||||| 



I, and be daitroy. Hit >ov'rtijn power, •ithont our aid, MnlJe us of clav, and form'd us mnn. And when hke wand-ring sJwefi we rtray-d. He brought us to his fold «- 



Denmark, continued. 



Ill 



i-V 



zazp. 



^^mmfm^^mBMm^mm^^^mi^m 



giin, He brou^bt ua to his fold a^uio. 



We'U crowd thy gatee wiUi thankful Bong«, Higb as th« hcav'r 



aisej And earth, And earth with her ten lliousai^ 



igi^i^i&^ijiiii^gliilBiii'^ii ggB 



liiiiiiiiiiiipjiiiieiMii^iiiiii^fe 

y'^'^ So*. Loud. Boft lAtni. /""^ 18 r<'~&~ 



lispiisiiigg^ii^iiiPiiigisiiiiiii 



: e; : 



tJiou^and toii^ee, Shall ATI thy oourte with BOiinduig praise. Shall, &.o. 



Bball mi Stall oil thy courts, &o. 



Wide, Wide as tJie worid is thy command. 



^igiiiSlligS^iiiigflliiiiliiilpii 






m 







-iP-fS 



1 a 



iiilMismisiiBtei 




Denmark, continued. 



Vast as e - ter - ciiy, eim • nity, iby love; Fii 



;SliiL^li^Sl^iigig 



iSl^a^iiSSiiiiii 



rock ihy iruUi miiBl stand, When loUing years aliaB cease to move, shall ceeL»e to move. When rolling years shaU cea»e to move. 

^■fisiipiiiilii 



iii^S^^ 



Continued. 



fi^ip§i§! 



r3 



r— 1» 



When Toil - - Ins years shal' ceasL-to move. 



ROCHESTER. C. M. Sharp Key on A. 

giiiiftiii^iiiiiilB&si 



Come, children, learn tofear the Lord, And tbat your days *»e long. Let not a false twr spiteful word Be found upon your tongue. 



:|^^S11 iieilliS^i 



.„-- 



til 



-tS* ^^ 



S\ii^gligi^ 






TREASURE. C. M. Sharp Key on G. 



113 



'■^^^^^mW^wMm^M^^^^BWM^^ 



siSiS^iS^iEiEiiigiliEiiiiiiS^ 



How doth thy word my hciirtej^ase, How well employ uiytongne, And in my tiresome pilsrimaRC VicliLsnif a tn'nv'nljf wmg. Am I a euaoger, or at bomc, 'Tts n perpeliBl feast, 



l^i^liiiiii 



[b±:^: 



i^iiiSi 



p4t 



S 



HAUGIITON. s's&ll. Sharp Key on B. 



Not boorjr dropping from tlie comb, So Bincb aam/Mi th* UMe, Se mocb »1 - lurea the saate. i Hovr happy are wu, our "lection to we, And ventwe, O Lord, fcr ! 



m 



=5:=:s:zcz; 



i^^gtliiHiiigEpiig 



Piiu Por. 

LSgS"^-iiiliiliiiiiliiiiii^^^i?Piiii^ 

sal - va - tion on thee! In Jesus appror'd, E - ter - nal - ly lov'd, Up - held by tby power, we caa - Dot be roov'd. 



,.ii^iiU^il^^^^iilsS^ 5i = a3r ^ 



114 



ISIARYLAND. S. M. Flat Key on A. 

ii^iil^iiiSiilgiSii^^illSSiilP 

And Lie 

iigii;gii=,igiggggg^gi,iiiiiiii^ggiigp 

And mu6t tljis bi)dy die, Tliis mortal frame decay ? And must IIiokp active limbs of mine Lie moiildring in the clay ! And muif, &c. Lie 



Continued. 



And musi these acUTe tiLubs of uiine Lie, &^ 

PLYMOUTH. C. M. Flat Key on A. 



Aud nmei tbcM 






Eutum, O Gud of (ovc, return, Rarll] is t tiresome p^ace; How long ehftU we, thy children, moiirn Our absence froin th> face. 



mould'ringinthc clay, Lie, tc. 



l-TZ-Ti^^ip-n 



I — """"Pt r T>r~II[T~"Z~ ■' 1\' % -""r I ^^T<^~P"T — ^~T — ^— gT°"%;"T ~~~TZ "~ FTZ" r [~~ — ^"T ~~Z I ^=^o^ p~Z T B ~ 



SH/\.T?ON. P.M. Sharp Key on D. 



115 






How pleasant 'tis to see, Kindred and friends agree, Each in his proper station move, Each, Sec. 



And 




ii^ggiiiiEii^ii: 



^teftpjiiiita^fliil^iliiiiiill^ii-rii 



each fulfil hi.s pa 



rt, With sympathizing heart. In all the cares of life, In all the cares of life and love. 



i^iiiigil^iii^HE&^illiiilliiSfgili^ 



ii^^sigK^^=^iiiiigirtiiliiiiiiiiiSi 



116^ 



SAINT HELENS. L. P. M. Sharp Key on C. 



^lil^il^iiiiiiiipglii^ii^Siiiig 



l4- 



^El^giH^Elg^^i 



grzft 



^l^iS] 



Ye that delight to serve the Lord, The honour* of his name record, His sacred name for - er - er 



^"iMI^Ei^il^^^ii^^^^feEil^iEl 



m^ 



-. : -3 A 



^n^n^i^^gi^ 



fr=F 



i 



^::5: 



l^igEggi^R^i^ilg^^^g 



^HHiiiiiiig 



r- — 1» 



iHi^lil^iii 



bkss ; Where'er the circling sun displays his ri»ing beams and setting rays, Let lands and seas his pow'r contess. 

liilliisiiii^g"^ 



IliiiiiS^iiiiir^i 



~ 



tlzi^: 



^. 



i-^^iPSHi^Bii^^ipE^Si 



MAJESTY. C. M. Sharp Key on F. 



iir 



g^iss^ 



g^^iiS^ggSlliSii 



:^^pgiEg^^ggg^^^^^g^^^sg^gS^^-lg^ 



The Lord descended from abore, And bow'd the heay'ns moit high, And underneath his feet he cast The darkness of the sky. 



i^^^SiigiilitegS^iiiSilEiii 



[^ppjp il f^l^P^P^ ^^I ^F f Fffg^-^i^i^il^ 



f ! _ f 



:r=t 



^^S^^ 



y=^ p=f^ ^ T~i ^- 






Om cherubs aad on ch«rubimi, Full royally he rode ; And on the wings of mighty grinds, Came flying all abroad. And on, kc. 



eSiiaiieiiiiiigiSiliiiii^ 



=fe 



^J73 



iiliilifcilSieS^i§iiiiiiiiS^ 



lis IRISH. CM. Sharp Key on G. 



Blest moining, whose young dawning rays Beheld the Son of God Arise triumphant from the grave, And leave his dark abode. 



l-Siiteiiliii?iiiiiSiiaiilliiMfe^ 

CONVERSION. C. M. Sharp Key on C. 



My rapture seem'd a iJcaaing dream, My &c. 



The E'lcf api>eftr'd 80 great, Thegia.t <[(,. ar'd i 



^giiil^Sl^lill=3iiiiillilliiiiiS 



When God revoal'd his gracious name, And ciiang'd my mournful state, 



My rapture (-pem'd a ploasins dw^-i Thp -rarp' appeai'd so grent. 



;gisriiiiSn^3i 



w^ 



wm^mm^^mm^- 



felgi^jgiiSliil^iSligifiliii^SiSii 



My raptnro soemM a pleasing dream. The grao«,The grace appear'J so groat. 



119 



A PASTORAL ELEGY. Flat Key on E. 



V> hat sorrowful sounds do I hear, Move slowly along in the gale ! How solemn they fall on my ear, As softly they pass through the vale : 



iSiiiiLSiS^iiiPilrtiili^=5iii 



^1 



l^^^^iPiiSiiSSiSIPiliiliiiil 



Sweet Corydon's notes are all o'er, Now lonely he sleeps in the clay ; His cheeks bloom with roses no more, Since Death call'd his spirit away • 



^H^iil^iM^^iSSiii^^iPii^rrlii 



Sweet woodbines will rise round his toml), 
And wiUows their sorrowing wave; 

Young hyaciuihs freshen and bloom, 
While hawthorns encircle his grave. 

Eacli morn v/hen Die sun gilds the East 
(The grt-en grass bespangled with dew,) 

Will cast his brig-ht beams on the west, 
To charm the sad Carolioe's view. 

O, Corydon ! hear the sad cries 
Of Caroline, plaintive and slow; 

O, Spirit 1 look down from the skies. 
And pity Oie mourner below. 

'Tie Caroline's voice in the grove, 
Which Philomel hears on the plain, 

Then striving the monrucr to soothe. 
With sj-mjiathy joins in tlte strain. 



Ye shepherds, zo blithsomc and young, 
F.etire from your sports on the green, 

Since Corydon's deaf to my sung. 
The wolves tear the lambs on the plain 

Kach swain round the forest will stray, 
And sorrowing, hang down his head. 

His pipe then in symphony play 
Some dirge to young Corj'don's sJiade. 

And when the still night has unfurl'd 
HcT robes o'er the hamlet around. 

Gray twilight retires from t^e world, 
And darkness encumbers the ground, 

I'll leave my lone gloomy abode. 
To Corydon's urn will I fly ; 

There, kneeliaf will bless the just God, 
Wlio dwells in bright mansions on high. 



Since Corydon hears me no more. 
In gloom let the woodlands appear. 

Ye oeeans, be still of your roar. 
Let autumn extend round the year. 

I'll hie me through nieedows and lawns. 
There cuU the bright flowers of May, 

Then rise on the wings of the morxH 
And waft my young spirit away. 



120 



SARDIS. C. M. Flat Key on G. 



i^iggiigirrEg^5^^§ii,=^^^iii 



ss 






iscr: 



S^ 



By Gwifl degree our nature dV'St Nor can our joys bv long, No 



^liliiEgiiil^l^^^Eg^iiiiil^^l 



Life like a vain ainopement ft^cs, A faW« or & song ; 



"By swift d*<gr»ee <mr natxiredwM, Ner win oar ioya be W>ng. 



^iiil^iilEiiiiliiillSSiliiSSSiill 



J be tong. By ewifu &«. 



i^iiiifiiteiililigiE^igiisiiiijigi 



"r;: 



Continued. 



By STvrft d«gr9<?coaf n»t«fe dies, Nor can our jo)-8 b« loag, N(»r ca^r our ■ jtijs bt loiif. By 

PROVIDENCE. P. M. Sharp Key on G. 



niisiiiii^^Sif f pi^ii^^iigiiiiyg^ 



By s\vi:i degrni's. tt. Nor can, &c 



jgiga Sg aiiiH i^i^iiilliiii^Sii 



Kej'nce, the Lord i« King, Ynur Lord and King adore; Mnnalf, ,(ivc Uiauku ai^i 



[iiiiiiiirgiiJig! i^s^^ltmiiiiiii^ 



lAliire diL-ft, Nor can our joya bu long, >orc«n Slc 



'^^m^^^^k^m^^m^mmmM 



BvnA dusfMs our uatuje dies. Nor can »ur joys be lung. 



Providence, continued. 



121 



l^ iiiiSigi^^ig^^Bp ppi^^Ppg i gg^pp^ p^ gq 



Lift up your hearts, lift up yo 



.ift up your hearts, lift up yo 



-:^«~T-br 



SUP 



Ad(1 Iriumplj ever - more. 

ill 



lAW up your voice. 



lliiiiiiiii^iiiiii^ 



Rejuice, re - joice, a - gaia I say rtjoicc. 



-E 



iliiiifeli^Eiiliiiilii^^l 



[ZISZ] 



Lift up your hi'ans, lift up your \-oiL-e, Rejoice, again I say rrjoicc. 



Lill up your hearts, Iill up ynur voice, RpjoiCL-, again I say rtjoic 






NEW SABBATH. L. M. Sharp Key on D. 

iSiililiPiliiiiiililSiSiiiti 



tzjfcrt±-E=t:=i:3i: 

Sing to the LorJ that built the skies, The I.ord that reard this stately frame. Let all the nations sound his praise, And lands unknown repeat Lis praise. 



^=:cT=n:±i'3pHzL-rTz:sr-Trir^r^-jTSiz^ 



liii^PliiliiiSiiiiiiilllN^^E^^ 



122 



ALFRETON. L. M. Sharp Key on F. 



i^&li^'-f'^ 












:J?Z3±3z±±r^t 



IliiS&liiiSiiliiSiiiliiililili 



-^>2n 



His liai<I will sniootii my rugi-cii wivy, Aud leajl liio to tlie tcalme of iiy, Tu nilHef akles crnd briglitcr liUint, Where ever - lost - tog plt«oure Mgis. 

— -y— ^tP^-^ tF'j t~~T~P" 



SHIRLAND. S. M. Sharp Key on A. 



::d^ 



^.. ""■ Port. ^~v 



f=^:«5;ijp:z::^-: 



!P 



iii5ii^igiiiigiiEiiii|gigsSSpiei?^ii=:i^iii 



_Xt— 1 — 
O may tlic clmrgh berow Eescmblo that aboye. Where spring-s of pur - CBi pka* - nre flow, And eve -. ry heart is lo?es. 

l^ier^giliii^ili^llliieiiiiSliii 



BRESDEN. L. M. or 6 lines. Sharp Key on F. 



Iii3 



a^ ^^-|j5E^ E g:^ i^fifEgi^Egpiii^|ilij|g-iigiii^^^^ 



_^y. 



iS 



+^^- 



Eff^lgili^g^Eggiiigi;|gigi 



,__-_ \-t*.-r 



Preserve me Lord in time of need, For succour iqBy tljrone I flee, Uut lave no merit tlicrc lo pi^ad, IMv goodness cannot reach to tlico. 

HOTHAM. 7's. Shrtrp Key on F. 

riiiiiiglisligiiiiiiiiiiiii^iifel^i^ 



ist 



iiigiiiiiiililliiifiiii^ilPFiliPilS^ 

Jesus, lover of mv soul, Let me to thy bosom fly, Vv hile the nearer ivaters roll, AVhile t!ie t-jmpcst still is hij'h ; Ihde inc, O mv Havicur, liide, 

fegiiiiiiiiiliiiiiS 

iPllliiiiPiiiiilliSiiilliiiiiiii 



BSiilfigiiiiiiiiiSilgS^ggiiiiiiirii^ 



Till the storm of life is pa,st. Safe in - tu the ha - vc:n guide, O re - ceive, O receive, O receive my s..ul at , last 



l^liiiiiiiliiiilii^^iiiiiii^iPiiiiSii 



124 



SCOTLAND. L. M. Sharp Key on G. 



liiiiiiril^i^iriiiliiiiririEiiiliiigr 



Then let my soul inarcJi boldly on, Press forivanl to tlie hcav'nly gate, There peace and joy eternal reign. And glit'ring robes for conq'rors waiti 



igl^ililililiil^^^iliriiiliiSigiig 



Sli 






i. 3^i_5| — _L_j-_:iZl5:^[z:pis.ji^^ipi:3_j^_i^_j^z^|ij:p — xii^-i — pi — fiz[z_izi — ^ iipizip-fira; — p. 



ffziziT^J 



iilllillgiiillig||gililiirililiiiiiiii^ 






There shall I wear a starry cro^m. And triumph in Almighty grace, While all the armies of the skica, Jfia in my glorious Leader's praise. 
) I I II 111 — ►r- _ 



:zSzEzi-Ezpr ' 



PARMA. CM. Sharp Key on A. 12* 

HrlioUl tlie rl.iii-s of llie I.iinilj Amidst his Father's throne 1 Preimrp new lii.nnurs fur his name, rri'iiarc new honours for his nnjnc, And sonjs befoie unlu:own. 

lifiiiiiiigliiiiJilssiiliiiElErlS 

Let elder* worsl.ip at hi:- fc'ct, Tlic churcli adore around, With virUs full of odours sweet, With vials full of odours sweet. And harps of swretor sound. And harps of sweeter sound. 

CUMBERLAND. S. M. Sharp Key on F. 

|iggilgilligigi=|gllilll^lli^gliiiilll?^il£ 

The Loud, the suv' - reign Kini;, TIath fi.t'd his tlironp on hiijh, O'er all the heav' - - nly worlus he 

liiil^i^lil^iiii:iliii^^a 



nly worlus he r-,iles, AnJ all be - iieatli the skies. 



126 



KEDRON. lis. Sharp Key on F. 

'Diousweel glidiiis Kedrui:, by liiv ?ijvrr sinaiu, Oar fc'aviour at miJai^lii: wlien Cyi:t!iia'o pjtJe beam, i^lione biiglii on tlic wHiny, would frL^qucnlly gtiay, Awd 

:iiiiSlSliiiii^iiiiiiiiii3siiiiiESli;ii 

CHOKI'P lively. 






CHOKI'P lively. 

_ji:SiiSiiiSil^aiSiiil@iiiiS 

n thy murmurs t'le toils of the day, the toils of the day, tlie toils of the day. Come Eaints aiid atlore him, come bow at Ids feci, O ^ivc him the fiopja, 



lose in Ihy murmurs, and lose in thy 



i^iSiiiiiiiiiiiisiiiiiiiiiiisSsiii 

fi.f> nr^iic^ tii!it I-; mi'ij l.i't iovfiil hnwi'iiiafl iiiircnR - hid nris^. !.;>* ini-riil hn^nnitnsi iirirr.isinff nrirto. And loin the fi^ll choriis that I'lai'dviHS the skic*. And join. tec. 



r=j^iEa 



the praif€ tliat is mcci, Lui joyful hosaimas 



ins arise, Let joyful ho 




And Join the fi^ll chorus that t'laiidvins the skic*, And join, < 



i^SiiiiSiiiiigii^ 



TRANSPORT. L. M. Sharp Key on F 

^^iSiiiililiiliiiiiiSiiiiiiiiiiii 



137 



mu 



^iliEiSM§Silsliiillfmiill^==!= 



gwccl Is iho work my God my Kins, 'I'o ) 



; Ihanks and sii:g, To pr; 



>^I 



^|igilgg|giiiijg| 



l^mBE-z 






■ptp 



iiiif 

liiiiifgiiEeil , 

.riiinil Ii^t:l, Ai;<l lalli of al! thy iniih nr ,^ 

Continued. SAVANNAH. 8's. Flat Key on C. 



■-i*TKa.^- 



-k<r-=-kr-i 



nis;M, Arid ta/k of ail ihy uuth at nij^ii 



Ah, lovely fippcaiar.ce of ik-atb !■ Nosight upon wirtb te';o fair, Not a'.! iIig sny pageants tlint br?alho, Can wiih n drad Ixniy oonipa ( 



Mgiiiii^tii^iiiiigiigiiigiiiiiig^ 



±t3 



2 How bicstia our brother bereft, Of alt that could burden his mind. How easy the soul that fiath leO^ This wearisome body beliiod ! 

3 The iangiiisliing heaJis atrcsB, ha thinkfiip andaching are o'er,, The quttt imniovenbK* breast,. Is heav'd by aJTiiclion no more; 

4 Thehrart is no lonper the seat Of trouble and lorturinc pain, It ceasea to flutter and boat, It never shall flutter again. 

5 To mourn and to suflj?r rs mine^ While bound in a piisoii I brfnthe, And plijffor deliverance pine, And press to the issues of death 

B "WtKLlopwwitUnnViarsIlKddeWj.O wightl this laoiijcnl become, My syii-it created anew. My fletiiibe coivsigii'd to the U\in^ 



128 



MANCHESTER. L. IVI. Sharp Key on E. 






Lot the slirill Irunipct's warlike voice, Make rocks and hills his praise rebound : Praise him with harp's melodious noise, And gentle psalt'ry's silver sound. 

|lisiii§=&iiiliii!^^iiiSiii^llilSII ^ 



r^ 



^— 



^igi^l?i?iiisli£^fig^Sg^^^ 






iH: 



[giiii§giiigliiiiii^ 



Lei virgiu troops t-ofi timbrels bring, And some wiib graceful motions dani 



^'- 






31: 



^^??l^ 



:3Ii 



s of vailoua string;;. With organs join his pr.iise t'ad - vance, Wiih *rgaBa 



t 



IpiSiiil^iiiiiiil 



Manchester, continued. tIEPHZIBAH. C. M. Sharp Key on C, 



129 



§Siilelii@E£i=KS 



glig#g^iliiigp|ii|ji 



join'd his praise t'advance, With organs join'd his praise t'advance. 



^-Jf^- 



^ifeii^ii; 






There is a land of pure delight, Where saints immortal reign, Infinite 






:^i^^i^^iiii^Eiii^§iiig3^ii 



liiig^^^^iil^iiiii^iiiM^^i^i 



day excludes the night, Infi - nite day excludes the night. And pleasures banish pain, And pleasures banish pain, And pleas. And pleasures banish pain. 



^■iiiS^g^^^^^^^W^Pgi 



130 



ODE ON SCIENCE. Sharp Key on G. 



igl^ilS^fie 



m^^m 



s^^Si 



fcH 



t£2 



iHiiiJ^Siil 



Silling! 



The morning sun sLines from the east, And spreads his clo - ries to the ^rest, All nations witii his beams are blest, Wbere'er the radiant light appear§. 






So science spreads her lucid ray, O'er lands «hicii loiiy in darkness lav ; She visits fair Colum - bi - a, And sets her sons anions the stars. 

IpilliiiiillliliiliiiBPIi^ig^ 

j I air ireeflim her ^t - tend - ant waits, to bless the par - tab of her gales, to croivo the youne; and ris'og states Witli laurels of immor - lal day : The 

lliililiiiiliiig 



131 



Ode on Science, contmued. 



Bri.i-*;. yoke, [he tJai :;c c.iai.., \' ; ■ ^W ..j.. 



.lifui ,-^:v lyr-i'u^ 



disdain. And sliout loiii;I:\^' A 



^:::=ic:^ 



ICT+llO 



SliiiiiiiiiiPiii^ilii 



CLIFFORD. CM. Sharp Key on B. 



2i^ilB§^iiS=1iiii^S^^^^'ifegli£^ 



H^fegiiSle^^giiiEliiili^^^fejii 



Hark! the glad sound, the Ea - viour co;::cs. The Pa - viour pr.nisd lonir; Let ev'ry heart a 



throne pre- 



i|E|=i|^^|g=Fi|llliliii^i; 



pa-f> T-«'t ev' - ry hcai-t 






L^:*=Bi'^s^±~ 






throne pre - pare, And ev'rv voice a soiia'. And ev' - rv voice a ■Sorp 



iiUlg^ 



J 32 MEINEKE. L. M. Sharp Key on C. 

^iiSiiiiiiiiiiril^iiiii^i 



sH^ 



ri# 



Jpsut sirill rciijn wliereVr tlie sun Does ins successive journics run. His kingdom si^read from shore to sliore. Till moons shall wax &. waneno more 
1^- 



^^zfiggsaig—pigzzijrrpzzizp— ZTOrrq:^-gzr^ 



.-^i__. 



LOW DUTCH. C. M. Sharp Key on G. 



Why do we mourn departinn; friends. Or shake at death's alarms ? Tis but llie voire that Jesus sends To call them to his arms. 



r^? 



LINGHAM. C. M. Sh rp Key on ©. Jyi* 

iili^liiiPpHliii^^iigaii^lSiiilll 



i^ss' 



iSg^Hiiiii^iii 



m 



iiiiPiiiiiE 



Joy to the world, the Lord is come; Let earth receive her King-: Let earth &c. Let ev'ry heart prepare him room. And heav'n & na.- 



CHINA. L. M. Sharp Key on B. 

Siiii^iliiiiillliii lieii^iiiiiiiili 






ture sing. And heaY'n and nature sing-. And heav'n and nature sing-. 






O what amaz - ing- joys they feel. While 



ir^Si^^iiiiiii 



134 



China, continued. 

limiiigiillillllllil^ESIliiliil-Eiiliri 






to their g-oldeii harps they sing-, And sit on ev'rv heav'nly hill> And sit on cv't'y heav'nly hill. And sing- tlie triumph of their Kinf^. 



[iiliiiJiiiiiiiiiiiiiiil^iiililiiiliPi^ 



ARUNDLE. C. M. Sharp Key on C. 



iSiiiiiliiPiiiiiJiiiliii^ ilKii'iii 

All glory be to God on hijfh. And to tlie cartli be peace. Good will henceforth from lieav'n to men, Bcg-m and never cease. 



lii^iigigiliiiggiiilieil^^^^ 



^B^iipl^ip-^Epjr^^^ 



Hziz^ 



HEAVENLY JOY. C. M. Sharp Key on G. 13 



On Joid;* I's stormy banks I stand, Anl cast a wishful eye, To Canaan's fair and happy land, Where my possessions lie. To Canaan's 






-^r-<^-^. 



fttir and hap - py land, Where my poss^ssons lie. 



BRATTLE-STREET. C. M. Sharp K. y on C. 

^iiS^^iifiilE^liiiliiil^illiiiii 

I'll bless the Lord fvom day to day ; How gnod are all his ways ! Ye humble souls.that 

3IE 



JiilEiiEiii^gli^ .illiiiiiiiiiiiiiiliill 



136 



Bra' tie-Street, continued. 



^pip gpg p ii ^iiigi^ppp^'iili^^iiiigat 



iHiiSirSiiSii^ 



use to pray. Come, lielp my lip^ to praise. Sir.g to the honor ..f his name, Ho>v a pO'T suff'rer cry'J ; Nor Wds lu> hope expos'd to s'lamr, N.jr was his suit de'iy'd 



liSSiiHiiiliSii- 



iiiiiiiiliiiii 

nv WHS lu>> liope expos'd to s^ijimr. Nor was liis suit fle'^y*d 

ASBURY. C. M. Fl t Key on A. 

pia. fwt. 



f|^igi^i-^^-S^glrt£^i 



[l B hold the Sa - viour of mankind, Nail'd to the shattioul tre. , HoW VaS^ the love that b.m ir clir'd, Tobleed and die. To blefd arddie for me 



BURNHAM. r. M. Sharp Key on D. 

lllliiiEfSSSiiiiiiiiliiSi 



is: 



L>i-d ot the worlds above, H.iw pleasant and how fair The <! wcllings of thy love, T ty earthly temples, are ! To tliinc abode My heart aspin 



liiglgiiiii^ilgliilieE^Silii^liiiiiii 



To thine abode 

MANCROFT. C. INT. Sharp Key on C 






t PilSliSliiliigiiiii! ^|iilli§^Efe=g 

To ,i,ine 3t>od.' my heart aspires ^Vnh warm, AVitli wirm desires to see my God. 11 Thy ceaseless unex - haiist - ed lovp. Unmer- 

-p^- ii ^ 



138 

r=- 



Mancroft, continued. 

pia. 



i^ii^i^iii^iifeliiiitellil^ii 



iiiai^SiiiiiliiiPi^iiiiiliiSiiii! 

i - ted and free ; Delights our evil to re - move, And helps our mis - e - rj. And helps 



i^S! 



FOUNTAIN. L. M. Sharp Key on C. 



IIEiiPiiiilii&fiiiliiSliiillP^iiiiil 

li^i^lSiiiiiigiiifeiliiiiiiisi 

Ho ! ev'ry one that thirsts draw nigh, 'Tis God invites the fallen race, Mercy & free salvation buy, Buy wine & milk & gospel grace. 



LIBERTY. 6 8's. Sharp Key on A. 139 

•^1illliil§iiiiiSliiSiiiiiiii=iii^Ei^liii 



A-*ft 






iigiiPiliiliiiiMgiiiiliSiiii 

Pris'ners of hope lift up your heads, The day of liberty draws near j Jesus who on the serpent treads, Shall soon m your behalf appear. 

llgiiiaiB^lgiiSiiiSiiilii'EiES 



g^iiHli^ii^li 



DEVON. 8 8 6 Sharp Key on G, 



ii^iiiiiii^^iiig 



m^ 



The Lo d will to, will to his temple come, Prepare our hearts to make him room. 



-#-T— 



iii^gsi 



glor'rous hope of perfect love, It lifts me up to 






"!<«• 



140 



Devon, "continued. 



^iliiEgiSllllliiS^mlllillSiiliir&ll 



things above. It btnr^ on eagles » injjS, It givas my ravisli'd soul a tasie. And makes roe tor some moments feast With Jc-su's priests & kiugs. With 

ANGELS HYMN. L. M. Sharp Key on G. 



Ei^iig^iiggi i^jggig^igi= ^ f^i=iiif= giig|g=ji 



-H-^ 



1 i=i§i-=!E^3iiiE^I 



* 



^igUliii^i 



Loid hfjw secure and blest are tliey Who feel the joys ofpardon'd sin. Should storms of wrath shakeeartU &sea. Their minds have heav'n 8c peace Withia 



llgiiiiigiiiii^^iii^Siilgi^Sgiil 



PORTSMOUTH NEW. 4 6's & 2 8's. Sharp Key on A. 



141 



SlEl 



m 



lasii 



;:«i^i 



gEg|^5=|=^=fE|3Eg||E||r 



ii^ipii^ig^iiiilE^giiiSiia 



Ye ransom'd sinners hear, The pris'ners of the Lord, And wait till Christ ap - pear. And wait 



According to his word. 



jgg^ i^gj^g ^ Ejii^fPP E p^iE^iip i Epiiga^^ 






=hfctbz5Eagz5E3&^zSzPEEE=ESSttttD^teS::Ei^^ 

\ccordinpr to his word. Rejoice :^nd hope, rejoice \viih me. We shall from all oui- sins be free Rejoice and hope, rejoice with me, We shall from all our sins be free 



:i^iPiii3iiilSiiiiiiiiteiiiiiiii' 



142 




NEW TRUMPET. P. M. Sharp Key on D. 



I Hlr>w ve the trum - pet blow, The gladlv solemn sound; Let all the na - lions know, To earth's remot - est bound; The 

liliiliiPiiliSiiiiiiS^iiiilil^iPI 



ir= 



^^mgii^ii^li^l^i^^Sil^iPi^ 



year of ju - bi • lee is come. Be - turn je ransom'd sin - ners home. Re • turn ye ransom'd sinners home. 



APPENDIX. 



Aiferton, 
Angels Hymn, 
Asbury, 
Arundel, 
Hrattle-Street, 



Jllelre. .Authors. Pug-e. 
L 122 

L 140 

C J. Smith 136 
C 134 

C Pteiiei 135 



Burnham, 

'Jhina, 

Clifford, 

Oevon, 

Dresden, 



Metre. .Authors. Pa^e. 

4 6 8c 2 8 13r 

L. 133 

C 131 

8 8C 139 

L 1-23 



J\i'ames. 
Fountain, 
Heavenly Joy, 
Liberty, 
Low Dutch, 
LinghsBi; 



Metre- Aithors. 


Page. 


L Leaeh 


138 


C /. Co!4 


135 


P 


139 


C Luther 


132 


C n'nlfrer 


133 



J>,'ames. Metre. Authors. Page. 

Mancroft, C Dr. MUler 137 

Meineke, L 132 

New Trumpet, 4 6 & 2 8 Leach 142 
Portsmouth, 4 6 & 2 8 fV</lik 141 
ShirlanJ. S Sfn,e,j 12t 















IJNJ 


JEX. 










143 


Metre. 


Jluthafs. Page. 


J^ame^. 


Metre. 


.AutJiors. 


Page. 1 JVames, Metre. 


■ .iuthors. 


Page. , ^'ames. Metre. Authors. 


Page. 
2* 


L. M. 


S. IVebb 


56 


Easter Anthem 




Billings 


83 


Milford C. M. 


Stephenson 


32 'Smyrna C. M. Uolden 


CM. 


HolJen 


16 


F.dgcware 


CM. 


Holyoke 


80 


Montgomery do. 


Morgan 


43 


Silver Spring do, Morgan 


25 


CM. 


Bolden 


34 


Edom 


do. 


UnknoivTi 


42 


Mount Vernon do. 


Johnson 


17 


Solitude yew do. Unknown 


49 


L. M. 


Morgan 


54 


EJlenbo rough 


do. 


Handel 


109 


Morcton L. M. 


Knapp 


60 


St. Anne's do. IJr. Croft 


26 


S. M, 


Whetmore 93 


EnHeld 


do. 


Chandler 


31 


Morning Hymn C. M. 


Tansur 


91 


St. Helens P. iVf. IVilliams 


lis 


PM- 


Billings 


60 


Florida 


S.M. 


JVhetmore 


33 


Munich L.M. 


German 


85 


St, Martins C. M- Sansum 


17 


P. M. 


Unknotm 94 


Friendship 


I.. M. 


Unknotvn 


69 


Newbi-.rgh P. M. 


Manson 


41 


St. Thomas S.M. JVilliams 


3.'. 


C. M. 


Chetham 


92 Friendship 


P.M. 


Unknoim 


107 


Vew Durham C. M. 


Jinstin 


58 IStafTord do. Heed 


19 


S.M. 


Chetham 


61 Funeral Antliem 




Billing, 


86 


New Sabbath L. M. 


Miller 


]2i;Suffield CM. King 


19 


S. M. 


J. Cole 


81 


Funerai Thought 


C M. 


Smith 


105 


New Jerusalem G. M. 


Ingalls 


38 |Supplication L. M. Unknown 


93 


CM. 


Tansnr 


94 


Narden 


L.M. 


Unknown 


18 


Vewport L. M. 


Heed 


35 Sutton S.M. Unknown 


54. 


L.M. 


Unknown 


55 


Grafton 


CM. 


Sfme 


44 


Newton S. M. 


J. Smith 


80 (Sutton (;. M, Stone 


5> 


CM. 


If-eul 


100 


Greenfield 


P. M. 


Edson 


95 


Norwich do. 


Unkno-ion 


33 Sylvan Stream L. M. tfard 


2.'i 


C M. 


Uvi K. mil 61 


Greenwich 


L. M. 


Mead 


108 


Ocean C. M. 


Unkniniin 


30 iSymphony P. M. Morgan 


40 


CM. 


G. miliams 57 


Haughton 


58i 6 




113 


Ode on Science L, M. 


Sumner 


130'Taniwonh 8&7 Lockhavi 


101 


L. M. 


Edson 


45 


leavenly Vision 




Billings 


96 


Old Hundred do. 


Luther 


55 Transport L. M. Unknown 


i2r 


L. M. 


B:llins3 


57 


Hephzibah 


C. M. 


Husbands 


129 


Paradise do. 


Holden 


83 Treasure CM. Unknown 


Il's 


C- M. 


Stoan 


79 


liding Plac9 


L- M. 


Smith 


2:: Paris do. 


Billi;gs 


101, Virginia do. Bi-nnson 


1 : 


CM. 


Williams 


70 


lolham 


7's 


Madan - 


123 Parma C. M. 


Italian 


125 Voiceof Nature L. M. Unknown 


8; 


CM. 


Feed 


67 


Huntingdon 


L.'M. 


Unknown 


37 Pastoral Elegy 


Knapp 


119 Wantage C. M. Tansur 


i"l 


CM 


Rnndall 


91 Invitation 


p.'m. 


BroTiinson 


99 Penitence CM. 


r. Stnith 


65 Wells L. M. Haldrayd 


5'.' 


4 ill one Unkno-wn 


24 Irish 


C. M. 


IVilliams 


118 Plymouth do. 


Tansvr 


114 Wesley CM. Unknown 


6'; 


L. M. 


Billings 


47 Jordan 


do. 


Billings 


102 Poland do. 


Swan 


29 i Windham L.M. Heed 


Uk- 


C M. 


S-.oan 


100 .Uidgment 


P. M. 


Heed 


103 Pool L. M. 


Knapp 


66lWinter C. M. Reed 


2ti 


Temple & .^^. 


SO jKfdron 


Il's 


Miller 


126 Portugal do. 


Tho'-ley 


22 Whiteslown L. M. Howel 


39 


CM 


miUims 


101 Lebanon 


CM 


BiUings 


95 Providence P.M. 


Unknown 


120 VVorthington C. .M. Stronsr 


105 


C. .M. 


(Inknoivn 23 jLeiiox 


P. M. 


Edson 


47 Psalm 135 do. 


Defilph 


26 


ANTHEMS, fyc. 

Behold I bring you glad tidings 
Before Jehovah's awful throne 




C M. 


Unknoton 
Hulden 


68 [Lisbon 
104 iLitchfiekl 


S. M. 
L. M. 


Reed 

UnVno-wn 


81 - 
23 - 


- ijQ L \r 


Bull 

Stephenson 


27 
93 




S M. 


34 C. M. 


62 


I.. M. 


Holden 


72 Little Marlboro' 


S. M. 


Co-wling 


82iPutney L. M. 


Williams 


70 


110 


CM. 


B' Icher 


llSIMacedonia 


C M. 


Unkn07on 


16 Repentance C. M. 


Peck 


20 |f heard a gneat voice 
53 1 heheld and lo 


89 


CM 


Halleii 


87iMaje9ty 


do. 


Bil'inga. 


117 Uickmansworlh L. M. • 


Unkno-wn 


96 
73 
64. 


S. M. 


Unkno-vn 


125 'Manchester 


/-. M. 


Billing^ 


128 Rochester C. M. 


Unknown 


112 Ro'e of Sharon 


S. M. 


Unkno-wn 


45 Mantua 


C M. 


l/oldcn 


71 'Russia L. M. 


Heed 


34 Sacred to heaven behold 


P.M. 


Coan 


59 'Mariners 


L. M. 


Italian 


71 ISardis C M. 


Mitchel 


120 The Lord is lisen indeed 


HH 


L. M. 


Jiladaji 


llOiMaryland 


S. M. 


Billings 


114!Sardinia do. 


Castle 


SSlnhat sorrowful sounds do I hear 


119 


I.. M. 


Jiead 


46 .Masonic Ode 




Unknown 


84 Savannah 8's 


Billings 


127lVital spark ot Heavenly flame 

124 


50 


L. M. 


Unknorwn 


48 Mear 


C. M. 


Bro-wn 


67 jScotland C. M. 


Unknown 




P.M. 


Huii 


giJMeditation 


do. 


S\: Linle 


28 ibharon P M. 


Unknmijii 


115 








1 


Middietown 


P. M. 


Buil 


IW 'Sherburne C. M. 


Heed 


f.V 









1^^. 



INDEX 



JWuue'. 
"Adoralion, O 

Africa, C 

All Saints New L 
'Animation, 8 & 7 

"Babylonian CapUvii}', P 
•Band of Love, 
•Bellevue, 
Betlilehem, 
Bos on, 
Boston, 
Brewer, 
*Brid5et<;"vn, 
Canaan, 
Casile Street, L 

Chriilian Sr.-\^, L 

*Gliristmas lljmn, ll's 
'Commu-iioi;, C 

•Concert, 8 & 7 

•Conso'.^liin, C 

'Co'isola'icn, 8's 6's & 
Content, S 

Cowper, li 

Df.vid's Lamentation 
'Pavis, H & 8 

Dawning Light, lO's 



T 

Metre. Authors. I 



Han 



Dare 

Billings 

Billings 



Dare 

Madan 



IloUUng 
Billings 



'DepeBdeni,e, 
*Dismission, 
Dnxology, 
Kaster, 

Ex lorcation, 

Exiiortation, 

*Fairton, 

•Fall if Bibylon, 

Farewtll Antheai, 

'Fidelia, 

"Fiducia, 

"Torster 



rbidlay 

Dare 

Sellnj 

Jtfiida/i 

Madan 

Dioiittie 

Hihlat 

Dare 

French 
Le-Mv 
JiubisoiL 



O M 

•age. 
101 
111 
88 

1U8 

39 
99 
38 

124 

77 
18 
43 
23 
6S 
58 
79 
103 
113 
-2'J 
lOJ 

e9 

129 
115 

81 

28 
78 
47 

131 

121 
23 
55 

9u 
42 
44 i 
84 
56 
20 
!0 



YETII'S SECOND PART, TO 

A'amrs. Metre. ..iutliors. Page 



6 86 
8686 8 8 8 6 

L Madan 
886 



l'"i iendsbip. 
Friendship, 
(iallilee, 
Ganges, 

Geo. gia, C 

German Hymn, L Pleyel 

'Glasgow, L Dare 

Gospel Triimr et, 8's & 4 
•Gospel Trump, Dare 

•Hallelujah, 8&r 

llumiltnn, L Madan 

'Happiness, 6's 

Harmony, lO's & ll's 

•Heavenly Union, 8's 
Hermit, ll's 

Hinsdale, C Bofyoke 

Hollis, C Holden 

Hundred and Forty -eight, L 
(nierrogation, S 

Invitation, L Kimball 

Isle of White, C 

Islington, L 

liidgment Anthem, 



Morgan 

Dare 

Peek 



K^dron, L 

Kingwood, 7's 

Lamentation, L 

•Lai'.daT, S Findlay 

•Liberty, C 

Lonsdale, S 

Madison, L Rend 

'Marcus Hook, C Dare 

Mendom BilSngt 

' 'erton, 6's & 5 .^fa4^an 

"lessiah, 8's 6 8's h 6 
♦Middle Paslon, V .imtin 

Miles Lane, C Shrnbsok 

•MiUville. L Due 

Mjssionar^-, C 



120 
lt'2 
111 
98 
3J 
114 
42 
27 

112 

32 
98 
30 
12! 

iiy 

90 

1-J6 
70 
76 
96 
25 

13u 
60 
43 
92 
83 
71 
59 

116 
51 
89 

105 
26 

109 
57 
93 
39 
50 



Bli HAD AT THE BOOKSP.LL,ERS. 

J^ames. Metre. Authors. I'age.' .Vames, 

103 Sliaro.i, 



•M.rality, 
Mi.uniain, 
*VIount t'ope, 
Mount Pleasant 
Mount Zion, 
Nalivity, 
•\e\v Oaiiaan, 
Nevvmark, 



Metre. AutfiOfi 



Dare 
Madan 

Brutm 



Bull 



•\ew Monmouth, 8 7 8 7 



•N'lneiy Fifth,' 
'Ninety Third, 
Noithfirld, 
Old German, 
Oiiiega, 

P..rdoning Grace, 
Parucipa'.ion, 
Pjsioral, 
Perseverance, 

PIrCEbus, 

Pilgrim's Farewell, 
Plaiiificld, 
•i'ower, 

Plymouth Dsck, 
•Providence, C 

•Redeeming Grace, S & 8 
Re leeming Love, 7's 
Rcdem;)lioi) Anthen 



Chapin 
S Chapin 
C Ingalla 
5's 6 & 5 

C Ilo'.den 



LP 
ll's 
C 

C 
L 
L 



Arne 
Madan 



Billings 



Kimball 
White 



Curtis 
Mudan 



♦Restoration, 
*K i.,dst(iWR, 
•Rockbri.^ge, 
•llock.ngh.^m. 
Saint Juhn5, 
Sai'it John's, 
Saint Michael's, 
Salf^rd, 
Sappl'o, 
Sclienectiidy, 
Seaman's Soiig^, 



lO'i & ll's 
P Dare 
L 
C 
8 8 6 
l. 
P 
C 



Chapin 
Chapin 



21 
?4 
92 
47 
131 
93 



Billinfs 
Ilamlel 
Ml dnr. 
ll's i^ 5 Billings 
L Sleumvui' 



I, 



82 I Shields, B it " 

46 1 Shields, C 

24 Siiver Street, S Smith 

22 'Solicitude, ll's & 8 

31 •Solitude, S M'Kyes 

101 S.undmgJoy, C 

77 Spaldwick, S 

104 'Spring Hill, P 

•Sterling, S 

•SubliP.ity, L 

rhai ksgiving Anthem, Selby 
•Transport, 12 & U 

Trnity, C Tansur 

•Triumph; 
125 I Trumpet, 
llu|Twe:ay-Third, 
104 * 1 Wcnt\ Fourth, 
36 Twcniv-Fil'tli, 
41 •Unitia, 
128 I Virgeniies, 
10"! Vermont, 
29 *VerMon, 

112 j Vienna, 
79 Walsal, 

127 I Warien, 

4S,\Vajh,iigton. 
104 Wa erfuid, 

4,5 \\\ illiamstown, 

95J*'Mllingi.on, 

971* Wilinii'gton, 

33 [Winchester, 
100 V'iiidsor, 

95 ^Vobu^n, 

113 Worcester, 
118l 

1 14 1 Txmss marked Ifius * are origind*. 



C 

ll's 
L 

L But/ 
C Chapin 
S Gillet 
10 11 10 n Chapin 
C 



Page. 
18 

•:9 

102 
125 
109 
76 
78 
117 
94 

aor 

301 
72 
106 
130 
80 
25 
81 
20 
28 
9f 
87 
19 
21 



C 

s 

L 

6's h 3 

L BroTim 
L 
P 
7's 
C 
L 
S 



Billings 
Chapin 
Fremmer 105 
Tansur 69 
Lane 



Dare 

Kirby 

Kimball 

IVood 



d8 
108 
37 
31 
100 
52 
32 
2« 
57 
91