:■< *:
**-j3r-
•'.-»* /\ .. • ~W
> V* "fc
jfj i
-*«,
Ml
S* '■ '■ s. .««-
■>!'
tt
»
*
,-.
• T.
iMMMMJl
■
luiM
Sii(DSSa> XSVSa(0» music library
CONFINING A GREAT VARIETY OF ^CHAPEL HILL
V I T
Ml li /
SELECTED PRINCIPALLY, FROM THE MOST EMINENT EUROPEAN AUTHORS
The gTeatex naut ol^Mch vjete ne\ei: imb\isne<Hn t\\e Patent Notes.
©o tofticfi is jire«reir, » jKuftfcal Grammar;, a JWusical ©tctCoitarg, &c.
Plaint att& Pfsmn £uncs;
a^r ssva: arsr,,
' I will sing: with the spirit, and I will sinp with the undemanding also." St. Pauk
M The Sonp of Sion ii a tastlm thine;,
Unlaw, when rising on a joyful wing,
The stnil can mix with tlie celestial hands,
Ami give the slrain the compass it demands."
COWPER, l. t. D.
CINCINNATI:— PRINTED BY MORGAN, LODGE AND CO. FOR THE PROPRIETORS— 1 82<2.
ill
IllllUlli
I
is!
■11
Western liistxict of Pennsylvania, to vvit v
2$C It ftltttWltl^fty, That on the twentieth day of April, in the forty-sixth year of the Independence of the
United States of America, A. D. 1822, Seth Ely and .loseph Tingley, of the said District, have deposited in this office
the title of a book the right whereof they claim as Proprietors, in the words following, to wit? " Sacred Music, con-
taining a great variety of Psalm and Hymn Tunes, selected, principally, from the most eminent European authors;
the greater part of which were never before published in the Patent Notes. To which is prefixed a Musical Gram-
mar, a Musical Dictionary, &c. By Seth Ely. 'I will sing with the spirit, and I will sing with the understanding
also.' gft Paul. * T',e sonB °f Slon ls a tasteless thing,
Unless, when rising on a joyful wing,
The soul can mix with the celestial bands,
And give the strain the compass it demands.' — Cofopert L. L. H."
In conformity to the Act of the Congress of the United States, entitled " An Act for the encouragement of learning
by securing the copies of Maps, Charts and Books, to the Authors and Proprietors of such copies, during the times
therein mentioned;" — and also to the Act entitled " An Act supplementary to an Act entitled "An Act for the encour-
agement 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 etch-
ing historical and other prints." P.. 1. WALKER,
Clerk of the Western District of Pennsylvnnia-
III"
1(1
HI!!'
1I1111MI111
<"!
IS
• WITH much care and attention I have at last comple-
ted this volume of Sacred Music, and I hope that it will
prove a pleasing acquisition lo my numerous patronizers,
pecause it is owing very mucli to their more than com-
mon patronage that it is raised into public view, and
ivhich might otherwise have lain comparatively hid for
Iges: therefore it is but little to what I owe thus pub-
icly to tender them my grateful acknowledgements. 1
"eel conscious th.it they may consider this book as a good
itundard collection of classical Church Music, to which
hey may appeal for a decision of that which is delicate,
sorrect, elegant and sublime, and find ample satisfaction.
My design, in the compilation of this volume of Sacred
Wisic, is to present to the public, in the Patent Note
own, such music as is almost universally admired by the
[reatest lovers of the science, and is, for the most part,
elected from the moot scientific Doctors and Masters of
Jurope. As for that part of the music which 1 had the
lonour of composing, I am willing to acknowledge that
do not consider that they are equal to many of those
(till which they are mingled; notwithstanding, 1 flatter
(yself in believing that it is generally correct, and such
t my patrons will receive with pleasure. I do not pre-
Slid that all my ideas have been original, yet I have free.
f thought for myself, and have admitted fancy to exert
iself in many instances. I discover that I have mad'
se of whole measures from other authors in composition
Hthnut design, for which some may feel disposed to
barge me with plagiarisms: inadvertencies of this kind
re not unfrequent in the best authors, even in those
'hose writings are most original. I should be pleased
)at those pieces of which I claim to be the author,
light be criticised with candour by competent judges,
ad should ever be grateful to them to point out lo me
te errors attending them ; but as to the captious pedant
INTRODUCTION. .
I feel no disposition to learn his mind concerning them. |
Such as it is I offer it to the public, together"wi'th that'
which 1 consider as being some of the finest specimens
of human thought, and have to add, " To err is human; I
to forgive, divine."
I presume that the instructions laid down in the Gram-
mar ot this volume are far superior to those which have
been published in any volume of Sacred Music in the
English language. Were the Grammar of no better au-
thority than being the result of my own fancy, or were
it the production of a class of men who had not an op-
portunity of being made acquainted with music as a
science, it might then seem an unpardonable presump-
tion in me to recommend it in very high terms; but as
it was, for the most part, composed by the very celebra-
ted Dr. Calcott, organist of Covent Garden Church, Lon-
don, who had not less than seventy different scientific
authors to consult for the materials it contains, many uf
which were Italian, French, Prussian, German and other
European authors. I think that it cannot be accounted
extravagance to pronounce it a work not inferior to any
in the English language, or that the English cannot boast
ot a better than his excellent original. I am sorry that i
I could not have inserted it in full ; yet all the most es. |
sential parts of it 1 have published in this book. 1 have
taken the liberty to depart more from the excellent origi-
nal in Notation than in the other parts, and have added
many observations on the nature of singing under that'
head. Such as would wish to procure his original No-
'aiiori, (which is superior in its nature lo any thing of
•he kind with which I am acquainted.) I expect that I
shall be able to furnish it to them on the shortest notice
as ( expect to have a large number of them on hand. It j
may perhaps be not a little gratifying to my patrons to
be informed that they acquire the principal part of the 1
original as it stands in this volume, together with the Ap-
pendix, Dictionary and all the music at a less price than
they can procure the Boston edition of the Grammar
alone.
In the arrangement of this Grammar I have made a
considerable variation from the original of Dr. Calcott.
I have adopted that most excellent plan which Mr. L.
Murray has pursued in his Grammar of the English Lan-
guage, and I perfectly coincide with him in his- remarks
on laying down the principles for instruction. He says,
" In books designed for the instruction of youth there
is a medium to be observed between treating the subject
in so extensive and minute a manner as to embarrass and
confuse their minds by offering too much at once for
their comprehension, and, on the other hand, conduct-
ing it by such short and general precepts and observa-
tions as convey to them no clear and precise information.
The method which 1 have adopted of exhibiting the per-
formance in characters of different sizes, will, I trust, be
conducive lo that gradual and regular procedure which
is so favourable to the business of instruction. The
more important rules, definitions and observations, and
which are therefore the most proper to commit to memo-
ry, are printed with a larger type, whilst rules and re-
marks that are of less consequence, that extend or di-
versify the general idea, or that serve as explanations,
are contained in the smaller letter : these or the chief
of them will be perused hy the student to the greatest
advantage if postponed till the general system be com-
pleted." By a close application to the rules and observa-
tions following them in this Grammar of Music, and bv
an industrious attention to the music of the best authors,
the student may become a considerable proficient in this
most interesting and pleasing science.
For those persons who are desirous to leara the pria-
INTRODUCTION.
ciples of sinking on!)', the rules of Notation, together
with the following of Melody and Harmony, may be suf-
ficient, viz. seventy-ninth, eightieth, ninetieth, ninety-
first, ninety-second and ninety-third; but for those who
wish to become elegant performers, to the above must
be added' the rules of Rhymth ; and for those who wish
to become most excellent no part of the whole science
can be dispensed with, but must be well understood and
practised accordingly.
In the prosecution of this book of Sacred Music I
have had utility and correctness in continual view, and
my incessant aim has been to counteract the erroneous
method which prevails throughout the United States in
teaching the Solfeggis Art. In order to accomplish so
desirable an object, I have been under the necessity of
deviating from the track of the greater part of the com-
pilers of music who have gone before me, who have
neither given precept nor example for performing mu-
sic agreeable with its changes, termed Modulation. How
much the following sheets may contribute towards rec-
tifying errors of such magnitude must be submitted to
the decision of time, the influence of instructors, the
taste of students, and the judgment of men.
The method which I have pursued in writingfhe heads
of the Notes in the tunes of this volume, is, for the most
part, consistent with the changes of Key, at which I
above hinted ; yet I have not, in every instance, an-
nounced these changes, as, for instance, the tune of
Wei's, which is continually changing from the Key of F
to C and from C to F by the heads of the Notes. This
manner of writing is certainly a novelty, and as the no-
velty is so great and unexpected I do not doubt that
many will hastily condemn the plan. That many will
condemn it at first sight seems to be a natural conse-
quence, because it is that concerning which neither they,
ifieir fathers, nor their predecessors, perhaps, ever
heard ; but as I am fully convinced of the great and
common error which id very generally practised in teach-
ing, and being firmly established in the rectitude of my
plan, being supported by so good authorities for these
changes or Modulation, as Dr. Calcott and all the great
connoisseurs of Europe who treat on this subject, (a
subject of the highest moment,) that I have written
the music consistent with Modulation : then let me en-
treat them to withhold their anathemas for a moment,
and not too hastily condemn the demonstrative and per-
spicuous plan which I have adopted. That it is both a
demonstrative and perspicuous plan will be made evi-
dent by comparing the music which I have written with
the true intent and meaning with the rules and observa-
tions made under the abovementioned articles of the
Grammar. When this is done 1 have hopes to believe
that there are but few hearts so obdurate but sweet
charity (one of the most inestimable gifts from heaven
to man, and an antidote for petulance and invective) will
veach their souls and incline them to forgive.
An author very justly observes, that "It generally is
the fate of new inventions to meet with disapprobation
and opposition until their utility has been proved by ex-
perience ; and it is a misfortune which accompanies ev-
ery attempt to improve sciences that men cannot, but
with great difficulty, be persuaded to deviate from the
rules to which they have been accustomed, in the prac-
tice of which they proceed till they believe no invention
can exceed their excellence ; and antiquity and general
use are deemed sufficient reasons for rejecting even the
consideration of improvement : but surely antiqnity can-
not justify the continuance of systems founded in error,
nor ought the process of any particular system, because
in general use, to become perpetual ; yet, certainly, the
utility of every new invention and every improvement
in the Arts and Sciences ought to be substantiated be-
yond contradiction before the public attention should
even be asked." A thorough conviction of this, and that
my plan would bear the strictest scrutiny, caused me to
take the steps which I have taken in writing the heads
of the music so as to correspond with the nature of
Modulation and the design of the several authors.
It is proper in this place to observe that much has been
said against the use uf the Patent Notes without assign-
ing any betterreason than this, that singers ape inclined
to acquire a negligence concerning the rules of music
and confide too much in the form of the head of the
Notes. This imputation is misapplied when the fault is
fixed upon the form of the Notes : but apply the impu-
tation to the careless performer, and then the observa-
tion will carry some weight with it. Permit me to ask
who was ever acquainted with an erudite musician whose
days were days of indolence and inattention with respect
to the art ? I admit that nature does endow some per-
sons with a sweetness of voice and a happy delivery of
a few pieces ; yet I will maintain there are but very few
who ever become great proficients in the science with-
out much industry and an indefatigable application to
the most scientific authors. Music was not designed
for the lazy and indifferent man, but for him who is wil-
ling to employ every melodious faculty of his soul in t!*e
praises of Him who is surrounded by all the cherubims
and seraphims of heaven, who are in eternal raptures
glorifying Him in symphonious songs and anthems. How
frequently do we see persons attempting to perform from
the round headed Notes who have neither knowledge
nor understanding of them, but, like the parrot, imitate
those with whom they perform, and think that they are
meritorious in their performance ? If we see frequenfc
instances of this kind of lazy imitators attempting to
siug the Round Notes as well as the Patent, is that prin-
ciple noble or candid which condemus the Notes instead
of the persons? if not, then let the blame fall on its
proper objects, but on no other. Therefore, I maintain,
that so far as it is absolutely necessary to sing by the syl-
lables Me, Faw, Sol, Law, so far it is absolutely requisite
to use the Patent Notes : but I am very far from insisting
upon the absolute necessity of confining singers to these
syllables f6r a great length of time. As soon as the stu-
dent perfectly understands the places of the Tones and
Semitones of the Scales, be then should be taught the
letters and their relative distance from the Key by num-
ber agreeable to the examples given in the seventy-fifth
and seventy-sixth pages of this work. By being made
Jjerfect master m these various methods, in processor
time he may as readily and correctly perform from the
Wund headed Notes as the Patent headed Notes if he
practice them equally.
I presume that there are but a few persons, if any, who
will be at the trouble to give this volume a candid and
thorough, mvestigation.who willmaintain thatthey cannot
discover some propriety in the use of the Patent Notes.
l He most part of students will immediately discover the
reason why the learned authors have adorned their music
with sharps.flats and naturals, which are termed Acciden-
tals,in contradiction to those which are used immediately
niter the Clefs. They will be convinced that these char-
acters are not mere marks of fancy destitute of design,
M rather that they are marks fraught with intentional
power, grace and beauty. They are used to sweeten
Resounds, diversify the chords, and change the Key of
?„„ rT1 letterto letter; also, to awaken the atten-
„„. , au?,tor. aro«se his passions, captivate his
.enses harmonize his soul, soften hia spirits, and, in a
"OKI, to enrapture all the powers of his mind. When
■nese characters are ingeniously inserted, and the mu-
11c to which they are affixed, is as ingeniously perform-
ZLZ., 'Jhey *re written by the Patent °r fund
im. i Uleaud"°' ''s feelings are wrought upon by insen-
thle degrees, till, at length, in the course of the music,
e loses himself amidst pleasing charms, and has his pas-
mns no longer at command, which are under the con-
roiling powei. of this most exqu!ai(e art| Shakspparej
peaking upon ihe nature and power of music, sajs
INTRODUCTION.
Nor is not mov'd with concord of sweetsouads,
Is nt for treasons, stratagems, and spoils ;
The motions of his spirit areduHas night,
And his afflictions dark as Erebus :
Let no such man be trusted.''
Do but note a wild and wanton herd,
w race of youthful and unhnndled colts,
("clung mad bounds, bellowiug, and neighing loud.
Wliicl, utile hot condition of their bluoii ;
it they but hear perchance a trumpet sound,
ur any air of music touch their ears,
^ou will perceive tbem make a mutual stand,
JTieir savage eyes turn to a modest gaze,
^y the sweet power of music : therefore, the Poet
IJid teign that Orpheus drew trees, stones, and floods 1
rnnce naught so stockist,, hard, and I'ul I uf rage,
«ut music for the time doth change his nature;
Joe man that hath no music in luinself,
But to return. The various changes of Modulation
which are effected by the use of the Accidentals, are
more readily known when correctly written in the Pa-
tent form than with round heads, because the student
discovers where the changes should begin : consequent-
y I consider that the Patent Notes are admirably calcu-
lated to announce the new Key. These Modulations are
very frequent in the compositions of all good authors,
and many of the most grand effects we feel by hearing
good music justly performed, arise from these changes:
therefore it is of the utmost consequence that every
piece of music should have them inserted in their pro-
per places, and that the performer should, in every case,
exert himself to do them justice by sounding them ex-
actly. Many grand effects are produced by paying a par-
ticular attention to the terms which are placed over the
music: these should be attended toal90. There is an aston-
ishing differencein the effect of music when performed in
its true spirit and when it is carelessly done. Suppose,
tor instance, that Cheshunt should be performed at one
time without paying any regard to the Accidental char-
acters nor directive levels, and in a monotonous manner,
and, at another, by paying every attention to them and
entering into the full spirit of the piece, what a moment-
ous difference would we feel !
The Appendix to the Grammar contains much useful
matter, and ought to be much studied as it tends to lead
the performer to a view of the analogy which exists be-
tween musicand language
The Dictionary explains 9uch terms as are used in mu-
sic, and also many of the technical terms which are used
in the Grammar and not found in any common Dictionary.
The Tunes are arranged according to their Metres,
and many of them are accompanied with a number of
verses. The verses may be sung to other tunes as well i
as to those with which they are printed. The Metres I
are distinguished thus : L. M. stands for Long Metre ■
61s. L. M. six lines Long Metre; L. P. M.Long Particu-
lar Metre; C. M. Common Metre; C. P. M. Common
Particular Metre ; S. M. Short Metre ; S. P. M. Short
Particular Metre ; H. M. Hallelujah Metre ; and P M
Proper Metre. The Proper Metres are of various kinds,
and are known in their classes by figures representing
the number of lines and the number of syllables in each
'■ne.
In consequence of the Grammar and the great variety
of short tunes and Set Pieces which this work contains
I have found it impracticable to insert many Choruses or
Anthems agreeable to the plan I originally contempla-
ted ; notwithstanding, I believe that the numerous Set
Pieces which I have given will prove more acceptable
and beneficial to my patrons and the community at large,
considering the present state of music, than had I made
room tor many Choruses and Anthemsin theirstead. By
leave of Providenee I purpose to publish a second vol-
ume of Sacred Music, to be made up, principally, of Set
Pieces, Odes, Choruses, Anthems, &c. &c. in one, two,
three, four and more parts, at some future period not far
distant, to be principally selected from the great Doctors
and Masters of Europe.
It could not be reasonably expected, that so small a
volume as this could contain all that variety of music
which many could desire ; yet I presume that it contains
one third more matter, for its size, than is to be found in
any typographical work of its kind in the English lan-
guage. °
As I have lived about three hundred miles from the
press, it has precluded the possibility of reading the
proot sheets myself, let it not be surprising that many
typographical mistakes should be discovered in the
course of the volume.
I have to observe.finally, that too great a proportion of
the Patent Note music, now in use, tends to vitiate the
public taste, and is improper for public worship. Much
of it was composed hy men who had not the means of
being acquainted with music as a science, and th«ir com-
positions are no other than a jumbling1 set of Notes put
confusedly together without judgment or knowledge.
Had such composers kept their music to themselves and
taught the music of their superiors, they might have been
acquitted with honour, but now are the butts of satirical
witLcism from the better informed part of the community.
INDEX.
That this compilation of Sacred Music may be a means
of rectifying the taste for good music, of establishing a
greater unanimity of love between the different denomi-
nations of Christians, of adding fervour to religious de-
votion, of attracting thousands to the places of divine
worship, of giving pleasing anticipations of those joy-
ful strains of exultation sung by the blest above>-whose
bosoms glow intense as the sun, and of promoting the
all-glorious cause of our Redeemer, is my most ardent
desire and prayer.
SETH ELY.
Armley
L. M. '
79
Abbas Court
« ■
106
Ascension
. .
. 118
120
Althrop
153
Arlington
CM.
165
Alzey . .
. 166
Armdel .
ft »
169
Abridge ,
173
176
Aberdeen .
200
202
Albany .
205
Alesbury
S. M-
244
Albany
25*
Adeste Fideles
P.M.
270
Amsterdam
296
Amesbury ■
• . .
29C
Anapolis
312
Bath
L. M.
83
Brentford
97
Bred by
102
Birmingham
104
Baltimore
.
142
Broadmead .
154
Britannia .
157
Bangor C. M. 164
Bedford 16-i
Broomsgrove .... 166
Burford 169
Blanford 170
Barby 173
Braintree 176
Buckingham .... 181
Brighthelmstone . . . 182
Berwick ..... 185
Bray •, .188
Boston 203
Brattle 206
Buckminster , 209
Bliss ....;. 226
Brownsville S. M. 243
Bethsada H M. 258
Burnham , 259
Birkstead P. M. 290
Buckingham .... 292
Bermondsey .... 293
Bramham 301
Castlestreet L. M. 80
Cymbeline .... 81
Connecticut , . , . 84
CarmeJ ..... s<j'
Costellow . . ,
88
Calvary
90
China * . . . ,
96
Christian Warfare
. 105
Crucifixion . .
139
Congleton
155
Columbia S. P. M.
159
Cincinnati . . . .
. 160
Connellsville C. M.
166
Covenfry
1S7
Canterbury . ^
. 167
Cheshire . . .
169
Chelsea ,
. 171
Clarendon . .
174
Carr'sLane
. 178
Crown Kim . . .
178
Christmas , . .
182
Carolina ....
186
Cambridge ,
. 187
Cirencester
214
Canaan ■ * ■
233
Cambridge S. M.
Cadiz ....
Conn l-vill
Cranbrook .
Colchester .
Carmarthen H. M.
Ci 'ckhuwell . , •
Careysiveet .
Christmas P. M.
Condolence .
C^lluption . ,
Calvary
Christmas . .
Christian Fellowship ..
Darwent L. M.
Doddridge
Dresden . . ,
Denbigh .
Dartmouth , ,
Denmark
Dcvoiion L. F M.
Dayton C. M.
Durham , , ,
Delacourt
Devises , , ,
DuQkenn>Id
H. M.
41s. 10s.
P.M.
L. M.
,. P. M.
C. M.
S.M.
P.M.
L. M.
CM.
P.M.
L. M.
C. M.
P. M. '
3ronmgen - . .
|rard .
lalifax L. M.
l.arwinton
iorsley
laverhill
larlaem
iandel's U3tl> .
labbakkuk . . .
lanover . ,
lundred & 13th L. P. M.
196
193
218
258
265
266
289
97
128
134
156
16..'
185
193
£42
274
294
io:
207
210
223
300
306
81
90
194
228
268
275
288
306
85
94
95
101
114
136
125
132
159
Huntingdon L. P. M.
Heighington C. M.
Hartford . . ,
Hermon
Hallelujah
Hopkins S. M.
rlorncastle
Hardborough P. M.
Herald Angels
Haandel's Song in Saul
Heart's . . ,
llarrisburgh
Hymn on Redemption
Isl ngton
Incarnation
Llingtoa
Italy
Jubilee
Isle of Wight
Irish
Ireland
Jabez Prayer
.lubal's Lyre
Kent
Kingsbridge
Kirkland
Kensington .
Kettering
Kendall
Knaresborough
Kingston
Kettering
Kddron
Lorn
Leith
Lorrain
London .
I^ubec
Lancaster
Lyme
L M.
CM.
S.M.
L. M.
CM.
P. M.
L. M.
162
190
191
199
204
242
245
266
276
276
282
302
310
84
92
101
103
130
170
175
164
251
254
78
83
98
103
108
181
193
203
219
307
P. M.
L.M.
L.P M.
CM.
94
99
113
115
158
171
INDEX
Ludlow C. M
Lincoln . .
Lambeth
Ludlow
Little Marlborough S. J
Lonsdale . .
Lexington
Luughton
Loughrea
Launceston
Lena
Leoni
Litchfield
Magdalen
Milbank
Munich . .4
Mansfield . ,
Music . . ,
Mousley
Monmouth
Morning Hymn .
Martin's Lane L. P. M.
Mear CM.
Melitello
Magdalen
Messiah . . .
Miles's Lane ,
Milan
Middleton .
Majesty , .
Millord
Melton Mowbray P. M,
Newton L. M.
New Sabbath
New York
New-Court
Nativity
New Haven
Naples
New York
L. P. M.
C. M.
H.M.
172
20u
215
235
24"
247
250
278
281
282
290
294
301
78
85
86
93
100
119
153
157
163
164
167
171
172
179
200
216
22?
240
292
87
89
137
158
194
202
206
262
New England P. M.
Nativity .
New Jerusalem .
Old Hundred L. M.
Osnaburgh
Oporto
Orphan's Hymn
Oliio S. P. M.
Orford ' C M.
Overton . ■ .
Ocean
Ode on Judgment P. M.
Oxford
Oundel
Olney .
Praise
Palmis
Portugal
Palermo
Presburg
Plymouth
Prussia
Philadelphia
Plymouth Bock
L. M.
L. P. M.
CM.
Pittsburgh
Plymouth
Piymptons
Pemrose
Pembroke
Pickerton .
Palmyra
Piety
IVbmarsh
Pennsylvania
Purcell .
Parnta
Poland .
Price
Pelhain
Pennaylrania S. P. M
S.M.
77
92
102
123
161
180
192
212
272
283
287
292
77
80
81
85
89
100
109
126
154
161
166
177
177
179
180
186
189
192
203
211
212
221
241
249
257
L.P.
S.
L.
269 [Portsmouth H
279 Praise the Lord P.
320 Pilgrim's Song
Pewsey
Pentypool
Quincy
Quebec
Rome
Reading
Rowlston
Russia
Resulxection
Resurrection
Rockingham .
Rockbridge
Revelation
Rutland S
Redeeming Love P
Romain
Sacrament L.
Seaman's Song
Salem
Stonefield
Sheffield
Sinai
St. Stephens C.
St. James C.
Somerset ,
Steubenville .
St. Martins
Sheldon .
St. Jngo
Swanwick
St. Asaph's
Sydenham
Stade
Stratham
Scotland
Spiritual Warfare
Salop C M.
CM.
M.
P.
vii.
262
280
295
297
300
160
241
78
112
117
124
149
183
164
191
19S
246
273
291
89
82
82
89
121
156
165
170
174
174
175
186
189
189
191
201
201
210
213
220
234
V1U.
Stubenville
Shirland
St. Thomas
St. Bernard
Silver Street
St. Giles
Saxony
Sophvonia
Sark .
Sicilian Hymn
Shields
Sweden .
Stanford
INDEX TO THE GRAMMAR.
S. M.
S. P. M.
H. M.
P.M.
235
241
242
244
247
256
264
270
273
283
283
287
293
L. M.
Added Lines • . , 10
Accent . . . . 1,5 & SO
Appogiatura . . . 21 & 43
Alter Note or Note of transition 21 & 41
Abbreviations . . . . 23
Ancient Signatures . . . .33
Auticinaticu ....
Addition . . *■ . . .
Articulation and Delivery
Brace
Base Staff . . . - .
Bar
Base Note, Root or Radical Note
Clef
Common Time . , .
Compound Common Time .
.Compound Triple Time ,
Close
Choice Notes ....
Consonant Intervals
Clivomaticand Enharmonic Scales
Chromatic Scale ....
Characteristic Note* • .
'Contrary rootionsof Harmony .
Cadence, Perfect, Imperfect, Sec.
Chromatic Modulation . . 49
Compound Measures .
Codetta
Coda
Compound Feet . . .
Ciesure
Contracted Section . .
Diatonic StaJesor Caj«mu,t ,
Supplication
Truro
The Sun .
The Second Advent .
The Ransom
Tamworth C. M.
Tempest .
Trumpet
The Everlasting Song
Thanksgiving
Thatcher
Triumph H, M.
Taunton P. M.
Dot or Point
Directive Terms of Time
Double Sharp . .
Double Flat . .
Double Bar • • ,
Da Capo • • . ■
Direct ....
Dash ....
Dissonant Intervals
Dominant . . .
Direct motions of Harmony
Dominant Seventh .
Discords in Harnony .
Dominant Period . .
Delivery . . .
Might Notes
Emphasis ...
Expression
Effect
Enharmonic Scale
Extreme Sharp Sixth .
Enharmonic Modulation
Flat ....
Fourteen Diatonic Semitones
Flat Fifth
Fourth
False Cadence ,
Foot, Musical
Grammar, Musical
Gammut
Genera, or three kinds of Melody
Graces of Music . . .
Harmony „ . . ,
296
78
91
93
99
187
190
195
230
236
240
260
265
Thunder Storm
The Sailor's Song
Trowbridge .
Tamworth
The Star in the East
Troy
Union
Urbanna
Upton
Victory
Vincennes
Vernon
Veni Creator
L.M.
C. M.
S.M.
L. M.
C. M.
267
284
286
288
302
312
110
198
252
87
184
185
199
Vernon
214
Woburn Abbey
,
Vincennes S. M.
244
Westbury Leigh
CM.
Wilton L. M.
88
Washington
H. M.
Wells . . .
94
Weymouth
Wurtemburgh
155
Waterford
P.M.
Warwick C. M.
165
Whitchurch
Wantage . ,
168
Xenia
C. M.
Waltham
. 168
Xenia
P.M.
Workshop
173
Yorkshire
L. M.
Washington
188
Yarmouth
S.M.
Wareham
196
Zion S
P.M.
Washington
. 217"
Zanesville
P.M.
mvatv to tfte tifranincav.
Harmonica! Progression
, Intervals of Melody
Inversion of Intervals
[ Inversions of the Triad
Inversions of the Dominant Seventh
i Interwoven Phrases
; Irregular Phrase
Irregular Section
Interwoven Section .
Interwoven Period
Keeping Time
Key Major and Minor .
i Leading Note . ,
i Licenses . , .
I Musical Grammar . '
', Music ....
Mood or Mode . .
, Mode or Key
. Marks of Expression
! Melody . .1 .
Motions of Melody .
I Minor Second, Third Sec.
t Major Second, Third &e.
1 Major Mode or Key
Minor Mode or Key '
Major Scales with Hats
Minor Scale
1 Me Table
[ Mediant
Modulation • .
Mod^ from the Major Scale
Mod front the Minor Scale
Mist Mais'iM'-o . .
Musical Foot
Musical Ctesure
Mixt Cadence
Notation
Notes
Notts of Duration
Natural
Nainingof Interval:
Ninth
Octave . .
Point or Dot
Pause or Hold
Prisa . , .
Perfect Fourth
Perfect Fifh
Perfect Cadesee
Plagal Cadence
Partial Modulation
Phrase
Period
Rests of Duration
Root or Radical Base
Rules of Harmony
Resolution of Dominant
Relative Minor Scales
Rhythm
Regular Section . .
Stair" . . •
Scales of Proportions
Single Bar
Syncopation . •
Sharps .
Sllir . . ',
1(5 & -13
17&3G
, 19
Shake or Trill
Sharp Fourth ,
Signature . .
Scale, Major and Minor
Subdoininaitt
Submediant .
Stipertonic .
Suspension, Discords of
Sequences
Simple t ommon Measure
Simple Triple Measures
Simple Feet .
Simple Time Phrases
Section . .
Sacred Music
Time -.
Triple Tjme ,
Triple Compound
Triplet
Tye . . .
Trillins
Trill .
Third, Major and Minor
Tonic .
Transposition
Transition . .
Triad ;
Tonic Period .
Transposition of Me
Tonic Minor Sealos .
Tasu . .
Unison
ARTICLE 1. MUSICAL GRAMMAR.
Musical Grammar is the art of performing
and writing music with propriety : it is di-
vided into four parts, viz. Notation, Melody,
Harmony, and Rhythm.
This division may be rendered more intelligible to
young minds by observing in other words, that Musical
Grammar treats, 1st. of the form and sound of the Notes,
and of the various characters used in music: Secondly,
of the combination of Notes in a piece of music, and
their modifications : Thirdly, of the union of two or
more melodies which are designed to be heard at once :
and Lastly, the just method of performing music with
propriety
From the analogy which exists between music and
language these rudiments of music are termed a Musiojj
Grammar.
. It is but just to acknowledge that this grammar is prirH
cipally taken from Dr. J. W Callcott's Musical Grammar!
\Vere not the limits of this publication too small, the
krammar would have been added at large ; notwithstand-
ing, I am confident that more knowledge of the science
of music is retained in this treatise, than in any volume of
sacred music published in America.
ART. 2. Music.
i Music, is the science of sound.
I In other words, music is the language of passion, or of
psnlivened imagination, formed, most commonly, into reg-
ular measim.a
The hislorian^tne orator, and the philosopher, address
themselves primarily to the understanding; their direct
aim is to inform, t. persuade, or to instruct. But, like
the poet, the primary aim of the musician is to please and
to move, and therefore, it is to the imagination, and to
the .passions he addresses himself. lie may, and he
MUSICAL GRAMMAK.
ought to have it m his view, lo instruct and reform ; but
it is indirectly, and by pleasing and moving that he ac-
complishes his end. His mind is supposed to be anima-
ted by some interesting object which fires his imagina-
tion, and engages his passions ; and which, of course,
communicates to his style a peculiar elevation suited to
his ideas, very different from thatsupineness which is
natural to the mind in its ordinary state.
As the practice of sacred raiuic is in itself so agreeable
and noble, it is no wonder that numerous persons are in-
clined to study it : but as vcords cannot, of themselves,
express sounds, few, comparatively, are able to attain
any considerable proficiency in this pleasing science,
without the help of a master. To assist the ideas of the
pupil, and ease the labor of the tutor, this grammar is
printed with a larger and smaller type. That printed
j*nth the larger type is designed to be committed to mem-
ory, that printed with the smaller type is intended to
illustrate more fully the subject of the larger, and like-
wise to extend the ideas beyond what could be expected
from that alone.
PART I. NOTATION. . /
ART 3.
Notation teaches the nature and power of
Notes and other characters used in musife.
It is expected that the scholar will make himsetf well
acquainted with the notes and characters of notation be
fore he attempts to sing. He ought to commit the larger
print of this part perfectly to memory; a neglect of
which will be very prejudicial to his improvement ; and
it is from a neglect of this kind that we are tio attribute
the principal cause of the inaccurate performance, which
exists in so many choirs of singers.
Many persons having a good musical ear^ are very apt
to trust themselves to that, rathur than Confine them-
selves to rules, and afterwards blame their/instructors for
their own negligence. Instructors ought to insist that
their pupils pay a particular attention to the principles,
and in no case to neglect them.
Many schools have begun upon tunes when they could
scarcely have given a letter upon the staff or scale of mu-
sic, which is another cause that there are so m:»nv half
suiger3. The learner may be sure that the mote tho-
roughly he understands the principles when he ought to
attend to them, the more swift will be his progress after-
wards. Schools then ought to be solicitious that their
instructors be well qualified, For how can they instruct
others when they are ignorant themselves r Learners,
in that case are led to suppose that they have improved,
when they really have not, and consequently, their time
and money are both spent to no manner of purpose.
It is, indeed, much to be regretted that many persona
in tfte United States take upon themselves to commence
instructions in music, who are so illy qualified for the un-
dertaking, and who, many of them, transgress every rule
laid down for singing in a correct and graceful manner. —
It is hoped that the taste of the public will speedily so
far improve, as to induce them to bestow such patronage
on those teachers who :ire actually competent to the
task, and such merited contempt and neglect on those
who are unfit for it, as will incite men of ability to culti-
vate their talents with more assiduity, and deter all others
from making the attempt.
AKT. 4 Staff.
Five lines drawn over each other
form a Staff or Support for the . . JZZ
notes of music; thus, — _- T~Z
On these lines, and on the spaces between tfieni tlie-
heads of notes are written. The lines and spaces of :he
stiiff are counted upwards from the lowest to the highest.
Every line and space is called a Degree : thus the staff
iut Utiles nine degrees, via. five lines and four spaces,
t. NOTATION.
ART. 5. Notes,
Notes p j£ are the representatives of mu-
sical sound. In this work the Faw ^ is a tri-
angle ; the Sol 23 is » circle; the Law a is a
square; and the Me 5 is a diamond.
In the solfeglo these forms are of considerable import-
ance to theyonng pupil. They aid him not only in calling
the names of the notes, but also assist to distinguish the
place of the semitones, which are always, in the diatonic
series, between me and faw and law and faw. The faw
aptly represents this semitone, as being the half of a
square, being diatonically a semitone only higher than
the nest degree below it.
The notes of music consist generally of a head and a
stem ; the head is open or close (that is, white or bjsck)
and must always be placed on a line or in a space. The
stem may turn up or down without making any difference
in the music; thus,
£
-m
=p
2_Z-
M'hen more than nine notes are wanted, the spaces
above and below the staff are used, and two more de-
grees are gained.
ART. 6. Added Lines.
Added Lines are drawn above
and below the staff; thus,
Any number of lines may be added ~™
above or below thestaff; thus thedegrees
may be increased at pleasure.
ART. 7. Ehace.
A Brace J s^ows now many parts move to-
\ gether.
More than two parts moving together is called a score.
ART. 8. CiXF.
A Clef is the representative of a certain.
MUSICAL GRAMMAR.
I. NOTATION.
letter of the staff. There are three Clefs,
viz. the F £l» or Base Clef; the C ;
Counter mi or Tenor Clef; and
G 3E or the Treble or Tenor Clef.
{ffi The G Clef in this work is used for the Treble,
«y "Counter and Tenor; but the C clef is the most
proper one to be used for the Tenor and Counter parts ;
because that line which is enclosed by the parallel cross-
es of the clef represents the sound and letterof that added
line which first occurs above the Base stah\ and that
which first occurs below the Treble staff; therefore let
the C clef stand upon any one of the five lines, that line
inclosed by the parallel crosses is alwaj's to be understood
as the letterC, and as that common sound made by the
Base and Treble from the above described added line. —
Consequently, if the C clef be placed on the first line of
the staff, the letter and sound of that letter is exactly the
same as if it were placed on the fifth or upper line of
the staff'. The sound is to be understood as well as the
letter, when it is employed on the Base and Treble staff:
that is, if the C clef be placed on the fifth line of the Tre-
ble staff, the fifth line of the Treble staff is to be sounded
no higher than when it stands on the fifth line of the Base,
A Clef is a mark representing a letter placed at the
begfuning of a tune or staff, to determine the names of
the dtgrees, and is always situated on aline.
Th*- sounds of music are distinguished by the differ-
ence in respect of pitch, and divided into high and low :
the high sounds are placed in a staff with the G clef, and
called Treble ; the low sounds are placed in a staff with
the F cleff, and called Base. The upper sounds of the
Base and tl\e lower sounds of the Treble, are also called
the Tenor, :\nd sometimes placed in a staff with the C
\c*f. These three clefs are five degrees distant from
eacTi other ; tt>e C or Tenor clef being the note where
he 'flase ends vnd the Treble begins. The G or Treble
clef fp five degrees above, and the F or Base clef is five
I. NOTATION.
degrees below, both inclusive ; thus,
—m
FGABCDEF^G
All the degrees of the staff depend upon the clef; and
consequently take their names from that line on which
the clef is placed. It must always be remembered that
these clefs are representatives of fie F or fourth line of
the Base, of the C or some line of the Tenor or Counter
(generally the third line ,) and the G or second line of the
Treble Tn this work it is always to be understood that
the air and second is to be sung by treble voices equally
divided, and the Counter generally likew:se in the octave
above the voices of men when practicable. Good tenor
voices should also be employed in the air, second and
counter: but the greater part of men should sing the
base. It should be particularly observed, that unless the
Jfoble voices be divided as above recommended, much of
WJ6 effect of the music of this book will be destroyed.
BpTue G clef must be placed, or turn on the second line
jprthe staff: all the notes on that line are called G ; the
iother degrees take their names from that as the clef line.
The F clef must be placed on the fourth line of the
staff, so that the two dots are in the third and fourth spa-
ces : all the notes on tbat line are called Fj the other
degrees take their names from that as the clef line.
The C clef is commonly placed on the third line when
it is designed for Counter, and «n the fourth line when it
is designed for the Tenor From these observations it
evidently appears, that the degrees of music entirely de-
pend upon the clefs, and that the clefs themselves are
the letters C, F and G.
AUT 9. Diatonic Scale, on Gamjuxtt.
The Diatonic Scale" orGammut is the foun-
dation of all music, and is represented bv the
first seven letters of the alphabet, viz. A, B.
C, D, E,F,G.
THE SCALE.
1. NOTATION.
; G clef.
O clef.
m
F clef.
. faw
me
law
sol
— faw— ^
Li w
— -sol —
taw
— me —
law
— sol —
faw
—law- — *
sol
faw .
me
—law — .
sol
—faw —
law
— sol —
faw
— me—
law
—sol—-'
This scale includes
four octaves, com-
mencing with the
second added lint*
below the base staff
andconcludingwi h
the second added
line above the Tre-
ble staff.
The natural scale
of music, which,
proceeding by de.
O ^rees, includes boil
® tunesand semitones
Jj is called Teutonic,
>. g because the gr arer
number of intervals
in seven are tones,
viz. five are tones,
and two are semi-
tones.
The clefs are pla-
ced in their natural
order. The F del
is on the fourth line
of the Base staff;
the C clef is on the
added line between
the Treb:e & Base,
being- the third line
faw
fr' ., •>..., law
Sol
G , faw
M the Counter staff, continued by aline of dots; and the
G clef is on the second line of the treble. The dotted
lines are used to represent the added lines continued
The notes to the right of the clefs show the natural
degrees of four octaves The letters to the leftlikewise
ihow the same, and besides show that when more than
teven letters are wanted, the eighth commences with the
tat, the ninth with the second, &c. The braces to the
•tgbt of the notes represent the Treble, Counter and
3ase staves-.
MUSICAL GRAMMAR.
I. NOTATION.
Thediatonic scale includes all the different intervals
formed by the natural notes, and also all those which are
produced in transposing the natural scale higher or lower
by the employment of sharps or flats. Those intervals
which exceed the limits of the octave, as the ninth, tenth,
eleventh, he. are only the replicates of the second, third,
fourthy&c
As only the O and F clefs are used in this work, 1 shall
only give two staves with those clefs here, which ought
to be learned perfectly by every student.
fiase Si'iff.
Treble Stmff.
5 faw —
4 law
4 sol—
1 space faw
1 line — law
The no'es o* niusjp represent sound with their dif-
ference of pitch, and their duration of time. These two
qualities are called the tune and time of notes. When to
the series of the seven letters the eighth is added, the
whole number is termed an octave ; and the word is fre-
quently use! to express the two extreme notes of the
Scries: the first and the eighth. That series of letters
which begins and ends with C, ascending or descending,
is the most satisfactory to the ear, as in the following scale.
THE EIGHT NOTES.
CDEFGABC CDAGFEDC
ppHiiiiilii;
123 "4 56 7" 8 8~ 7654 321
The letters above the staff show the degrees of the
diatonic scale or oct»ve; the figures 1 and £ between the
notes represent the distances of one lone, and a halftone
11
I. NOTATION.
or semitone ; the figures 1 2 3, &c show the natural se-
ries of die scale This series is intended for a prac'ical
lesson in the eight note's for Treble, Counter, Tenor and
Base voic-s This may be transposed to any part of the
st»ff by the use of flats and sharps. If three octaves are
i i be performed at once, the key of G, with F sharp, is
the most proper for exercise.
Let it be particularly remembered that the seniitonea
of the diatonic octave are found be" ween the third and
fourth, and the seventh and eighth degrees of the major
scale. As the whole doctrine of melody, or the tune of
notes must depend on a right conception of the two
semitones and 'lu-ir places in the scale, great attention
should be paid to this part of the subject.
The greatest care must be 'aken not to misunderstand
the words note and tone. Note is the sound which is
heard, or the mark which represents it on the staff; but
a Tone is the distance between two notes which are
called by the names ot two adjoining letters. The same
observa'ion inn-i be applied to thj semitones, which are
sometimes called, though improp rfy, half notes,
The intervals betwt en the degrees of the seu'e are tin
equal ; and as some are nearlv tw.ee tht distance of oth-
ers, the words tone and semitone are emplo)ed. ^
AUT. 10 Note- of Ddiution.
The Notes of Duration are six in number*
and distinguished thus; 1. the Semibreve is
an open note Q. 2. the Minim is an open
note with a stem p. 3. the Crotchet is a dose
note with a stem £. 4. the Quaver is close
with a stem and hook jff. 5, the Semiquaver
is close with a stem and two hooks r. 6. the
Demiscmlquaver is close with a stom and
three hooks. One Semibreve is as long as
two Minime, four Grotehets, eight Quavers.
I. NOTATION,
■sixteen Semiquavers, or thirty-two Deinisemi-
(juavere.
Scales of Pkopohtiosts.
1.
One Semibreve. T-.00 JlUvims. Four Crotchets.
IgU
Q?ie Minim. Two Crothets. Fow Quavers.
imping
3.
One Crotchet. Two Quavers. Four Semiquavers.
-rr *-- — - tea W
S9E
zr&ec-
*.
One Quaver. T7V0 Semiquavers. Four Demiaemiquavers.
EB=t3E£Et=fc=;
i
Those notes which have hooks may be grouped to-
geiher by two, three, four, fee. thus,
Detached Quavers.
Grouped Quavers.
liEiPIHi
iiftv
Detached Setniguavcrs.
__l K_, 1 — 4—
feb^:
Grouped Semiquavers.
GzHz&zSi
MUSICAL GRAMMAR.
I. NOTATION.
Setached Demisemiqvavera. Grnup'd Demiscmiqtiavera
This method is not only convenient in writing, but as-
sists the eye in ascertaining the proportion of the notes,
and is of particular use in vocal music, to distinguish the
notes which are to be sung to one syllable.
Besides the foregoing six notes of duration some au-
thors make use of the Breve, which is as long in time as
two semibreves, the Half-Demisemiquaver which has
four hooks, and the Quarter-Demi semi quaver which has
five hooks : the six, however, are all which are made use
of in this work,
ART. 11. Rests op Duhatioi*.
The Rests of Duration are six in number,
and distinguished thus; 1 a Semibreve Rest
is a square below the line -„. 2. a Minim
Rest is a square above the line j«- 3. a
Crotchet Rest is an inverted seven ;
4. a
Quaver Rest is aseven^ 5. a Semiquaver
Rest is a seven with a dasb J 6. a Demise-
miquaver Rest is a seven with two dashes 2
Or, when in the course of a movement, silence is re-
quired for one or more parts of a measure, that silence is
denoted by a rest, or by rests, which are counted exactly
the same as their corresponding notes would be if per
formed.
The Bemlbreve rest is also used in Triple and Com-
pound Time toexpressthe silence of one whole measure;
and the Breve Rest is used for the silence of two whole
measures, which extends from one line to another.
I. NOTATION.
As the rests are inserted in the measures to fiH up the
time when no sounds are to be heard, the performer
should of course pay a particular attention (o the termi,
na'ion of the notes which precede them. An instance
of the great attention necessary to be paid to these signs
is shown in the following example, where the variety ol
these three measures wholly depends on the rests, the,
music being exactly the same in every other respect ol
tune, time, and accent.
AR !'. 12. Dot on Poimt of Addition.
A Dot or Point (j_) at the right of a note:
or rest makes it one half longer than usual.
Thus a dotted semibreve is as long as a semibreve ant!1
a minim, or as three minims.
Notes.
Rests.
Irsa
islll^l
A dotted minim is as long as a minim and a crotchet
or as long as three crotchets.
IgteifefelJ
A dotted crotchet is as long as a crotchet and a quaver
or as long as three quavers.
lifefeiE!^^
A dotted quaver is as long as a quaver and a seroiquat
ver, or as three semiquavers. A dotted semiquaver is ai<
long as a semiquaver and a demisrmiquaver, or as thretl
demi semi quavers.
A double dot or point (•*) at the right of a note « res'
makes it three fourths longer.
I. NOTATION.
Thus a double dotted «rotchet (as for instance) is as
tflg as a crotchet, quaver, and semiquaver, or as three
uavf-rs and a semiquaver, or as seven semiquavers.
ESSE »Tt«ii- JFJEJcJqCfCJCCiC^I
All I . l.'i. SlHGLE Bar.
A Single Bar t divides the music into e-
|itaj measures. I
■ Every musical piece is divided into equal portions
ailed measures. These are ascertained by straight lines
irawn down the staff, called Bars.
ill the notes, therefore, contained
<etween two bars constitute one
pleasure; thus,
Every measure must contain a certain number of notes,
ccording to the time marked at the beginning of the
novement. Thus, in Common Time, each measure in-
Judes a semibreve, or its value in minims, crotchets, qua-
'ere, &c. intermixed as the melody requires. The exact
ength of the measure is known by regularly dividing the
ime into equal portions, whether the notes themselves
it lonjr or short ; as every measure must be precisely
i^ual in time, during the continuance of the movement.
ART. 14. Time.
j The Time of Music is regulated either by
l certain mark at the commencement of a
Hbvement, or by some directive term.
Time is one of the first and most essential properties
if music; for when this branch of musical excellence is
iot understood, or is neglected, order and true harmony
re exchanged for confusion and discord- It is inexeu-
able in persons professing themselves desirous to arrive
ta pleasing degree of proficiency in singing, and who
Baemble privately, or in societies and churches for that
'Urpo3«, to neglect acquiring a competent knowledge of
MUSICAL GRAMMAR.
I. NOTATION.
this important part of music It is imJispensible, in order
to a correct performance in concert, that the Leader be
not only well versed in time for his own government,
but also that he be perfectly competent to lead the choir
in such a manner as that all the other performers may
be readily guided by his time.
There are two chief species of Time, Common or
Equal — and Triple or Unequal Time. In the first we
count two or four in every measure; in the last we count
three or six.
ART. 15. Moon ob Mode.
Mood or Mode is a disposition of notes in
a measure according to time.
ART, 16. First Mood of Commow Time.
The First Mood of Common Time is known
by a semicircle (C) and has the value of one
semibreve in each measure, and is beat with
four beats in about four seconds of Time; thus,
ffrrffrr f f r r
13
pnem
.^41234 1 23 4
123^4 12 3 4 1 2 3 4
The letters over this example and the following ones
denote the falling and rising motions of the hand. The
figures placed under represent the motions of the hand
in beating the time of each measure. The method for
beating this mood of time is, 1. Let the ends of the fin-
fers fall. 2. Let the heel of the hand fall. 3. Raise the
and a little. 4. Raise the hand whence it first fell.
ART. 17. Second Mood oe Common Time.
The Second Mood of Common Time is
known by one of these three marks:
and has the value of a semibreve:
for a fiseasure, two boats in about two or three
I. NOTATION.
seconds of time; thus,
This mood should be beat only with two motions of the
hand in this work; notwithstanding some authors have
designed that in their works where the barred semicircle
occurs, the measure should be beat with four motions.
All other modes of time are marked by figures, placet]
one over the other at the commencement of the move-
ment.
ART. 18. Halp Time, or Two CnoTcnrrs Time,
or Third Mood of Common Time.
Half, Two Crotchets, or Third Mood of
Common Time is known by a 2 over a 4, and,
has the value of two crotchets for a measure.
two beats, in about two seconds of time; thus,
ilieitgii
The first mood is slow, and more so if the term Largo
or Adagio be set over the passage j the second mood in
quicker than the first, and is t* be performed more quick
if Andantino or Allegro be set over it ; the third mood is
quicker than the second, and if Presto or Prestissimo be
set over it, the passage is designed to be performed in a
rather rapid manner. These terms are applicable to a'l
the moods of time. Largo may beset over twocrotclu ! 5
time as well as the first mood of common time ; and pre-*.
to may be set over the first mood of common time us we'd
as over the half or two crotchets time. These and man;'
other terms are used to regulate the movements, :m-[
therefore the performers should pay particular attention
to them, for time as well as for other purposes.
1.4
I. NOTATION.
on. AST' 19' FlnsT Mo™«r Triple Time.
The First Mood of Triple Time is known
by a 3 overa 2, and contains the value of three
minims in each measure, is beat with three
beats, in about three seconds of time ; thus
f f r f f. f f r ffr ffr'
3 i is r^ v T ,r„ ~ t
' ■ 3 123 12 3
All moods of tnple time are beat with three beats Ui
each i measure , thus, 1. Let the end of the fingers fell.
2 I-et the heel of the hand fall. 3. Uaise the hand to the
place of commencement.
ART. 20. Seco,«d Mood op Tbihe Time.
I he Second Mood of Triple Time is known
by a 3 over a 4, and contains the value of
three crotchets in each measure, and is beat
as the first mood, only quicker; thus,
■ r ff • * ,fl. ff,
Pppppiii§l
123 i 23 123
mt 5F'.2V . TninMoowTmiilBn.
The Third Mood of Triple Time is known
by a 3 over an 8, and contains the value of
three quavers in each measure, and beat as
the second, only qukker; thus,
fifeffilpiiip
The first moor) ofTriple time is property called three
nmnstime ; because the value of three minims consti".
MUSICAL GRAMMAR.
I. NOTATION.
tute one measure. It is likewise called three to two.—
1 be s-cond mood is called three crotchets time; and also
three from four. The third mood is called three quavers
time ; and also three from eight.
When two measures of three crotchets, or of three
quavers are united into one, by the omission of a bar, the
time is called Compound Common ; Common, because
every measure is equally divided j and Compound, be.
cause each half is a single measure nf Triple, There are
>'.vo species of Compound Common Time in general use.
ART 22. Pmsr Mood of Compookd Common Time.
I lie First Mood of Compound Common
Time is known by a 6 over a 4, and contains
the value of six crotchets in each measure,
and is beat with two beats in about three
seconds of time; thus,
f f
li^fer^g
ART. 23. Second Moon op Compocjd Co*j*oh Tim
The Second Mood of Compound Common
Time is known by a 6 over an S, and contains
the value of six quavers in each measure, and
is beat as the first, onlv quicker; thus
f r ' t ■• f -
The most usual measures expressed by figures p'aced
at the beginning of the sisff or movements are the pre-
ceding, viz. 2 1 3 1 3 1 3 | a i . 1 6 1 H
1 4 I a 1 4 1 s m I aml I s I
Of these figures the upper one shows how many parts
are contained in a measure! and the lower one represents
I. NOTATION.
a word, showing how many of these notes constitute
semibreve. 2 under any figure signifies minims ; 4 crotc
ets ; 8 quavers, &c. as in the following labie.
<2Two 1 c 3 Three C 3 Three
C 4 Crotchets. ?2Huvms. I 4 Crotchets.
C 3 Three | C6Six ^6Six
? 8 Quavers. ? 4 Crotchets. <f 8 Quavers.
All moods of lime, exc.pi the first and second of cor
mon are expressed by figures
When 'wo measures of six quavers are further nniu
into one, they form a double compound of twelve qu
vers m each measure, and are equal to four measures 1
three quavers. The omission. of the bars makes son;
difference in the appearance of the music to the eye m
influences the counting, accordi ng to the degree of quid
ness with which the piece is performed. But in oth(
respects, the division of the measure has no power of a
teriug the real nature of the time or tune ; nor can th
auditor perceive whetherthe triple time be expressed b
the figures 12-8, 6-8, or 3-8; that is in one m. asure 1
twelve quavers, two measures of six quavers, or fot
measures of thrc- quavers; thus.
Twelve Quavers Time
t t r r f f
12 34 !• ^2 3 4
The game in Six Quavers Time.
12 12 7* -* 2 i 3
The same M-torlt. in Tfo'ee tytavev* Time.
ffr ff r ffr ffr ff r ffr ffr ffr ,
«S 12 S
m T2W3-^|- 13 3 12 3
I. NOTATION.
It may perhaps be useful to those who do not perfectly
ndcrstand the value of the notes, to separate this double
Wipound into single compound, and into simple triple ;
id also to turn tbree quavers time into six and twelve
unvers lime, by striking out the intermediate bars
hich separate the measures.
Compound Triple Time.
Compound Triple Time is formed by dividing the
leasures of simple, triple into nine parts, and by dotting
le measure note ofthe original time. Of this there are
iree species, all beat with three beats to each measure.
1. Tbree minims divided into nine crotchets ; thus,
This is the same as three minims time divided into
tplets, or as each minim dotted.
2. Three crotchets divided into nine quavers ; thus,
MUSICAL GRAMMAR.
I. NOTATION,
and triple) arise various kinds of mixt measures, which
are in some parts equally, and in otbers unequally divided.
ART. 24. Triplet, on the figure 3.
The figure 3 placed over or under any
three notes reduces them to the time of two
of the same kind, and termed a triplet; thus,
:.<xrt
EgigffiSl
The triplets of common time winch are here found in
the place of each crotchet of the measure, have some-
times the figure 3 placed over them ; but ire generally
known by being grouped together, and then form one of
the single parts of the whole measure.
Triplets occur in triple time, when the measure note is
divided occasionally into three oartsinstead of two ; thus.
This i» the aone a, three crotchets time divided into
lets, or as each crotchet dotted.
Three quavers divided into nine semiquavers] th
M^jg
This is the same as three quaver time divided into
mpts, or as each quaver doited.
The first mode contains, the same value of notes as
■ec measures of three fourths time ; the second con.
ns three measures of three eighths time ; and the third
• same as three sixteenths time. By thus changing
' notation, the advantage is gained of presenting the
iple measures clear to the eye, without the inoum.
ince of a dot to each minim, crotchet, &c.
From these two species of compound time, (common
iHiHllim
In slow common time when the quaver is the measure
note, and is divided into three semiquavers instead cf
two. then the time is really twen "*"J
ty-four semiquavers: thus
A simile passage of semiquavers is found in the tripU
orthree quavers time ; thus.
ipii
:ci=::£gj£
•*&-
'-$&=
15
I. NOTATION,
time. There is also a species of time called Quintuple,
which contains five crotchets in a measure ; but it is very
seldom used. Tartini considered this Quintuple propor.
tton as unfit for melody, and impossible to be executed
I ime has shown that neither of these judgments was well
rounded.
ART. 25. Accest.
Accent is the laying a particular stress of
sound on a certain note in a measure, that it
may be better heard than the rest.
Every measure in music, of more than one note has at
least one of them distinguished by accent. The bars in
music are not only useful for dividing the movement into
equal measures, but also for showing the notes upon
which the accent is to be laid. The measures of com-
mon time are divided into four parts; of these the first
and third are accented; the second and fourth finae-
cented. In the course of this grammar the accented will
be termed strong parts, and the unaccented, weak pans
ot the measure. The letter s shows the accent, and the
letter w the weak part ofthe measure ; thus.
raitiSH]
The measure of triple time consists of three pa t. ■ the
first strong, the two others weak ; although the lasi'part
isriither strong in comparison ofthe middle pari ; thus,
wmmm&
-?- *>- • s W s s w s s
When the measure itself is compound, as six quavers
Ume, then the triple subdivision is eighteen sixteenths
In slow common time the accents are more frequent ;
but they are found in the same proportion on the first]
th'rd, fifth and seventh quavers, which are the strong
parts, while the second, fourth, sixth and eighth, are Hie
weak parts. In three crotchets time, when divide c! into
16
I. NOTATION.
c{ i) avers, the first, third, and fifth quavers are strong ; the
.-econd fourth and sixth are weak. In six quavers time
the first and fourth quavers are strong, the others weak.
From the nature of accent arises lite necessity of be-
ginning some movements with only a part of a measure;
thus first
1. With a single weak part. 2. With a half measure.
w s w s w s w s w s w
The following melody, barred in two different ways,
produces two opposite effects, the accents falling upon
different notes.
Original Melody.
E
P-P
Hill
The same barred differently,
J W S " ■ "s W
S W
Emphasis.
"When the composer intends that the weak parts of the
measure shouli! he made of more importance than the
strong parts, sua] deviation from the regular accent, in
this work will be termed Emphasis. In passages like
the following the quavers are often grouped together ac-
cording tn emphasis, and not (as in general) accordingto
"accent ; thus,
Accent. Emphasis. Accent.
s w w s w s
MUSICAL GRAMMAR.
I. NOTATION.
In the two first measures of this example the quavers
are grouped according to the accent ; in the third accord-
ing to the emphasis; and in the fourth the accent resumes
its importance. The Italian words Rinforzando, Sforzato
or their contractions Rinf. or Rf. Sforz. or Sf. are ofte'i
used to mark the emphasis, and are sometimes phced
over accented notes
As every species of measure may be subdivided by ac-
cents according to the degree of quickness in which it is
performed ; so also the weak parts of every measure may
be occasionally made emphatic at the pleasure of the
composer.
SYNCOPATION/.
Syncopation, or Syncope, signifies the division or cut-
ting through a note by a bar, or accent expressed or un-
derstood. Syncopated notes begin on the weak, and end
on the strorg parts of the measure; thus
msn
n this example the emphasis is on the syncopated
minims, which begin on the second, and end o* the third
nart of the measure.
umifii:
In this last examp'.e the emphasis is on the syncopa-
ted crotchets which begin on the second and sixth (or
weak) and end on the third and seventh (or strong) parts
of the measure.
ART. 26. Directive Tebms of Time.
The five following are called Directive
Terms, because they tend to regulate the
movement of music. 1. Largo, very slow:
2. Adagio, slow; 3. Andante, moderate; 4. Al
llegro? brisk or lively; and 5. Presto, quick.
I. NOTATION.
These five terms with their diminutives, and a few ot
er words may be shown in the following table.
Table •/ Directive Terms.
1st. Li. ego, - Very Slow.
Gravemente — same as Largo.
Larghetto — not so slow as Largo.
2d. Adagio, ... Slow.
Siciliano — same as Adagio.
Affettuoso — slow and solemn.
3d. Andante, - Moderate.
Andantino — quicker than Andante.
Maestoso — moderately and grand.
Moderate — quicker than Andantino.
4th. Allegro, ... Brisk.
Allegretto — not so quick as Allegro.
Vivace — lively, same as Allegro.
5th. Prmto, - Quick.
Prestissimo — very quick.
Many singers pay no attention to these terms, but d
cide the velocity of a movement from the signs «f t
measure, C, 3-2, &c which are inserted at the beginni
of the staff nr movement ; whereas those signs signify
more than the contents of the measures. Hence it
that we tno frequently hear the compounded modes
time performed to sacred subjects in almost as rapid
manner, as if they were designed for the ball chambe
a more mistaken idea can scarcely be conceived than til
The compound moods of time should generally be pi
formed in a sluw and graceful manner, yet a lifele
drawling manner of performance is not to be inculcatt
Therefore, wherever any directive words appear, an
variable adherence to them is indispensibly necessary1.
At the same time the subject ought to he consulted,
pecially when no directive words are found. Then, a
then only, may the performer suppose that he has a to
rable idea of the piece.
Of Kef.etxg Time.
To keep accurate time it is necessary that the prop-
tiouate duration and velocity of notes should be famili
I. NOTATION.
for which purpose a motion of the hand is thought re-
Hynte. When the learner attempts to keep time, he
Svill find il advantageous to name the parts of the meas-
ure, according to the figures given in the various modes
bflune, especially whenever a rest happens. This will
familiarize the positions of the hand to the several parts
pf the measures, and to assist the eye to discern at once
its divisions and contents. Let the motion of the hand.
il first, be large, . quai and simple; afterward a very smali
motion will be sufficient ; and ultimately none a! nil will
De necessary. All violent motions should generally be
guarded against.
When a company of singers are together, it is usual
"or one to govern the time ; he alone should use any visi-
ble motion; all ihe rest should accommodate their time
:o his, or their conduct will only lend to create confusion.
It is a common error for the voice, in many instances
:o follow the motion of Ihe hand upon a dotted note,
•rllicll causes it to sound like two distinct notes, when in
icl a point only extends the sound of a note. This er.
■or destroys the melody, and it takes place principally
tpoti the rising molion .f the hand in common measure';
n triple time it takes place on the falling of the heel of
l)e hand.
Example of pointed or dotted notes.
12 12 12 12 12 12
iniiiiiiigi
The foregoing example as it is cnmmonly sung.
a LL L 2 1 2 l 2 l 2 l 2
MUSICAL GRAMMAR.
1. NOTATION.
Other crumples of notes erroneously sun/r.
0 f*V'ritts'n- r, .-.Vta commonly rang.
iiiiiiiiilSii
Written.
ililillliiS
As commonly sunc.
noniy sun)
m
nunonly sung.
This error is an insufferable one, and should not be
idulged in the least.
$?-" — -^=e~ s=^J —
Many examples might be added, but an attentive pe
rusal of the above may lead the learner to be vigi'ant
over the manner of Ins performance, and to avoid simi-
lar errors
It is of the utmost importance in musical performance
lhat the time should be kept accurately, that no noies he
cut short off, or continued beyond their proper length,
except in cadence and to give some particularexpression,
and that the notes in one part should he struck at the
same moment with the corresponding notes in the other
parts; tor irregular time will ever destroy all propriety
pf performance.
ART. 27. SnAnr.
A Sharp; (*) set at the left of a note raises
its sound 'a semitone.
In explaining the tune of notes the two different in-
tervals of tone ^nd semitone have been noticed. Every
tone in the natural scale, is divided into two semitones,
by an intermediate sound.
c
17
I. NOTATION.
I he character now used for the sharp, was originally
designed to represent by its fuur cross lines tlie four
commas ot the chromatic semitone.— When a sharp is
set at the beginning of a tune, it causes all those notes on
i les-une line and space to be sounded half a tone higher
through the whole tune, unless contradicted by a natural
I Ins will be more fully illustrated in Melody, on the sub-
ject ot the Keys.
ART. 28. Flat.
A Flat (b) set at the left of a note sinks its
sound a semitone.
The mark now used f r the flat, was originally the let-
ter B, introduced to avoid the trilone or sharp fourth
between F and B natural.
When a flat is placed at the beginning of a tune, it al-
ters the sound of every note upon the same line and
space where it stands through the whole tune ; it alters
I the sound by making it half a tone lower than before,
except contradicted by a natural.— When any number of
sharps or flats are placed af er the clef, at the beginning
of the staff, they afli-ct all the notes of the same letter
in every octave throughout Ihe movement, and are
termed the Signature. Those which occur in the course
of the movement, in addition to the others, are termed
Accidental, to distinguish them from those ol the signa-
ture, which are essential to the scale of the original Key
Note. The accidental sharps and flats only affect the
notes which they immediately precede, and those ofthe
same letter which follow tbem in the same measure : but
if one measure ends, and the next begins with the same
nete, the accidental character which alters the first note
is understood to affect the second.
AftT. 29. Natoiuz.
A Natural ($) set at the left of a note re-
stores it to its primitive sound.
'lhat is, when the sound of anv note has been elevated
by a sharp, or depressed hv a flat, is to be restored to
its original tone, the character called a Natural is employ.
28
I. NOTATION.
ed, which lowers the sound of the note made sharp, or
raises the sound of the note made flat : thus,
Sh:irp restored. Flat restored.
wmmmm
The natural, although a very old character, was not
used by Morely, Simpson, or Playford. They alwajs
employed the flat to take away the sharp, and the sharp
to take sway the flat, in the same manner as we now use
the natural. Hence are found in old music, the sharp
before B, and the flat before F ; not as now, to represent
B sharp and F flat ; but merely to take away a preceding
sharp or flat.
The natural, although evidently an accidental charac-
ter, and a more general expression for the two others
(the sharp and the flat*) is sometimes placed essentially
at the beginning of a strain, when a former part of the
same movement has had a sharp or flat in its signature.
According to its power, therefore, of raising or lowering
any note of the scale, the natural must be always consid-
' cred as representing a sharp or flat.
Double Sharp.
After all the notes of music have been made sharp,
the same series of letters begins again, and F being the
first takes the name «f F clouhle sharp. The double
sharp is sometimes marked with a single cross; thus, f,
which, according to Vaneo, originally represented the
two commas of the quarter tone, or enharmonic diesis,
and which properly represents the distance between F
double sharp, and the G natural.
DorniE Flat.
In the same manner, after all the seven notes of music
have been made flat, the same series of letters begin*
again with B ; and that, being the first, takes the name H
double flat The Germans have sometimes employed a
large B, as the character of the double flat.
A3 these two characters, viz. the double sharp and
MUSICAL GRAMMAR.
I. NOTATION.
:loubleflat, seldom occur, the mode of restoring the sin-
gle sharp or flat, after the use of the double characters,
varies with different authors. Even in respect of the
double sharp, instances are found in Handel where it is
not distinguished by any particular, but where only a
common single sharp is placed against F already sharp
in the signature. Some employ a natural, or else unite
(he single sharp or flat with the natural ; thus, ^^, -ja.^;
and others again leave the passage to the ear anil judg-
ment of the performer, who ought, (they suppose) if able
to play in seven sharps or flats, to know how to restore
theal ered note to its proper situation, without any par-
ticular mark.
Double Bar.
ART.
I. NOTATION.
If every piece of music ended with a complete mea
ure, and if the necessity of commencing with single tinv
did not sometimes exist, the double bar might be riel
lected ; but as it is important to mark the termination 1
those sirains whichhave their lasl measures incomplet
this character is adopted, and tlie double bar bears til
same relation to the strain, as die single bar does to III
neasnre. Every measure contains a certain number!
noti s which are terminated by the single bar; and evei
strain includes a certain number of measures, which ai
terminated with the double bar.
When the double bar is used to show the rhetoric
termination of a strain, a pause is intended ; and likewiij
when used to show a cadence.
shows the end of a
A Double Bar
strain. 33
The double bar is placed aUvavs at the end of a move-
ment and is sometimes used at other parts, to show the
rhetorical terminatinn of a strain. If the double bar be
dotted nn one or hr.th sides, all the measures on the sunn
side with the dots are to be repeated from the beginning
or from some sign of repetition.
When the rhetorical termination of a strain does not
coincide with the grammatical accent, the douhle bur is
then totally distinct from thesingle bar,andthe measures
are only reckoned between the single bars. :Ithougb the
double bar may intervene, as in the followii g example.
This douhle bar does not affect the measure in vvhicl<
it is placed, but the time is kept exactly as'if it were not
inserted
As it appears Prom the preceding observations, that the
double bar is very different and distinct from the singV
bar, the grammatical use of lite latter must not be con
founded with the rhetorical employment of the former.
ART. 31. Close.
shows the end of a tune.
A Close
A Close is generally placed immediately after the la
note of a piece of music, which denotes the conclush
of all parts in a proper key, agreeably to (he Perfect <
Plngal Cadence. Tin- » ml ->f every piece of music slum
conclude with either the per'ect or phigul cadence ; b
'he conclusion of every piece of music is not intended
the close, particularly Yin Capo pieces; nevtrihelei
wherever it is intended to conclude, tb T: conclusii
should be with the perfect cadence generally, and on
occasionally with the phgal cadence. In the perfect r
dence the base always falls a fifth or rises a fourth to tl
key : in the plagal cadence the base always falls a four
or rises a fif h. The harmony may he varied at the plei
tire of the composer; yet the chief melody general
concludes with 'he key. The last note of the base ri
cides the key ; which note, if major or sharp key, i« fa<
if minor or flat kej . is law ; thus,
■Written. Pri-lbi'mrd.
I. NOTATION.
AUT. 32. Uebbat.
A Repeat v v or :g:, shows what part of
music is to Z — be performed twice.
Or, in oilier words, a repeat is a sign < mployed to show
toe place from and to which the perlormer must return
» repeat the passage.
This sign :§: is usually found in Umidus and Da Capo
Mrs, and it. marks that place in the first strain, where the
epethion is to commence. This mark is called in Italian
Segno or Del Segno, the Sign.
:S:
mm
AUT. 33. Da Capo.
Da Capo or D. C. begin and end with the
irst strain.
Da Capo are two Italian words, which signify from the
Mgirming, and are frequently joined with Al Segno,
vlnch mean that the performer is to return and#com-
neiice the repeat at the sign.
ART. 34. Direct.
A Direct -frf points to the next nolo on the
fellow ing statt'; thus,
|if liil llSli
The Direct may be placed on a line or in a spa^e ; it
lot "infrequently takes place at the end of a staff in thr
ftidsi of a measure as in the example, but more general!}
mmediately after the bar. It is very useful to guide to
he letter on which the first note of the succeeding staff
s placed. The Direct is employed in this work to show
he Hadical Bases in the Sequences and Licences of
larmonv.
MUSICAL GRAMMAR.
I. NOTATION.
ART. 35. Prisa.
A Prisa :||: denotes a repetition of one or
more syllables.
Although the prisa cannot be strictly reckoned a mu-
sical character, yet. as it is only used to point out whal
portion of poetry or a suhject is intended to be rep ated
to different notes-, it deserves a place in Notation. This
character is in very common use amidst the words ot An-
thems, Choruses, &.c. Lc.
ART. 36. Choice Notes.
Choice Notes ;©; are such that a performer
may sing which I®I he pleases.
When two melodies are written on one staff, it is in-
tended that they should be p r formed togei er, either
bv two or more performers, orothfrwise ; 'bus,
" »._T ft:
One pan of the perfoi Triers should uniformly sinfr or
play the higher Notes, and another part the lower ones.
ART. 37. Sluii.
The Slur •— > shows how many notes are
applicable to one syllable; thus,
HiiSiiiiii
Aiiit lull, nt* nil tlii- i.-.itk.. .ii i ,,ri..
19
And talk of all thy truths at night.
Besides tile arch or slur the numberof notes which are
to be sung to one sellable are differently pointed out. —
When groups are used the slur is not necessary over such
notes : Dashes are alsoemployed instead of the slur; thus,
I. NOTATION.
ART. 38. Pause or Holij.
The Pause or Hold (^) denotes much
more than usual time on a note.
The pause or hold is placed over or under a note to
signify that tlie regular time of the movement is to be
delayed, 3iid a long continuance of the sound made on
that part of the measure; thus,
teifc
££B3
SS
The Pause or Hold when found on the last note but
one of the melody, is a sign for the vocal or instrumental
performer to introduce such extemporary passages, pre-
vious to the final shake, as are generally termed a Ca-
denza.
If the pause or hold be placed over a rest, then a stop
of considerable length is made, and the parts in list be
silent. The same character is made use of for another
purpose in those songs of Handel, Hasse, Vinci, &c.
which have a second part, and are marked Da Capo.
-A-_ -"£=-£- _£-£_£_£- -P- -L
The pause or hold in th s example, only shows the
note upon which the piece is to terminate, but it is no
followed by the Double Bar.
Marks of FxrnEssioir.
The chief Marks of Expression are the Tye, (lie Dash,
the Point, the Crescendo, the Diminuendo, the Swell and
Diminish, and the Itinforzando.
ART. 39. Tte.
The Tye is an arch drawn over two notes
on the same degree, uniting them into ane:
I. NOTATION.
mmm
, ^:E?:*:E:5S§P_ ; ._ ,_,
Tile slur may be considered as a mark of expression in
many instances also. When it is placed only over two
notes, the second is made shorter than its proper length
in general. Formerly this effect was produced by exact
notation.
ART. 40. Dash.
The Dasli (t) is a small stroke placed over
or under a note to be struck very short, loud,
and distinct; thus,
Written.
PgggllgSI
Performed.
;e
-Jt
.Notes ot U
is&i^s
ature give a very striking effect when
properly performed. An exact notation of them cannot
easily be g.vi n.
The Point.
The Point (•) is employed by many authors instead
ofthedasb; but its principal use is to distinguish those
notes from which an intermediate effect, different from
ihe slur or dash, is required, and yet uniting both.
isiHiliiii
The principal diflerence between the point and dash
is, that the notes nv.rked with the point are to be struck
moderately loud, short, and emphatic; those with the
MUSICAL GRAMMAR.
1. NOTATION.
dash are to be struck very short and very emphatic. The
last of the two notes, tyed with a slur, should be struck
rather short and soft, so as to die away like an echo.
The other marks of expression, above mentioned,
have been lately adopted to express certain effects, and
are from the Italian.
1. Crescendo.
Crescendo, or increasing the sound from soft to loud,
is marked by an angle, the lines extending to the ritrht •
thus, <;
2. Diminuendo.
Diminuendo, or diminishing the sound from loud to
soft, is marked with the contrary sign ; thus, >
o. Swell and Diminish.
The Swell and diminish, or the union of Crescendo and
Diminuendo, indicates that the note or passage is to be
commenced soft, the middle increased to loud, and then
gradually decreased to soft again, according to the figure ;
thus, o- '
4. RrNFORZANDO.
ltinforzando is denoted by smaller marks of the same
kind; thus, <> which are to increase or diminish the
note as marked.
Expression.
Expression is that quality in a composition or perform-
ance, from which we receive a kind of sentimental ap-
peal to our feelings, and which constitutes one of the
first principles of musical requisites. By it a musician is
enabled to render the sense of a subject with energy.
There are two kinds of expression, one of which belongs
to the composer, and the other tn the performer; from
their union agreeable effects are produced.
However animated and expressive a piece of music
may have come from the imagination of the composer,
no effects will be produced, if the souls of those who per-
form it have not caught the fire that exists therein.
The singer, who at the most has but a knowledge of
the notes of the several parts, cannot do justice to the
composition. His performance is not genuine, unless he
I. NOTATION,
understands the true sense and extent of the subject-
The singer should, therefore, endeavour to acquire ;
complete knowledge of the air, its connexion with th.
sense of the words, the distinction of its phrases, its pecu
liar accent, the justice done to the poet by the composer
and the force which ought to be given to the music. H<
should then give loose to all the fire, with which a view
of the objects, which unite in a good composition, may
have inspired him.
He will then see how and when to ornament his airs
giving fire and sharpness to the gay and animating parts !
the sottand smooth to the tender and pathetic, and thl
rough and bold to the transports of violent passion. H«'
will also quicken or suspend the velocity of the move
ment, agreeably with the changes of the subject, and s<
diversity his performance, that his expression shall b<
agreeable anil energetic ; the sense will then be commu
nicated, and the sentiments forcibly impressed ; the eat1
will be delighted, and the heart moved.
Such an agreement will then appear between thil
words and the air, that their union will constitute a de.
lights language, capable ol expressing every thing, ant
which cannot fail of pleasing.
EFFECT.
Effect is that impression which a composition make:
upon the ear and mind in the performance. To produce
a good eflect, real genius, profound science, and a cultij
vated judgment, are indispensible requisites. So much
doe3 the true value of all music depend on its effect, that
it is to this quality every candidate for fame, as a musica
author should unceasingly attend. The most general'
mistake of composers in their pursuit of this great object!
is, the being more solicitous to load their scores with nuj
merous parts and pouerful combinations, than to pro!
duce originality, purity, and sweetness of melody, and tc
enrich and enf rce their ideas by that happy contrast ol1
instrumental tones, and timely relief of fullness and sim-
plicity, which give light and shade to the whole, and bj!
their picturesque impression, delight the ear, and inter'
est the feelings.
i. notation:
Tbe Graces of Mcsic.
As the German authors, C. P. Emanuel Bach and G. D
rurk, have treated at large on the subject of Musical
Braces, a short sketch of their doctrines will be here
jiven. The principal graces of Melody are the Appogia-
:ura, the After Note or Transition, the Shake, the Pas-
ling Shake, the Mordente ot the Italians, the Turn, the
Inverted Turn, the Beat, the German Mordente, the Ger-
Tian Beat, the German Slide, and the German Spring. —
rhe chief melodies of harmony are the Tremola, the
rremando, and the Arpegio.
In consequence of a deficiency of typical characters,
he shake, turn, &c. will be represented by a tr.
ART. 41. Apj'o/jiATunA.
.1. The appogiatura (f) is a small note
jlaced before a large one oflonger duration,
rom which it generally borrows-half the val-
le, and always occurs on the strong part of
he measure; thus,
App.'giatura is a word to which the Kugush luiigimgi
as not an equivalent. It is a note added by the singer
if the arriving more gracefully to the following notes,
tther in rising or falling. The French express it by two
liferent terms, Port de voix and Appuyer, as the English
o by a Prepare and Lead.
The word Appogiatura is derived from Appogiare, to
:an on ; and in this sense the performer leans on the
ret to arrive more gracefullv at the note intended,
sing or falling; and generally dwells as long as, or
MUSICAL GRAMMAR.
I. NOTATION,
longeron the preparation than the note for which th_
preparation is made, and according to the value of the
note. The same is a preparation to a shake, or a beat,
from the note below.
No Appogiatura can be made at the beginning of a
piece i there must be a note preceding, from whence it
leads. The Appogiaturas are much used in songs, can-
tatas, recitatives, &c. &c. and are supernumerary to the
time.
From the inattention whicli is commonly given to the
Appogiaturas and Transitions or after notes, by the most
part of performers with whom I have been acquainted,
and the inaccurate manner in which they have perform-
ed them, is the principal reason that I have endeavored
to give an exact Notation ol them in the course of the
s-icred music of this volume: notwithstanding, many-
stand in their original forms.
ART. 42. After Note on Tiiawsition.
2. The Afler Note or Transition (£) is a
small note placed after a large one of longer
duration, from which it" generally borrows
half the value, and always occurs on the weak
part of the measure; thus,
Written.
^mm^mm
BB-SM-ffi
Nil!
21
I. NOTATION.
It is not always necessary that the Appoggiaturas and
After Notes should be written, because their places are
easily understood, and, in many instances, are naturally
suggested to the mind of the performer. The Notes of
Transition may be very frequently applied to the skips of
melody with the utmost propriety, which will tend to
sweeten and soften the roughness of it, render the har-
mony more exquisitely delightful, and break through
many of the stiff' and rigid formalities of exact notation.
The same observations may bemadeapplicable to trilling,
in a good degree.
TaiLLIXG.
It is not necessary that the Trills should be always
marked over the notes to be shaked or Trilled ; because
practice will suggest those notes proper for Trilling to
the mind, and a graceful practitioner will seldom fail to
gruce them with propriety, whether marked or not.
The knowledge of gracing music is of such importance
to a performer, that no person can be a finished one
without it. It gives spirit and fire to the allegros, awakens
Hie attention of the hearers in the largos, and renders all
difficult passages in music easy, and is attended with
such amazing effect, when done with propriety, as sur-
passes all imagination.
The method of arriving at this point of Trilling is, first,
to move slow, then faster by degrees, and, by diligent
practice, the perfection of the art will be gained.
The Trill or Shake ought to be used on all descending
dotted notes, and always before a close in the air, and
generally the second ; also on alt descending notes made
sharp, and on all descending semitones.
ART. 43. Shake or Thili.
3. The Shake or Trill (*r) consists of a
quick alternate repetition of the note above,
with that over which the mark is placed ; and
commonly ends with a turn from the note be-
low J (See example next page.)
MUSICAL GRAMMAR.
Written.
•h-
I. NOTATION.
gium
In this example the upper note is accented j there are,
however, instances in which the composer seems to have
designed that the lower note or that over which the
Shake is placed, should be accented ; thus,
_ __ 4r <h*
—«»iwt»ic| — — ma-scj-j — — nan
~ *£■■■ to*1 — — * ■■'sa *ier— ~" iz.m
The principal or written note of the Shake (overwhich
the character is placed,) is called by the Germans tin
}];iupfon ; and the secondary or superior note the
Hulfston.
The fallowing method of practising-' the vocal Shake
was communicated to Dr. Calcbtt by his friend Greatoria,
to whom it wus given at Home, in the year of our Lort
one thousand seven hundred and eighty six, by Santarelh';
Chapel Master to the I'npe.
4r 4i<".* 4v
And thus descending throughout the scale; and per-
formed in practice thus :
SANTMTir.LLl's SlIAKE.
ft_*._*_*_ia
— [-~|m«ii In i U..I-*
vf
A series of continued shakes on notes rising or falling
by degrees is called by the Germans, Triller Kette,and
by the Italians, Catena di Tri'li, both signifying a chain
of shakes.
4 The Passing Shake (Praell Triller) is expressed in
Germany by a particular character; and its detfnitioi
varies with dillere.nl masters, atlrl in different passages.—
The definition of Dr. Arnold is therefore given here.
WritUui. Performed.
ttr fr or.
jg £fc£r_;w--~:|:|_:tH*^:spr^
4- '
— -^ M— h
i B
5. 'The Vlorde^te of the Italian school is used msimiiit:
passages, and performed thus,
Written. Performed.
m=
6. The lurn emplojs the note above and that below
in the following manner.
Written. Performed.
-- r 3
*p
lliSilgiisi
ss=
l. NOTATION.
7. The Inverted Turn beginsfrom the note below; Ihu
Written. Performed.
iiiigifp
The turn on the dotted note is in frequenl
Written.
+r +r
eig-^i
8. The beat \? the reverse of the shake (butwithoi
;he turn) and marie generally al the distance of a sem
one below; therefore all the natural notes, except C at
F, require the note below them to be accidentally sharj
ened for the beat.
Written. Performed.
tassJEti
14 plS^fe
S*
-^mp--
i ■^•fe-BGftF* Lt:
The beat upon H natural, however, is seldom mac!
\vith a sharp, on account of the great harshness ari^iij
from the semitone B C. In some cases of regular accetj
it is recommended not to make the beat with the sem
lone, unless particularly marked.
In the Half Heat the inferior note is struck but one!
and :»t the same lime with the principal note, but is id
mediately quitted. This is frequently used upon tr.l 5
organ, and particularly in the. base. It may be writta™
'
I. NOTATION-.
\h a small note, like a
ort appogiatura, and is
rysimilartotheaccidei
ra iit'lhe Italians; thus,
In the third part of i hi - gramm r, upon Harmon), \vi t
: shown how the diatonic suspensions anl transitions
ise from the appogiatura and the utter note or tran&i-
m ; while the chromatic licences are derived from tin
cidenlura or the half heat. These graces are there-
re of very great theoretical importance,
9. The German Mordent e (lieisser) is a species of bent
immencing- with the note itself, and is either long or
ort; thus, ij0n& Short.
Fif?-
This differs consid> rabl) from the u.ordente of the Ital
is, being made with the nex1 degree below. That of
e Italians always employs the next degree above.
10. The German Heat ( Anschlap) consists of two small
>tes which form a skip, and descends o-ie degree upon
e principal note; ib is,
Written. Performed.
Ippiiiiifpipi
Tins grace is called by s^mr a loolde appo^l^tlfra.
11. The German Slide (ScbleifT'er) Consists of two
lall notes which move h\ degrees; thus,
Written.
Perfumed.
glipiiiip
MUSICAL GRAMMAR.
I. M TA'llOX.
12. The German Spring (Scln.eller)consistsof twosmall
notes like the lialfan mordente, but very distinct 4 thus,
Written. Perf rnicd.
^Pf^^J^fej^:
WacJ
All these graces are liable to the occasional alteration
of any of their holes, by sharps, flats, and nat lira's; and
in that case, the composer is expected to mark them as
ihey are to be performed.
To these graces of melody may be added those of liar
mony ; the Tremola (Bel ung,) nr reheration of rite note
of the chord; the Tremando, or general shak of ih
whole chord; and the Arpeggio (Brecluing,) or iniita
t'bn of the harp, b> striking the notes of the chord in
quick and repealed succession
\ person may he wel1 acquainted with all the various
characters of mus-c, he may also be able to sing his par'
0) true time and yet his performance bef .rfiompl using
if it he devoid of the n< cessary embellish Stents j there -
'*< re, it is to b recommended to all such as are desirous
0 becoming graceful performers to attend to die various
rac s with ind< tutigable application.
'(! it not be presumed thai the art of trilling is th*
ft of nature alone ; nor yet the art of performing the
other graces with propriety. It is not tn be denied lha'
n^tur has, in manj instances, been more liberal in In •
yf s of this kind to some than others ; yet she has nn>
often laid such impediments in thp wav of her less f >vnr
d children, as to deprive art of her skill and usefulness.
Many authors and (of course) their admirTTs~gi' i1
little or no i-nc"iirigement to the pupil to learn 'j
mxes-an emhelltshmt nts of music, hi cause there is <jrn
-iderabb- di ft citify attending the giving a right hnpressit'.
n his mind find a proper idea for the d< :liv -ry of then
'1 is true th it this pan of instruction, in the art of music
is one of the most difficult and irksome ; but when the
I. NOTATION.
student has made such proficieny as (0 use them with
credit to himself, nut only he but also his instructor feels-
an inward satisfaction for the attainment
It is to be feared that those who oppose them have
heard them so unskilfully performed as In be disgusted
in a very high degree, and have never heard then, used
with that ease and fluenc) as cannot but attract the rd-
mu-ation of all lovn-s of the science of music. From such
little or no encouragement could be expected: but I
am decidedly of opinion that no dignified perf inner can
dispense with the graces; therefore the pupil should a-
vad himself f(f every opportunity in imitating and hearing
the most skilful in ibis art ; and in no' onh imitating anil
hearing, but also of ptact sing and of being correctly in-
structed. Let him not be discouraged that he cannot
immediately satisfy even himself; this is not to be ex.
peeled. But frequent applications to the foregoing . x-
amples, and imitation nt the most accomplished masters,
will overcome all f e impcd:m/nts to his a'tainment of
die art, an attainment of the most desirable kind.
Ahiuo.vi nio\s.
When the same note, or similar passages are to be re-
peated, much time is saved to the composer and copyist,,
by the use of Abbreviations.
A single stroke over or under a semibreve, or through
'he stem of a minim, divides them into quavers; a double
stroke into semiquavers"; and a triple stroke into demi-
semiquavers; thus,
Written. _ Performed.
&SS* s£ S^TJE^ EP^Ef^I
These passages m Italian music, iiad formerly Crome,
(quavers) or Semicrome (semiquavers') annexedtothem,
■it the present we often ^tse the term 8<gne, to signify
rhf;t we must perform the notes in the manner set in the
sample..
Another kind of Abbreviation is very freqm r.tly used
in modern music, viz, grpu^g the stems of the minims-
24
H. MELODY.
like !hose nf quavers.
Written. Performed.
Several other species ot Abbreviations are rnaUeuse at
by some authors.
Conclusion.
The learner ought to commit the most of the preceding
rules to memory before he attempts to call the noies. —
The observations following them are calculated to en-
large his ideas, and leave a strong impression on his mind:
these may be studied after the rules are committed to
memory. — The singer need not commit to memory the
rules of melody, harmony", and rhythm, because they are
designed only for such as wish to attain a more profound
knowledge of the science of music.
PART II. MELODY.
ART. 44. Melody.
A particular succession of single sounds
forms a Melody or Tune; thus,
presents an outline of the true idea annexed to the term.
In a -more extensive sense, Melody implies not only the
progression of one single part, but also that general re-
sult of the various parls ill Harmony which produce tW
effect of Melody, by the proper distribution of their
pounds lVmz seems to have b en the first who distin-
guished between the Moaddic §tyje,'in which the Melody,
MUSICAL GRAMMAR.
11. VlliLODY.
is confined to one single part, and the Polyodic style, in [
which the theme, and its dependent injects, are dis-
tributed among the different parts of the composition — I
[These two epithets Prinz seems to have taken from j
Kircher; and this profound and original view ot Melody]
has been very ably developed by N'ichohnan of Berlin,
who clearly proves, that those pieces which are produced !
by the Mono lie design of the composer, are far inferior j
to the Polyodic arrangement of the same ideas. In this I
last class we may place the motetts of Palesir'ina, the cho-
ruses of Handel, and the symphonies of Haydn.
ART. 45. Two Mono as of Mbloijy.
Melody has, in respect of tune, two dis-
tinct motions: that of Degrees and that of
Skips. A Melody proceeds by Degrees, when :
it moves lo the next line or space above or I
below; and by Skips, when i.t omits one or
more Degrees; thus,
By Scg^eesi
*-' By Skips.
grees and Skips are
Easter Hymn.
'I h'^ Degrees and Skips of Melody are both called by
the jjenevaj rerm Interval; which is the distance between
two sounds, or their difference in respect to pitch. Ev-
ery Interval, therefore implies two sounds; one acute,
the other grave ; in common language high and low ; and
In general, Degrees and Skips are intermixed ; as in
the Melody of the Raster Hymn.
II. MELODY.
as in measuring, it is usual to consider the termination oi
distance more than t lie space contained; so, in music
the notes tvh-ch limit ihe Interval, are both called by the'
name of tile Interval itself Thus from the F clef to the
C clef is contained the interval of a fifth, both terms i
elusive ; and C is said to be a fifth above F, and F a fifth1
below C.
Of THE NAM1N0 OF INTERVALS.
The nam-sof Intervals are derived from the number of
Degrees which are contained between the two sounds
bot i extremes being reckoned inclusively. Thus the
Interval of a second consists of two Deg. ees , and as
tliese may be distant fro. n each other, either by one tone
or by one semitone, there are consequently two kinds uf i
seconds, viz a in g'or second or tone, and a minor second
or semitone.
The natural scale nf muiic, which, proceeding by tones
and semitones, is called Diatonic, has been ulready ex.
plained.
Of the fouuteen Diatonic Intehvals.
As the Intervals take their names from the number of
included Degrees, so also their species are ascertained byi
the epithets major and minor, given them, according to
the number of tones or semitones contained exclusi* elv
between their extremes. If the Intervals were all equal
in the scale, eight Degrees wnuld form onlv seven Inter,
vals; but as there are two different distances of lone and
semitone, for which the notation by the staff alone does
not provide, there are consequently fourteen diatonic
intervals. These are distinguished by the term major or
minor, greater or lesser, and in some few cases sharp of!
fiat.
ART. 46. 1. Unison.
The Unison, or the same identical sound,!
although it cannot properly be reckoned au[
interval, is always considered as such, when!
employed in Harmony; it is therefore here
inserted among the intervals of Melody.
IF. MELODY.
'.The present opportunity may be taken of improving'
Re student in the practice of the seven clefs, The fai-
nting example of the unison, or the same sound, being
he C where the base ends, and the treble begins in all
he clefs.
?lE^
ilfpip
c c
The following" is an example oi' the descending1 scale
rom ihe C of the treble to theC of the counter, in the G
md C clefs.
zaz±
11
C B " " A G FE DC
The following is an example of the descending scale
rom the C of the counter to the C of the base, in the C
nd F clefs.
3ST
ART. 47. 2. Mjmih Sf.oisb.
The Minor Second is formed by two sounds,
if the distance of a diatonic semitone, as B C
Bd EF.
C is a minor second higher than B, and B a minm
:cond lower than C. The same is true with respect ti
1 and F. This interval is sometimes called the Hal sec
nd; and the term is useful in llarmonv It is also toum
l the ntherscales, hetween F sharp and G, B Oat and A
c asint e fo'lowini1' p-xamp' .
MUSICAL GRAMMAR.
II MELOUY.
From this statement the natureof melody, when sharps
and flats are employed, may be readily perceived; for
after a sharp Hie part rises, andafier a flat the part falls.
Thus E and B have the effect of sharps, and the melody
generally ascends to K and C ; on the contrary, F :.nd C
have the effects of flats, and the melody, in general, de-
scends to E and B The importance ot these remarks
cannot be justly appreciated till the transposition of the
natural scale into two sharps, and into two flats, and also
the semitone in harmony is understood.
ART. 48. 3. MAjon Secosb.
The Major Second is a tone.
Or, in other words, the major second or tone, although
composed of two semitones, does not consist of two equal
parts. This is evident from the notation itself; for if the
tone from F to C be divided by the sound F sharp] then
the intervals between F sharp, and G, or the diatonic
semitone, will not be the s.eiie as that from F to F sharp,
nr the chromatic semitone. The former changes on--
degree ; and hence the former is something larger than
die latter according to the doctrine of Zarlino, Rameau,
anil Pepusoh. The tones and other intervals of the natu-
ral scale are in this grammar, separated into semitones,
&,c. by the"haractercalled the appogiaturaor small notes
ST^^jH*^10 a ■#-■
Th* otln
i introduced by transposition, are
AltT. 19. 4 MnraitTuinn.
The Minor Third is composed of three de-
grees and contain- a tone, and a diatonic semi-
D
U. MELODV.
tone between the two extremes; thus,
24
It is is also divisible into three semitones, two diatonic
id one chromatic ; thus,
— B-
Alii' 5U 5 .VIajou Thiiid.
The Major Third is composed of three de-
grees, arid contains two tones hetween the
extremes; thus,
f!pil!lilil°fl
ART. S3. 6. Pkr-ect Fouhtu.
The Perfect Fourth is composed of four
degrees, and contains two tones and a semi-
tone between the extremes; thus,
.^f\7 s
It is also divisible into five
semitones, three diatonic; and
two chromatic ; thus,
AKT 52. 7 Saiap FonaTH,
The Sharp Fourth is compos. d of four de-
grees and contains three tones between the
extremes, called by the an- ;Qr -;_- r-
cients on that account, tritone ; fc — -hJ-^FF
thus, W^s±~-J3
sill
26
II. MELODY.
The sharp fourth is also di- -ft
visible into six semitones, three JL~ _
diatonic, and three chromatic; {sp"^^-*~
thus, t/ " ..,_•., ,
These seven intervals (the unison included) may be
considered, in a practical point of view, primary; since,
if they are rightly undi-rstood, all the remaining seven are
easily known, being only compounded of these. Thus,
the fifth is formed by uniting two of the thirds ; the sixth
hv the fourth and third ; and the octave by the fourth, and
fifth. Compared with the unison, second, third and
fourth, as primary ; the fifth, sixth, seventh and eighth are
secondary. This arrangement, however useful in the
analysis of melody, is imperfect in respect of harmony,
and the theoretical classification of the diatonic intervals.
The true series comprehends the unison, octave, fifth,
fourth, thirds, sixths, seconds, and sevenths, in the math-
ematical division of a musical string.
ART. 53. 8. Fiat Fifth.
The Flat Fifth is composed of five degrees,
and contains two tones ^::~_~"»fctT-
and two semitones, (not rk;~$:
three tones.)
It may be divided into two minor thirds. It is also (like
the sharp fourth or tritone) divisible into six semitones;
and when joined with that interval completes the octave
ART 54. 9. Perfect Fifth.
The Perfect Fifth is composed of five de-
grees, and contains three yz~ ZZi
tones and one semitone ; fe;~ jjj^:
thus, _ *s~^? ; ^
It may be divided into a major and a minor third. It is
also divisible into seven semitones; and when joined with
the perfect fourth completes the octave.
ART. 55. 10. Minob Sixth.
The Minor Sixth is composed of six de-
i§:
MUSICAL GRAMMAR.
II. MELODY.
grees, and contains three ~Q TT i ~~T
tones and two semitones ; TO J J • 1 jj
thus, W^ 3B 71
It may be divided into a minor third and a fourth. It
s also divsible into eight semitones; and, when joined
with the major third, completes the octave.
ART. 56. 11 Majob Sixth.
The Major Sixth is composed of six degrees,
and contains four tones
and one semitone; thus,
It may be divided into a ma- ^ _.
jor third and a fourth. It is ^~ ^~
also divisible into nine semitones, and when joined with
the minor third completes the octave.
ART. 57. 12. Mihob Seventh.
The Minor Seventh is composed of seven
degrees, and contains
five tones and one sem-
itone; thus,
It may be divided into a fifth and a minor third. It is
also divisible into ten semitones ; and, when joined with
the major second, completes the octave
ART. 58. 13. Major Sevesth.
The Major Seventh is composed of seven
degrees, and contains
five tones and one sem-
itone ; thus, t/ ^« -
It may be divided into a fifth and a major third. ^ It is
also divisible into eleven semitones ; and, when joined
with a minor second, or semitone, completes the octave
ART. 59. 14. Octave.
The Octave is composed of eight degrees,
sg^y
is -fJ"T~ lTT —j.
JC1*' 33
n. MELODY,
and contains five
tones and two sem-
itones; thus,
It may be divided irto a fihh and a fourth. It is ale1
divisible into twelve semitones, and may be considere,
as ibe replicate of llit* \ nison.
As the octave consisls.of i liirteen sounds, and therefotj
has only twelve i tervals, it must be recnllec'ed tlint th
fourteen diatonic intervals just described, are obtaine.
by reckoning the unison as one of them, anil by distil i
tfiiistiinjr between the sharp fourth and flat fifth: bot
which aw-, upon keyed instruments, performed with th.
same keys
ART. 60. Inversion of Tntkhvaxs.
When the lower note of any interval
placed an octave higher, or the highest not:
an octave lower, the change thereby pre1
duced is called Inversion.
z :-—•
Thus a "ZZ ~ becomes HI
Second ~" g" a Seventh, IjjjpH Third ^1-3^ ;
becomes":®; and a ~~ a "®Z
a Sixth, -J$— Fourth ~f: Fifth. :&ZZ
The different intervals (sevr n) reckoned from each
the seven natural notes, form the following1 series :
Five major and two minor seconds.
Three major and four minor thirds.
Six perfect and one sharp fourth.
To these may be added their inversions :
Two major and five minor sevenths.
Four major and three minor sixths.
Six perfect and one flat fifth.
All the major intervals become minor by ;
ail the minnr intervals become niajor. The
becomes the flat, fifth] and the unison invert
us.
/inversion, arlfi
be sharp fouriL
'erted becomtL
H. MELODY.
ie octave. The major seventh of the key, from itsre-
mblance to the tritorte (its higher note being one of the
ro sounds which farms the sharp fourth) is sometimes
lied the sharp seventh.
Rameau terms the intervals of the third, fifth, and sev-
ith, fundamental; and derives theothers, viz. thesecond,
urth, and sixth, by inversion, reckoning them down-
ardfrom the octave of the former.
Of all the diatonic intervals, the two thirds, major and
inor, are by far the most important, and ought to be
:ry perfectly understood ; since upon them depends the
iture of the scale or mode ; and the thirds give their
vn epithets to the whole series of the seven notes, the
ale itself being called major when the third is greater,
d minor when the third is lesser. It may be observed,
at the alteration of the thirds, by sharpening the upper
tte of the minor, or flattening that of the major, does
»t change their diatonic nature.
Of Consonant and Dissonant Intervals,
Although the terms Consonant and Dissonant are
liefly used in harmony, yet they are applicable in a great
easure to the classing of intervals in melody. The dta-
nic intervals are, therefore, divided into consonant and
saonant.
ART. 61. Consonant and Dissonant Intervals,
Those intervals which are most agreeable
* the ear, as the octave, fifth, fourth, both the
urds, and both the sixths, are called Conso-
int; those which, when compared with the
hers, are less agreeable to the ear, as both
e seconds, both the sevenths, with the sharp
urth (and the flat fifth) are called Dissonant.
This arrangement shows the propriety of distinguish-
» the species of the seconds, thirds, sixths and sevenths
the epithets major and minor, according to the num.
r of semitones included between the extremes; while
e appellation of perfect is reserved for the fourth and
MUSICAL GRAMMAR.
H. MELODY.
fifth, with the terms sharp and flat, when altered a semi-
tone higher or lower.
The thirds and sixths, whether major or minor, are al-
ways consonant; the seconds and sevenths always disso-
nant : but the fourth and fifth are consonant only when
perfect; when sharp or flat, they are dissonant. The
alteration of these two last intervals, therefore places
them in different classes.
The consonant intervals are subdivided into perfect
and imperfect. The unison (or prime,) the octave, fifih,
and fourth, are called perfect, because they are immuta-
ble, never changing from major to minor (or the con-
trary,) but becoming dissonant whenever altered by a
sharp, flat, or natural. The thirds and sixths are called
imperfect, because they are liable to change from rmjor
to minor (or the contrary,) still remaining consonant. —
The seconds, sevenths, sharp fourth, flat fifth, with all
the chromatic and enharmonic intervals are dissonant.
According to thisclassification every passage of melody
which moves by degrees, consists of dissonant intervals ;
but as every other note is, in general, a transient sound,
placed between the consonant notes, these seconds have
n^it that harshness which is found in the passages which
move by skips, as the sharp fourth, flat fifth, minor and
major sevenths, &c. All dissonant seconds in melody,
are either passing or changing notes; and these are either
regular, when found on the weak parts of the measure,
or irregular, when found on the strong parts. If, there-
fore, these ornamental notes are taken away, a series of
consonant intervals will remain ; thus.
Dissonant Melody.
27
il
II. MELODY.
Dissonant, continued.
$S$=T=
*£=±Z
3*
The aiime Consonant,
=s
Ig=^i
The dissonant melody is reduced to consonant inter-
vals by taking away the alternate semiquavers, where
regular; and omitting two where irregular.
The concordant series of thirds and sixths, from the
varied succession of major and minor intervals, is ex-
tremely pleasing to the e:»r; and most passages of degrees
(like that of the preceding example) are reducible into
thirds, intermixed with fourths, by taking away the pas-
sing and changing notes A great part or every duett is
composed of thirds or sixths, and these intervals with
the occasional introduction of fourths and fifths, allow a
double melody to continue throughout a movement.
A successive series of perfect fifths is not to be found
in melody, and hence is forbidden in harmony. In mel-
ody they would exceed the limits of our regular scale( as
well as the compass of the voice ; and in harmony ihey
would produce new and unconnected scales, of which
the species major or minor would he undetermined
through the omission of the thirds and sixths A more
correct idea of passing notes may be obtained by consid-
ering the scale us divided into three parts, the two first
concordant and the last discordant ; thus,
fn the first part, or tunic di- '
vision, the passing notes are ,
the second, fourth, sixth and
seventh of the scale; thus,
m
lilli
28
II. MELODY.
In the second part, or the ~fifr~^:
subdominantdivision,the pas- 3v
si ng noles an- the second.third J&
fifth, and seventh; thus, t7
In the third part or dominant
division, tile third and sixth are rr,
the only passing notes ; thus, -3?i-
Or TnE Geseha, or three kjmis of Melodt.
That scale of music which proceeds by tones and sem-
itones, called Diatonic, has been explained (Art. 9,) and
constitutes the principal part of every piece of music.
ART. 62. Chromatic and Enharmonic Scales.
When all the artificial sounds are inserted
between the natural sounds, a scale is formed
of semitones alone, and called Chromatic. —
When a scale yet smaller in its intervals is
formed, which contains in some places quar-
ter tones it is called Chromatic.
These three scales, the Diatonic, the Chromatic, and
the Enharmonic, form the three Genera or kinds of Mel-
ody now in use ; and although the terms are borrowed
from the Greek authors, yet the modern ideas annexed
to them are considerably different from their ancient sig-
nification. The origin of the term Diatonic Genus has
been explained. The Chromatic takes its name from the
Greek word Chroma, colour, because the interspersed
semitones give an ornamental effect to the Diatonic or
simple Melody ; and the Enharmonic was so culled, from
Us supposed excellence, being Enharmonic, that is, ex-
tremely musical.
The two last Genera (Chromatic and Enharmonic) are
never used alone, but always mixed with the Diatonic. —
Hence it has been asserted, that all the Genera, except
the Diatonic, are irretrievably lost. That they are lost to
us, in the precise sense of tin? ancient description, is un-
doubtedly true ; but we still retain the Chromatic, in a
signification extremely analagous to its primitive mean-
MUSICAL GRAMMAR.
11. MELODY.
ing, and it seems proper also to retain the terms Diatonic,
and Enharmonic.
ART. 63. Chromatic Scale.
The Chromatic Scale generally ascends by
sharps and descends by flats; thus,
Ascending;.
SPil
From this scale several intervals, not yet .lescribei
rise, which are all discordant, and are chh'fly used in Mel
ody, although they appear sometimes by license, in har-
rnonical combinations The Chromatic Scale consists of
thirteen sounds, which contain twelve intervals between
them. Seven of these have been already described a-
-nong the Diatonic intervals; the remaining five form
another species of intervals, called Extreme or Chro.
matic. Of these, the chromatic semitone, the extreme
sharp second, fiat third, and flat fourth, are simple or
primitive; the extreme sharp fifth, sharp sixth, flat
seventh, and flat eighth, are compound or derivative.
I 2. Extreme 1
| Sharp Si i'. Hid. |
,3. Extreme
Flat Third.
4. Extreme
Flat Fourth.
siE*illEiE^EiE*5Ei
tfcxssdtefi:
5. Extreme
Sharp Fifth,
\ 6. Extreme
Sharp Sixth.
■B
7. Extreme I 8. Extreme
Flat Eighth. | Flat Ninth.
1. The Chromatic Semitone is the distance or inter-
val between any note, and that same note elevated by a
II. MELODY.
sharp, or depressed by a flat. In the Chromatic Scaler
the semitones are alternately Chromatic and Diatunic a
and as there are only five of the former, while there are
seven of the latter, two Diatonic semitones will be fuunc.
in succession, at ttie place where the natural semitone
occurs.
From this important interval (theChroinaticSemitone)
arise all the other Chromatic intervals: they are all Dia-
tonic distances increased or diminished hy this intervals
and hence they all take the additional Chromatic epithets
affile Extreme.
2, The extreme sharp second consists of a tone and a
chromatic semitone, being composed of two degrees.
3, The extreme fiut third consists of two diatonic sem-
itones, being composed of three degrees; and is the
minor third diminished by the chromatic semitone.
4, The extreme flat fourth consists of a tone and two
diatonic semitones, being composed of four degrees; and
is the perfect fourth, diminished by the chromatic serai*
tone.
These three last intervals, viz.
The extreme sharp second,
The extreme flai third, and
The extreme flat fourth, when inverted, be-
come the following, viz.
The extreme flat seventh,
The extreme sharp sixth, and
The extreme sharp fifth.
5, The extreme sharp fifth is the perfect fifth increas*
ed by the chromatic semitone, and consists of four tonesy
torn ling five degrees. '
6, The extreme sharp sixth is the major sixth, in«
creased by the chromatic semitone, and consists of five
tones, forming six degrees.
II. MELODY.
7. The extreme flat seventh is the minor seventh, di-
Inished by the chromatic semitone, and consists of four
lies, and two diatonic semitones forming seven degrees
8. The extreme flat eighth is the octave diminished by
ie chromatic.semitone : it is never used in the melody,
it is sometimes found in very transient passages of
irmony.
Of toe Enharmonic Scale.
When a series is formed by uniting the ascending with
ie descending scale of the chromatic genus, a new bind
:' music arises, by the use of the interval formed be-
veen the sharpened note and the flat of the next suc-
seding note above. This scale is called Enharmonic,
id contains intervals smaller than the semitone ; w liich,
though not exactly halt of the stmitone, are, however,
om their near approach to that quantity, called the Die-
s (tha< is, the division,) or quarter-tone. To form this
terval, it is necessarv that, ot any two notes, which are
stant by the tone, the highest should be depressed, anil
e lowest elevated, by the chromatic semitone. Thus
omG ti Aisa tone. Now, if G sharp be taken instead
' G, and A Hat instead of A, the difference between
ese extremes of the two chromatic semitones, G sharp
id A Bat, will form the Enharmonic Diesis, or Quarter-
ne.
To understand this, it must be observed, that the in-
frval of a tone, in the theory of harmonies, is not always
e same. That tone which is between the fourth ami
Ih of the scale, is supposed to be divided into nine
lall parts termed Commas ; while that between the fifth
id sixth of the major scale, is divided only into eight
jnmas. The diatonic semitone consists of five commas,
d the chromatic semitone of three, or four, according
the magnitude of the tone. The two chromatic sem-
mes, therefore, being taken from the minor tone (of
ght commas,) leave a residue of two commas for the
esis, or quarter tone.
ART. 64. Enhatimonic Scale.
The Enharmonic Scale divides each tone
MUSICAL GRAMMAR.
II MELODY.
into two chromatic semitones, and the quar-
ter-tone; thus,
2&
II. MELODY,
among the natural notes, is that which com-
mences with C; and hence this key may be
taken as an example of all the major scales.
In souk examples ot the Enharmonic Scale, the inter-
vals, F flat and E sharp, as also C flat and B sharp, are in
serted ; but they do not belong to that scale This dis-
tance, as Dr. Pepusch observes, is smaller than die quar-
ter-tone. This arises from the division ot the diatonic
semitones into two quarter tones, and a smaller interval,
termed the Hyperoche, which is found by theoretical cal-
cu'ation to be nearly a comma and a half — Such are the
three modern genera, the Diatonic, Chromatic, and Enhar-
monic : they are, as hefore observed, (Art. 62,) derived
from tru- ancient Grecian scales, but are used in a manner
extremely different.
ART 65. Key.
A diatonic scale, of which the notes bear
certain relations to one principal note from
which they are all, in some respects, derived,
and upon which they all depend, is termed a
Key, and the principal note is called the Key
Note or Tonic.
ART. 66. Major Mode, oh Sharp Key.
Every scale in which the two Diatonic semi-
tones are found between the third and fourth
degrees, and the seventh and eighth degrees,
ascending or descending from the tonic, is
termed the Major Mode of that key; because
the interval between the tonic: and its third (or
mediant,) consists of two tones; that is, the
greater third. The only series of this mode,
i i i i i i i 41114
The figures above the notes refer to the degrees of the
scale, and those under or between them to their distan-
ces, as tone and semitone.
ART. 67. Minor Mode, on Flat Key.
Every scale in which the two diatonic sem-
itones are found between the second and third
degrees of the scale, and between the fifth
and sixth degrees, ascending from the tonic, is
termed the Minor Mode of that key; because
the interval between the tonic and its third (or
mediant) consists only of one tone, and one
semitone, that is, the lesser third. The only
series of this mode among the natural notes, is
that which commences with A ; and hence this
key may be taken as an example of all the
minor scales.
12 3 4 5 6 7
7 6 5 4 3 2 1
*s 1411411 1 1 i 1 1 4 1
The n' cessary vaiiation of the ascending scale, in the
minor mode, from the descending scale will be explained
hereafter.
30
II. MELODY.
Major Scales with Sharps.
Tn tlie first part of this grammar (Art. 27) it has been
shown haw the introduction of' Sharps changes the pitch
of' the tone, without altering the relative intervals of the
scale. All the other Major Scales with Sharps are con-
structed in the same manner, viz. by sharpening ijie
fourth of the former key, to make a new sharp seventh,
or leading note, to the following scale ; thus,
1. Key of G, one Sharpy fc 2. Key of D, two Sharps.
MUSIPAL GRAMMAR.
XT
l^HilpSisil
'5. Key of B, five Sharp:
i|^lSi^E^^ii
, Key of F, six. Sharps.
lliiggi-ippgij
xr
In this last example, the sixth sharp E is, on keyed
instruments performed by means of F natural; but it
cannot be culled by that name, nor situated nn tie same
decree ; for, in that case, only six letters would be used
instead of seven; and between D sharp, and P natural,
the chromatic interval of the extreme flat third would be
found, which does not belong' to the diatonic series.
Majoe Scales with Flats.
It has been also shown (Art. 28) that the introduction
of a new flat takes place on the seventh of the original
key, which then becomes the subdominant or fourth of
the next scab- : hence are formed all the following scales
with Flats i thus,
1. KcyofE, one Flat,
II. MELODY.
2. Key of B, two Flats.
It. MF.LODY.J
Signatures of Scales with Flats.
ii^SiiSltlii ii
3. Key ofE, three Flats.
-3
4, Key of A, four Flats.
fe
isfigggisii
5. Key of D, five Fiats.
pppiiiiSi:!^
f« Key of G, six Flats.
sumum
In this last scale, the sixth flat C is, on keyed instru-
ments, performed. by means of B natural; but it cannot
be called by that name, since, between B natural and the
next degree in the scale (which is D flat) the chromatic
interval of the extreme flat third would be found, which
does not belong to the diatonic series.
ART. 68. SlGKATCHIi.
When the whole number of sharps and flats
are placed at the clefs, instead of beins; occa-
sionally inserted before each note as they oc-
cur, such collection of sharps, or of fiaits, is
termed the Signature.
Signatures of Scales with Sharps.
A Table to find the Me in the Solfegm
The natural place for me is on B.
1 f B be Flat, Me is on E,
ft B & E be 5
If B, E & A be 5
li B, E, A &Dbe b
If B, E, A, D, G, -
If B, E, A, I), G, C,
If B. E, A, D, G, C, F,
If F be Sharp, Me is on
If F & C be *
If F, C & G be #
IfF, C, G&Dbe*
If F, C, G, D, A,
If F, C, G, D, A, E, -
If F,C, G, D, A, E, B,
This scale extends the signatures to seven flats, and
seven sharps.
The scale of F sharp with six sharps, being the same'
on keyed instruments, as that of G flat with six flats, all'
the signatures beyond six may be expressed by a smaller
number, by changing the name of the tonic. Thus C
sharp with seven sharps, is the same as D flat with five1
flats ; and C flat with seven flats, is the same as B witbj
live sharps, Sec. &c.
It is proper here to observe, that, in the solfegio of this
volume of sacred music, the me is not always pointed out'
agreeably with the signatures of the clefs, particularly in
cases of extensive modulation of the keys from one letter*
to another; hence the notation, in such instances, will]
appear incorrect to many who are not acquainted with*
the nature of modulation, and with the nature of the anl
cient signatures. Instead of having inserted the signa-J
tures at such changes, they are left to the ancient signa.
tures and to the patent notes : in consequence of which. .
sharps and naturals will be found before the me ; and flats
and naturals before the faw. Very partial modulations'
are not noticed, and consequently the notation in not
changed from the signature.
Of the Minor Scale or Mode.
The Minor Scale not only differs from the major, as be. \
fore observed (Art. 67,) in the place of its semitones, bay
II. MELODY.
Iso in the variation of its scale, of whichthe ascending
eT'fcs differs from ihe descending one. The minor mod^
equires that wlien tne seventh of the .scale (which is
atimillv a tone below it) ascends to the eighth, it should
ifcome a sharp, as the proper leading note or sharp sev-
nth to the ionic or key. Now the insertion of this es-
ential note in the signature, would appear irregular as
n the following examples. '
+ ft-*-
MUSICAL GRAMMAR.
If this irregularity were adopted in the three first ^x
mples, the essential, lead note would appear as if it wer*
iserted by mistake one degree too high, li is, there-
ire, always omitted in the signature, and placed acci-
entally before the seventh, which it is to elevate, wheii-
ver the melody requires its use.
Tha> this leading note or s'>arp seventh is essential to
fie k^y, although not to its signature, may be proved h\
erforming the subsequent melody, omitting the sharp K.
In this instance the harsh-
ess produced hy F natural,
'taken instead of F sharp,
i extremely perceptible. As the signature^ therefore",
oes nnt always decide the key or scale (this reference
i made to the plain music, where all the heads ol music
re round) of the movement, acan-ful observation must be
lade, whether any accidental sharps or naturals occur
i the first phrase or section If any such are found, the
>nic is on the next degree above them ; but. if none are
sed, then the signature itself determines fhe m-.ijor tonic,
hich is always the note above the last sharp, or the
lurtb. note below the last Bat.
The accidental sharp used in the minor mode, raises
»e minor seventh of the scale a chromatic semitone,
m Ei.om
lay be
31
hence the minor scale
said to belong to the chromatic
genus j ami its true essential
scale is thus formed :
In this series is found the bars" chromatic interval of
the extreme- sharp second (between F ai ri G sharp;) to
avoid which, the sixtri is made sharp to accommodate the
tenth; thus ihe accident*' ^ _ sff*
-oa;e of the n tnor is formed ^£11 ^qJE* F— -Pi
with two notes altered Iron: ffy j (fr^-[— F r— 1
tin signature ; thus, Sf7 . . ji r~| .'*" 7~t~ ~~P
Hut in the descending sc de, li.e esst'Jiti&l leading note
is depressed to accommodate the - ■«
sixth; thus the natural scale of tlu "t/" |r^Fj>r |~1
signature remains unaltered. ESJEEEEE^E^a
ART 69. Relative JMi.von Scales
The minor scale whose tonic is found on
the sixth note ascending uf that major scale
vphich has the same signature, is called (he
Rf lative Minor, because its signature is simi-
lar to that of the other.
G, one Sharp.
Major Scales.
D, two Shnrpi.
II. MELODY.
the third degree above the last flat ; thus,
Major.
F, one Flat. B, two Flats.
iiTiSliilil
Rflativk M
E.oneShn.p.
"H-^-raj I— r-
;ales.
R, two Sharp).
Relative Minor.
These tonics,it may be observed, are one degree i>elow
the last sharp signature. In the signatures with flats, the
relative minor (or sixth of the major scale) is always on
ART 70. Or tue Tonic Minok Scales.
Every major scale when its third and sixth
are depressed by the chromatic semitone, be-
comes a minor scale on the same key note,
and will be termed in this grammar, the To-
nic Minor.
But as the signature requires that the essential sharp
seventh should not be inserted at the clef, the tonic minor
must have in its signature another Hat, making in all
three flats more, or three sharps less than the major
scale of the si.me key note; thus,
F Major. F Minor.
C Miyor. C Minor.
G Major. G Minnr.
32
II. MELODY.
In the last example the F #, E ■$, and B -Q-, are all to
be considered as sharps, when contrasted with F ■£}■. E b>
and B fr, of the minor scales.
D Major. D Minor.
j^J..^_.t_.l_ i — -.^^-^
In this example, the C-^., r'-§, and B b ot the minor
scale, are all Lo be considered as flats when contrasted
with the C#, F-fr, and B-g- of the major scale.
A Major.
ART- 71. Transposition.
That change which arises from the perform-
ance of the same melody in a higher or lower
pitch, is called Transposition.
Every melody in a major scale may be transposed to
any other major scale, by altering the signature according
to the pitch of the new tonic. The same alteration may
take place in every minor melody. When, however, any
tane is performed in the relative, or in the tonic minor,
which tune was originally major, such change is not
called transposition, but Variation. When, in the course
of a melody, the tonic is changed, and the original scale
altered by the introduction of a new sharp or flat, such
change is called Modulation: this will be further ex-
plained in treating of harmony.
Every scale has two others immediately connected
with it ; onp on the sharp above, which adds a new sharp
to the signature; the other on the fifth below (or fourth
above) which adds a new flat to the signature. These
two scales will in this grammar be called attendant keys;
an epithet given the o by Dr. Bnyce. As every iwjor
key has a relative 'Timor, and as tin's relative minor has
Us two attendant keys, hence arise, from every signature.
MUSICAL GRAMMAR.
U. MELoDY.
six scales nearly connected withjeach other; three with
major thirds, and three with minor thirds. Of these, tw<
are principal, viz. the major and minor of the signature
itself; and four are subordinate, viz. the attendant keys,
boih of the nutjor and of the minor: these require another
sharp or fiat to complete their scales when modulation
occurs.
Thus, in the major scale of C. its attendant scales are G
(its hTih) with one- sharp, and F (its tourth) with one fiat,
to which are annexed, the relative minor A, and its two
attendant scales, viz. E minor with one sharp, and D mi-
nor with one flat. The same arrangement takes place in
every key, and it is necessary to observe, that when the
minor key is first taken, Lhe major key of the same sig
nature is called the relative major, an o" is found on the
minor third above the original minor key note.
Of the Tonic, Dominant, 8cc.
Every one of the seven notes which form the scale of
any key, major or minor, has an eflvcf peculiar to itself:
from this effect they derive particular names, which
are these :
ART 72. Tonic
1. The Tonic, or key note is that chief
sound upon which all regular melodies de-
pend, and with which they all terminate. All
its octaves, above and below are called by
the same name.
The termination only relates to the chief melody, or its
base ; the internal parts of harmony, as will be hereafte>
shown, concludes upon the mediant or dominant.
ART. 73. Dominant.
2. The Dominant or fifth above the key
note is that sound which, from its immediate
connect! jd with the tonic, is said to govern it
that is, to require the tonic fb he heard afti-
it, as the final perfect cadence of the base.
II. MELODY.
Tonic and Dominant.
~¥#£*
fcCfct-£:
ART 74. SPHDOMIN-iNT,
3. The Subdominant, or fifth below the
key note, is also a species of governing notej
as it requires the tonic to be heard after it in
the plagal cadence.
Tonic and Subdominant.
fliiailgilli
The subdominant is the font th in the regular ascend
mg scale of seven notes, and is a lone below the dominant
but the term arises from its relation to lhe tonic, as thl
fifth below.
These three principal sounds, viz the tonic, dominant]
and subdominant, are the radical pans of every scale ; o:
he minor as well as of the major. All melodies, what;
•ver, are derived from these sounds, and are wholly de
pendent upon them.
ART. 75. Leading Note.
4.' The Leading Note, or sharp seventh oj
the scale, is the subsemitone of the mode*^
This is always the major third above th^
dominant, and therefore, in the minor scale.
inquires an accidental sharp or natural, whe
-ver it occurs.
Tonic and Trading Note.
H. MELODY.
ART. 76. Mediant.
b. The Mediant, or the middle note be-
yeen the tonic and dominant ascending, va-
es according to the mode; being the major
-lird in the major scale, and the minor third
i the minor scale.
Tonic And Mediant.
AKT. 77. SoBXEniANT.
6. The Submediant, or middle note be-
nreen the tonic and subdominant descending
aries also according to the mode, being the
reater sixth in the major scale, and the
■sser sixth in the minor scnle.
Tonic and Submediant.
The Submediant in the major mode, is the relative
innr key note ; and the mediant in the minor mode, is
e relative major key note. — The sgnalure of two
isrpshave been chosen for the foregoing examples, that
"e effect of the same tonic (and of its relative minor in
ptomc and leading note examph-) ma} be perceived in
"rforming them all.
ART. 78. Sotf.htohic.
7. The Supertonic, or second above the
ey note is. in theory, considered as a varia-
le sound, liei: g a comma nicher in the major
:a)c th'a» when the mode changes to the
slative minor.
MUSICAL GRAMMAR.
II. MELODY.
The further utility of these denominations will appear
hereafter. In Harmony, especially the terms Tonic,
Dominant, Subdominant, and Leading Note v. ill frequent-
ly occur ; the two former, as the principal governing
notes; the two latter, as the characteristic notes of the
key.
ART. 79. Chabacteuistic Notes.
The Leading Note and the Subdominant
are the two characteristic sounds, by one of
which every scale, whether major or minor, is
known, and its tonic immediately ascertained.
Thus, in the sharp signatures, the leadimg note is a
species of index, which points invariably to the next de-
gree above, as its major tonic : this is alwa; s the last sharp
in the major mode. — In flat signatures, the suhdominant
is also a species of index, which points to the fourth de-
gree below as its major tonic : this is always the last flat
in the majo'1 mode.
In the minor modes whose signatures have less than
four sharps or four flats, the subdominant, being always
one of the natural notes, is not apparently, a characterist
of the key ; and therefore, in those modes, the key note
is to be found.
The great importance of these two notes appears evi-
dent, when, in nccasiona1 modulation, the new key is re-
quired to be found by their assist n:e. In all flat signa.
tures (F major. B fl:<t major, K flat major. Sic.) the leading
note is natural ; and this is the sharp seventh of the key.
as in the fo'lnwinc example :
Here the natural It is the leading rote of the new key
In the sharp signatures, on the contrarv, thesuhdom-
inani is distinguished by a natural, and requires, in mnd
ulaiion, the alteration of the sharp in the signature, as in
the following example :
E
II. MF.I.ODY.
S3
mmm
Here the natural F is the subdominant of the new key
C— Hence it appears, that whenever the characteristic
note of the new ke> is marked by a natural, that natural
has always the effect of a sharp or a flat ; of a sharp, when
it is a leading note ; of a flat, when it is a subdominant.
Of the A.vciest Sir.sATCnEs.
In the music of Correlli, Gemiuiani, Handel, &c. the
general rules for finding the tunic, either in the major
mode, by the characteristic notes of the signature, or in
the minor mode, by the leading note accidentally insert-
ed, are not always sufficient.
ART. 8U. Ancient Signature.
When, instead of the complete series of
sharps and flats of the sginalure, the lasl sharp
or flat is suppressed, and inserted accidental-
ly when requisite (like the leading note of the
minor mode,) such deviation from the usual
method of notation is termed the Ancient
Signature.
Although the term signature is defined, Art. 68, to be
the number of sharps or flats at the clef, yet the word
will also be applied to the two naiural keys of C major
and A minor.
Examples of the ancient signature of D minor may be
found in the third and fifth concertos of Geminiani, njiera
secunda, and in the fourth concerto of opera terza. .For
instance, the first movement of his third concerto begins
as in the following example:
■-?5-T-|--r-H -4r PZ' r^
Here the key is known to be 1), by the accidental C
34 .
II. MELODY.
sharp, and to be also D minor, by the natural F, which
remains unaltered, as in the signature.
The same ancient method of notation is sometimes
found in the key of G major, where the sharp of the lead-
ing note F, is inserted accidentally when requisite ; as in
the following example from the first chorus of Handel's
Oratorio of Saul, How excellent thy name, O Lord. One
of the intermediate movements commence thus:
MUSICAL GRAMMAR.
II, MELODY.
Op Ancient Flat Signatures.
The objection to the sharp signatures does not apply
to the flat, since the second of their minor modes is not
affected by the flat. For this reason, and from the varia-
ble nature of the sixth or submediant in the minor scale,
the Ancient Flat Signatures are very frequently found.
1. The signature of one flat belongs to B flat major,
and G minor. The following example, in the opening of
Correlli's fifth concerto (Opera Sesta) is in B flat major.
III. HARMONY.
" The youth inspired by thee,
Here the key is known to be G by the sharp before
/ the F, which is used in the second treble, as the third be-
' low the A: and the B natural of the clef shows it to be
G major.
Op Ancient Sninp Signatures.
The ancient signature of one sharp is applicable to the
keys of D major and B minor; but the sharp signature of
this ancient mi thod are never found in the minor mode;
for, as the second (or supertonic) of the key would then
require an accidental sharp, the irregularity before men-
tioned (in Art. 68,) would perpetually recur.
In the solos of Correlli (Opera Quintu) however, sev-
eral instances occur of the Ancient Sharp Signature in
the major mode ; viz. the sixth and ninth sonatas in two
sharps are in the key of A major, the G sharp is acciden-
tally inserted. Handel's duett, in the Oratorio of Athalia
(Joys in gentle train appearing.) is also in this key, and
lias this signature. The eleventh sonata of Correlli bears
the signature of three sharps, and is in the key of E ma-
jor.the D sharp being inserted accidentally. The ancient
signature of four sharps is found in Handel's beautiful air,
rtendi il sereno al clglio,from the Opera Sosarmes. This
is in B major, with the sharp to its leading note A, oCca-
sinnallv inserted.
i?iingiiii
ezers:
elililgiil
This' will' be mentioned hereafter as a very striking in-
stance of the use and effect of harmony in deciding the
key and mode, independent ot the signature.
The eighth concerto of Correlli opens with this signa-
ture in G major, as in the following example
This also depends upon harmony for the decision of
its key and mode. The melody as it here stands, might
be equally in B flat major or G minor; but the F sharp,
which accompanies the second measure, decides the key.
2. The siena'-nreof two fl;*rs belong to Eflut major.
^m
pilSi
The signature of its relative minor mode C is very
common.
3. The signature of three flats, is unusual in tbe major
mode of A flat, but extremely frequent in the relative
minor of F. Handel, indeed, has seldom (if ever) used
the modern signature in this mode.
In this example the E natural is the leading note ar'
points to the key note F ; of which A flat is the lessc
third, and decides the mode.
PART Iir. HARMONY.
ART. 81. HAnaiosT.
Two or more melodies heard at the sami
time, form Harmony; and the different con
binations of notes in harmony are terme'
chords.
Harmony was formerly (according Tinctor— see B
Burney, Vol. 2d, page 458.) synonymous with melod
and the term counterpoint was applied to what we cjj
harmony. This term is derived from the anoient poin.
or notes, which were pladed counter or opposite to till
other on the staff. The examples in this third part w
be given in counterpoimt ; that is, the heads of not
without their stems will be used.
ART. 82. Triad.
The union of any sound with its thir<
(major or minor) and its perfect fifth, form
the harmonic Triad, or common chord. Th-
is termed the major or minor triad, accordil
to the nature of its third.
Major Triad.
III. HARMONY.
Triad in music, signifies three different sounds com-
ined together at the distance of a third and fifth from
le lowest.
When the octave of the lowest note is added, four
junds are heard in the harmony.
"Major Common Chord. Minor.
There are also besides these two consonant triads, two
issonant triads ; one diatonic, the other chromatic.
1. The Diatonic Dissonant Triad, or diminished triad
f the Germans (B-, D, F) consists of two minor thirds.
2. TheChromatic Dissonant Triad, orsuperfluous triad
f the chromatic scale (C, E, G sharp,) consists of two
lajor thirds,
1. Dissonant Triad, 2. Dissonant Triad,
B, D, F. fc C, E, G-#-.
£
-#o-
-m-
13 5 V ^- ^-l a 5
The Consonant Triads are formed of two dissimilar
birds, major and minor united ; the Dissonant Triads are
jrmed of two similar thirds, both minor or both major.
In the natural diatonic scale, there are six consonant
'iads ; three major, and three minor.
3. Major Triads, 3. Minor Triads.
illfe §e*e|e§e
MUSICAL GRAMMAR.
Ill HARMONY
All the major triads become minor by flattening their
thirds; and all the n in^r thirds become major by sharp-
ening their thirds j thus,
The Dtfttenic Dissonant Triad has (by license) its third
sometimes flattened and sometimes sharpened, and thus
are formed two altered triads, which are very seldom
used.
These altered triads consist of a major, and an extreme
flat third, and are consequently both chromatic.
The Prime, or low est note of the triad, was called by
Uamean its fundamental base. In this grammar the term
Radical Base, or simply the Root will be adopted. The
root being placed one or two octaves below the chord of
the accompaniment, makes no difference in its derivation;
the radical base depending always on the three combined
sounds of the triad, whether in close or dispersed har-
mony.
ART. 83. Root, on Radical Base.
The Roots of the two consonant triads are
easily understood, as every radical base must
have a perfect fifth.
But the roots of the two dissonant triads, and of the
two altered triads cannot be explained till the nature of
discords is known,
•• When the three sounds of the triad are taken as an ac-
companiment, and the root remains in the base, the chord
35
III. HARMONY.
assumes three different positions; thus,
The first position in Position. 2d Position. 3d Position,
is that of 3d, 5th and f~\
8th. I J
Thesecond position \
is that of 5th, 8th and <
3d.
The third is that of
8th, 3d and 5th.
^:
It must be observed, that the second position, in reality
consists of the fifth, eighth, and tenth, and the third po-
sition of the eighth, tenth and twelfth of the root ; but as
the tenth and twelfth are octaves of the third and fifth,
and as they are represented by the same letters, they
are also called by the names of third and fifth, whatever
may be their distances above the root,
ART. 84. iNTEItSIONS OF THE TllIADS.
When the lowest note instead of being the
root, is the third or fifth of the triad, such
change is termed Inversion.
Dr. Pepuacti calls the two inversions supposed bases,
and terms the chord of the sixth the uncommon chord ;
not because it is unusual or improper but tn contradisr
tinction to the common chord, or that of which the low
est n')te is a fundamental base.
The inversions of the triad differ from its positions ; as
the former relate to the whole harmony, including the
base, and the latter to the accompaniment alone, inde-
pendent of the base. Hence every triad has three posi-
tions, but only two inversions ; for when the root is in the
base, the chord is called direct, whatever may be the
positions of the accompaniment.
1. The chord of the sixth is the first inversion of the
triad, when the base note becomes the third of the ha:-
36
tit HARMONY.
mony, instead cf the roof. This
chord in thorough base is express-
ed by a 6: to which also belongs
the third of the lowest note (or
fifth of the root;)and, in the pr.ic-
tice of counterpoint, the octsive <
of" the lowest note is cither o-
mitted, or, if four parts are re-
quisite, the sixth or the third may
be doubled.
The same arrangement
takes place in the minor tri-
ad, and its first inversion ; in
the first inversion of the dia-
tonic triad Ft, D, F, liowever J
the sixth is never doubled,
but the octave preferred when
tour parts are requisite.
MUSICAL GP-AMMAR.
First Inversion.
Root B.
I AT"5fc~
A stroke through the figure six, eh?- j ^©- — O-
vates the sixth note above the base a J CT" 5""
chromatic semitone; and when used on"^ D
a minor sixth, mak'-s it the first inversion
of the dissonant triad ; thus,
When the same mark occurson a major
sixth it makis it the first inversion ol the
altered triad ; thus,
These two chords, which are of great ; ^
importance, will be hereafter distinguish- ) r ^
ed by the namt s of the sharp sixth, and I JHE ^Z
of the extreme shaip sixth, the first al- [ ~ — —
waj's accompanied by a minor, and the L-— -— .-- .-
second by a major third.
Second Inversion. —
<► © -®-|-©-HB- — —
111. HARMONY.
2. The chord of the fourth
and sixth, is the second inver-
sion of the triad, when the
base note is thefifih of the har-
mony, instead of the root. It
is expressed in thorough base <
by a 4 under a 6, and in four
parN,the three positionsof the
triad are used as its accompani-
ment, withoutany regard (as in
the chord of the sixth) to the omission of one note, or the
doubling of another.
Of the Direct and Contrary Motions, and the rules for their use in
Harmony.
Before the harmonica! succession of triads can be right-
ly understood, it is necessary to explain the different mo-
tions of the parts which constitute ha-mony. Two of
these are essential, viz. the Direct iMotion. and the Con-
trary Motion.
ART. 85. Direct and CoNTnAHT Motions.
1. In the Direct Mo-
tion the parts move the
same way, ascending or
descending.
2. In the Contrary Mo-
one part rises while the
other part falls. ^ ■»-B--fc-H-»
By the knowledge of these motions, the power of
avoiding; many harmonical irregularities may be obtained,
and the following; rules of harmony correctly observed.
ART. 86. Rui-es op Hahmont.
1. All Consecutive Octaves and fifths must
be avoided in the direct motion.
Direct Motion.
Contrary Mution.
..H._iT- Z&.J
Octaves and Fifths by the
Dirtct'Motioii.
W. HARMONY.
fel
The same avoided Sy lb< |
Contrary Motion*
» >. ■_
*y ^~ » ^ - -^ ^ - ^.
2. All unnecessary skips are to be avoided
and all the chords taken as closely and
much connected as possible.
3. All false relations (such as the extreir)
sharp second, &c.)are disallowed, unless ft
the expression of some particular effect.
4. All irregular motions of the parts in ha'
mony are to be avoided. Every major i
sharp interval ought to ascend, and every m
nor or fiat interval ought to descend; that
to say, the part in which those intervals ai|
found in combination, is to rise after the sbai
and to fall after the flat.
This rule however, is always subordinate to that
avoiding octaves or fifths, anti is not regarded when it
melody is to produce an effect opposite to the rule. Tl
internal pans of harmony, however, are to be regulaUj
by these observations.
AHT ST. Harmonica.. PnnenKssioK.
Harmonical Progression signifies that suv
cession of triads or perfect chords, which, b
being confined to the scale of the origin,
key, only admits the tonic and its two attel
dant harmonies, occasionally intersperse
with the relative tonic and the two harmV
nies attending on that scale, whether the or
ginal scale be major or minor.
m. HARMONY.
The term harmonical progression is used in contrails-
lotion to Hie ttrrn modulation* Although a change intr.
* relative sc.if implies a partial modulation, yet in all
iffi*s, where the new scale remains undecided, by th-
fiisHifin or the leading note," and the original tonic blill
mtinues a predominant sound, tiie term progression
ill be retained.
As the scale consists of seven different notes, it is evi-
mt ibai two triads, which only contain five notes (one
tte being common to both,) cannot decide the key. —
ence Ui- following examples, although tin; distance ot
eir degrees are perfectly similar, appear, by meats of
e accent, to be in two different keys, and are therefore
niivocal
In the key of G. In the key of C.
MUSICAL GRAMMAR.
Hi however, three dift'er-
t'chords are taken, the
iy may be decided ; this is
rfornied by the progress-
l of tonic, subdominant and
minant.
1. Thus in the tonic bar-
my are found the third and
ih of the root of the scale.
2. In the subdominant harmony are found the fourth
d sixth of the root of the scale.
3. And in the dominant harmony are found the second
d seventh of the root of the scale.
The following excellent observation of Dr. Pepusch
unot be too often, or too strongly impressed upon the
nd of the student, viz. "All melodies have their perfect
ncords of the key they are in for their fundamental
UI HAfiM'iNY
Ton. Dom. Subd. Ton. Dom. Subd.
The Major f
Mode with its
relative minor &. |
i he four attend- I
ant harmonies, *
may be thus ar-
ranged.
The minor mode with its relative major, and the four
attendant harmonies, may be thus arranged.
Tonic. Dom. Subdt. Tonic. Dom. Subdt.
The relative attendant harmonies are very seldom used,
particularly the relative subdominant, or second of the
major mode (as D in C major;) but, "in modern music,
this harmony more frequently occurs, and will be further
explained hereafier.
The motions of the radical bases or roots of these
chords are reducible to six, divided into three classes.
1. The Dominant Motion, or ascent of the fourth or
fifth.
2. The Mediant Motion, or ascent of the third or sixth.
3. The Gradual Motion, or ascent of the second or
seventh.
These may, of course, be inverted, and become the
same descending; as the directs towards the remoter dis-
tances show in the example,
37
III. HARMONY.
1. Domt. 2-Medt. 3. Grad. [ ]. Domt. 2. Medt. 3. GraJ.
JAscent of 4th. of 3d. of 2d. | Descent of 4th. of 3d. of 2d.
min muni
The dominant motion is the foundation of the perfect
and imper'ect cadences ; as the gradual motion is of the
false and mixed cadences.
Of these motions the dominant and mediant are regu-
lar, having a sound common to both chords : but the
gradual is irregular, as the chords have no connexion
with each other.
When the melody moves regularly by degrees, ascend-
ing or descending, ilie following progressions in the
base are often employed.
1. Dominant Motion hi Fourths.
Descending Melody. Ascending Melody.—
_•: zzzz\z •=r±S=?=?=!!=:=
RisinE-FourthN and Rising Fifths and
falling Fifth* falling; Fourths.
r*:z~~:g-r"T~-_~ »~ — n~- —
2 Mediant Motion by Thirds.
_ Descending Melody. Ascending Melody.
Rising Thirds and
falling Fourths.
SEi
Asci nding Fourths and
fulling Thirds.
lOlilli^
38
Iff. HARMONY.
3. Ghadual Motiom bi Secodns.
Descending Melody. Ascending Melody.
_^_ _k k
Rising Seconds and
fallmg Thirds.
■----*-
Rising Seconds and
falling Fourths.
L=
ART. 88. _Domiwast Seventh.
When a minor seventh is joined to the major
triad, a chord of four different sounds is form-
ed, and as this only occurs when the fifth of
the key is the base note, the ^Jj^^If^:
harmony is called the Domin-
ant Seventh.
The note which forms the discord in this harmony, is
the subdominant or fourth of the scale ; and being a mi-
nor interval, requires the part in which it is heard, to
descend one degree.
Tn the major mode this descent -fH ■— k:
is a semitone, as in the following1 ex-
ample.
Tn the minor mode the E becomes flat, and the descent
is consequently that of" a tone.
The major third of the dominant, which is also the
sharp seventh or leading note of the scale, must ascend.
Thus iii the major scale the two
characteristic notes are united, and ~fl "b> — "~m — "
form between themselves the inter- '/JTi , . ^ , A , ■
val of a flat fifth of which the root is T3y~ "" 'h— ~ *~ ~*
the dominant; thus, tJ _T^_
In all regular progression, the dominant seventh re-
quires the triad of the tonic to succeed it ; and hence its
MUSICAL GRAMMAR.
III. HARMONY.
base note is called by Rameau, the governing note or
dominant of the key.
The dominant sevenih is used, like all other discords,
either by transition, addition, or suspension ; and must,
in all cases, be resolved, that is taken away, by the de-
scent of the part in which it is found. As a passing or
added note it is employed- without preparation ; thus,
By Transition-
By Addition.
-r— * — i
Every discord of suspension must be prepared,struck,
and resolved ; hence arise the three terms, Preparation:
Percussion and Resolution, described by Marti
As a suspended note, the /-
dominant seventh must be -
prepared, that is heard in the
preceding harmony ; thus,
In this instance the F pre-
pares the seventh in the first
harmony ; is heard as a dis-
cord in the second, and re- (_
solves by descending to E in the third.
There are other sevenths used, in harmony upon the
different triads of the scale (whether consonant or disso-
nant) in both modes These sevenths, although not ex-
actly chords of the dominant, are nevertheless used in its
place, to avoid modulation, as will be hereafter explained
on the subject of sequences. They also preserve a uni-
form motion to the progression of their roots, and at the
same time, produce a melody, descending by degrees, in
the original key. These are,
1. The minor sevenths with n — *
minor thirds of A, D, and K, ~U ~m ' ~ [
hich belongs to A minor ; -fl^ ^ jjj ♦
thus, VJ=y ' — jr — •• — '
tr - _fc— *
2. The major sevenths with major thirds,on the triads of
III. HARMONY.
Cand F.which belong to C ma-
jor. These are often found i
passages of transitions as the ]
directs show ; thus,
3. The mi-
nor seventh
with the flat
fifth tiponB;
thus,
This belongs either toC major, or A minor, accord!
to its resolution, as shown by the directs. If, howev.
the dominant on E should require G natural instead
G sharp (as shown by the last directs) the chord becon
part of a sequence, and the minor mode of A changes
4. The extreme flat seventh up- Q ■ • ^ ".'f^"
on G sharp in a minor, formed "f "* ' S" wjj;
three minor thirds.
The seventh con-
sisting of four sounds,
admits of" four differ-
enth positions; thus,
The first position is
that of third, fifth, sev-
enth and eighth.
The second, of fifth, seventh, eighth and third.
The third, of seventh, eighth, third and fifth.
The fourth, of eighth, third, fifth and seventh.
These positions like those of the triad, contain t|
tenth, twelfth, and fourteenth of the root, when t
third, fifth, and seventh are taken above the octave.
In general the octave to the root is united, otherw
a chord of five sounds would be employed, a combinati
seldom necessary. Pasquali has uniformly given 1
chord of the seventh full, with four notes in the acco
paniment ; but this appears irregular, as three notes :
III. HARMONY.
nerally sufficient. At a final cadence, indeed, the
minant may be taken thus, D, F, G, B, but 'then the
loving Ionic ought to consist of C, E, G, C.
ISVEIISIONS OP THE DOMINANT.
This harmony which consists of four different sounds,
9, consequently, three inversions, besides itsdirectform
third, fifth, and seventh, just described.
I The chord of the fifth and sixth, is the first ir.versio
the dominant seventh,
ten the lowest note he-
mes the third of the
)t. In thorough base,
s expressed by a 5 un- <
r a 6 (to which the
rd is understood) and,
practice, the oetave of
: base note is omitted.
^ The chord of the third and fourth is the second in-
won of this harmony, when the lowest note becomes
! fifth of the root. It ought, according to its deriva-
n, to be expressed by a 3 under a 4 (to which the sixth
inderstood ;) but as the fourth (or proper root of the
■mony)is not pleas-
;to the ear, it is
tally omitted. —
us, the chord ap-
neas a simple sixth <
lalsoasthefirstin-
sion of thediaton-
dissonant triad JL>,
B.
[fefe
1
•■- »-
/ a j j. 2 2 2
!. The chord of the second and fourth is the
MUSICAL GRAMMAR.
IH. HARMONY
third inversion of this har- C
mony, when the lowest
note becomes the discord,
and the triad commenced
on the next degree above. <
It is expressed by a 2 un-
der a 4 (io which the sixth
is understood,) sometimes
by a 2 alone.
As the third inversion of the dominant produces a very
great effect, the compositions of the best masters afford
frequent examples of its utility.
ART. 89. Resolution of the Dominant Seventh.
The descent of the part in which the dom-
inant seventh is found is called its Resolution ;
and that descent is either a tone or a semi-
tone, according to the mode.
This resolution of the seventh, occasions two apparent
irregularities, viz. •
1. The four
sounds of the
dominant.follow-
ed b> the three
sounds of the tri-
ad ; in which the
last harmony is
weakened by two ^
parts becoming
unison.
The unison
parts are placed
in the middle staff'
with stems turn-
ing both ways.
W, HARMONY.
2. The omission of the j ~fi~~it~^~
fifth in the tonic triad, ! ^ffi — ^
when the antecedent J *s~+~W~
dominant is taken with- "S 7
nut the octave to the j ^~l
base; thus,
39
When, howev-
er, instead of the
octave.lhefifthor
third of the dom-
inant itself is o-
niitted, the sub-"^
sequent triad can "V— •. -•""T," VT'^m"l
be taken com- ^zf~~~£2II C i — *
plete; thus, U ~ __ ~ ~Z_ZZ~k —
In all these examples, the minor seventh [or subdomi-
nant of the scale] descends; and the major third of the'
dominant [or leading note of thr«calt>] ascends Ros-
seSu, Koch and Subznr, have Thus, instead of thus.
written long and useful arti- P~f^~ —
cles on this subject.
Two instances also occur, J
when this general rule of re-
solving the seventh by the
descent of the melody, is ap-
parently neglected.
1. When by licence, the
base itself takes the resolu-
tion.
2. When after the third
inversion the base, instead j
of descending a semitone <
descendsa fourth to the to-
nic, and another part takes
the resolution.
2 2 6
40
' III. HARMONY.
A more unusual license is taken in the following' exam-
ple, from what is called Haydn's sonatas, Op. 40,
where the base f~~Q~ ;~" ~ :~~~ *~177"77' "i"— liJIJ-
descends to the i , J$ Z . ' . ■ . ;_, | . I CI^._|I^CX
root, by the con- j Hj> — I — l—*-^ T"'*'-"'S"^"ii*T
trary motion, and j F^g-**^-1*"3**"1'
the seventh is re- S 7
solved by the in-
termediate partf
I-
The same base in res- p
pect to the letters, but j ■
in the direct motion ■
(which may be found in I
n-<
the direct motion ; (tB h-^-#
some attempts at com- J
position,) is decidedly
false and ungrammatical
(as at A j) although the _j-
very same melody, on ^-" "^
the tonicbase continued ^_
(as at U,) is frequently and very properly employed.
Not only the positions of the dominant seventh may be
changed, but the inversions also may succeed each other,
previous to its resolution. Great care, however, must be
taken in the-arrangement of the parts, to prevent trans-
grefsing the rules of harmony.
1 The first inversion, or chnrd of the fifth and sixth,
resolves by the base ascending a semitone, as in the fol-
lowing example [as at A.]
2. The second, or
chord of third & fourth, f-_
resolves by the base de- j -
grendii'gatnnef satF? ] '[ '
3 The third, orchmdof^
ppcond&.fourth,resolves 1 _^ -. t j
by the base descending J j~7"-~*~ "] p -~~T ^~^B"1
MUSICAL GRAMMAR.
HI. HARMONY.
Of Modulation.
As all changes of key are known decidedly by the use
of the dominant seventh, the different modulations from
both scales will be now explained.
MODULATION FROM THE MAJOR SCALE,
ART. 90. 1 TO TFIE*SCALE OP ITS SCBDOMINAST.
41
The principal and most
simple change of key, is that
which by adding a minor se-
venth to the tonic, makes it
a new dominant, and hence
the subdominant becomes a
new tonic; thus,
This modulation being continued, forms a circle of de-
scending fifths, [or ascending fourths] of which the fol-
lowing series is part.
Tonic Chanjje.
"k ttC.
*>7
III. HARMONY.
dation, descends from the su-
pertonic to the original domi-
nant; thus,
Tliis modulation being continued,
forms a circle of descending fif lis [or
a-cending fourths] of which the fol-
lowing series is part.
— &—
.-•■-
^
* ^
*tr'
l—^-
.-"— — — _^_ 3_? o ■*-
a semitone [as at C ] j^ <•
ART. 91. 2 To the ScA- e of its Dominant
The second change is that which, by retain-
ing the octave of the tonic itself, as a seventh,
and by making the base ascend atotic in gra-
These two modulations are in continual use ; the last
domin .nt change, in the former part of a movement ; a,
the first or subdominant change, towards the cenclti
to restore the original tonic. The subdominant modu
ion onlv requires two roots, but that of the dominant I
quires ihree.
3. To the scale of the Subdominant or Relative Min,
The third change is that in which
^he base rises from the tonic to the
mediant ; and, making that a new
dominant, bv the addition of the ■
seventh, descends to the relatives
nv nor tonic. ^; *= — -
A similar modulation being con- %j±Zl~ "IM~—
tinvied, forms a circular of ke\s, in
which the major and re'ative minor
•ncceed feacli other alternately, and of which the folk,
ipg series is part.
t
SittRfeS
This modulation requires four roots previous to the
eration of the signature; but the sudden addition of the
''pnth [especially after the minor tonic,] is rather harsh
d unexpected.
4. To the scale of the Me-
mt, or Relative Minor of
? Dominant.
The fourth change is that
lich, through a previous <>
idulation into the dominant
ifces the original mediant
onic ; thus,
S
. *—
5l Tn the scale of the supertonic.
relative minor of the subdomi.
it.
Phe fifth change is that which,
malting the snbmecliant a dom-
nt, forms a new scale on the su.
.•tonic ; thus,
rhis change, although apparently simple, is, in reality
y remote, and will hereafter be more particularly con-
ered. '
MUSICAL GRAMMAR.
Ill HARMONY.
MODDLATIOX FIIOM THE MlNOR ScALE.
ART. 92. 1. To the Scale of its ScBnojiiNAKT.
The principal change, like that in the ma-
jor mode, (Art. 90) is made
by adding a seventh to the
tonic, and sharpening its
third, to form a new dom-
inant; thus,
ART. 93. 2. To the Scale or its Dominant.
The second change requires an additional
harmony (borrowed
from the sequence of
sevenths) to alter its
signature, previous to
the use of the new
dominant; thus,
1 „-'-
3. To the scale of its mediant or
relative major.
The third change is made by the
reversed gradation or the descent of
a tone ; thus.
4. To the -scale of its f-fl- _^
submediant. I ~m~ £,__
The fourth change adds j X©;~ *~
a seventh to the mediant, J €/ *
as in the minor modula \
tion before given (Art. J £X*~
91.3.) b S
-be-
-— •--
— #•-
b7
I
«~
III. HARMONY
5. To the scale of its
seventh.
The fifth change, which
is very unusual, is made <*
from the original subdom-
inant with a major third ;
thus,
Although no modulation is complete without the use
of the dominant harmony, which contains always one,
and in the major mode both the characteristic notes of
the new scale, yet the order in which this harmony is
given in the foregoing examples, is not, in all cases,
necessary to be observed.
Modulations are continually formed from one scale to
another, by means of the tonic harmony alone ; but in
those instances, it is proper to introduce the new domi-
nant as soon as possible, to decide the key ; otherwise,
the equivocal effect would frequently occur. The limits
of the present work will not allow a more extensive con-
sideration of this important branch of harnionv. The
changes here given are the foundation of alT'vegiilau
modulation ; and in the article of license, a more un^le
explanation of irregular modulation will be found.
ART. 94. Discouds.
Discords are used in harmony, either by
transition, suspension, syncopation, or ad-
dition.
The discords of suspension and syncopation must he
regularly prepared, struck, and resolved ; but those of
transition and addition require, as their names imply, no
preparation.
ART. 35. 1. Discouds op TaASSTTroN.
Any note which passes by one degree be-
tween the other notes of the triad, forms a
42
HI. HARMONY,
discord of transition; and, if found on the
weak part of the measure, is termed a passing
note.
MUSICAL GRAMMAR.
III. HARMONY.
^§§as=
Radical Rases.
lliHiiiiiif
The radical bases, which »re the discords of regular
transition, and which are concords in the upper part, are
made apparent in the under part of the example.
The notes of irregular transition are found on the
strong parts of the. measure, and are called by the Ger-
mans, Changing Notes. In the following example, a
particular instance of irregular transition occurs.
- -i-# ■" 1 1 H— — -—^ —
The notes of f'-si i~— : Z~Zl£Z-<iL~ C
regular and i,- sZKffSSEe^M^EECEL-Sf
regular transi- ! ^ZZteB^S^^SS^^H
ion are inter -^
misedin the fol- J
lowing passage ; '
thus, U
In modern music, all the discords 61" transit
reduced to appop-giaturas or after notes-
5S3^I£
ay be
Thus the qua-
vers in the following passage may be turned into crotch-
ets preceded by appoggiaturas,
EEt±fci=P=iS=fc*-
iiy^i^iililil
EEIir
S:
nm
The last note but one (viz. the F sharp) is here taken
as a discord by. irregular transition, which the radical
base placed below demonstrates!
The reduction of this phrase shews the real notes of
the harmony, and explains the nature of irregular transi-
tion, in which appoggiaturas are always employed.
When the notes of transition are prolonged, they ap.
pear as integral parts of the harmony, and are sometimes
marked with the figures of thorough base ; thus,
arte
HI. HARMONY.
These two intermediate notes between the tonic at
dominant descending, are discords of regular, and irre|
ilar transition. They are explained bv
nd
as in the
ample.
appoggiatura
following ex-
- s2°_
lESgg
33
if
Xi n>ajq
The same base passage (a si mitotic lower i
is emp'oyed by Uandi); in which the notes are n
si
I y i . t-'M i(- i - in «
ich r-Qr*——
ac- T-fcW — *
''■"■ i i|f If if §§11
M-Hk- -Pt-P-fc—f- - l-Lr- l l-Hfc— '
SSffl tSSBT B8H- 125$
mMM
transient, hut each
bears its own pro- |
per narmonv, ac- ( T3J- — — "jJTT" ~3~^"iS"T"ZJ
cording to the re- J *T
versed gradation^)
from the domin- "
ant ; thus,
ART. 96. 2. DixcoHns nr Suspension.
The discords of suspension are divided in
four distinct classes, viz. the fourth, the hint
the appoggiaturas and anticipation.
ART. 97. The Fourth.
The fourth, accompanied with the fif
and eighth, is an appoggiatura, continued
the place of the third on the strong part
the measure.
It is generally prepared, and is resolved 1
descending one degree.
__ U-i-J-r— ■ " r— M- 4
r
lilili^iiti
III. HARMONY.
| It has two inversions, viz. the second and fifth, which
Ispend the sixth ; and the fourth and seventh, which
ispend the fourth and sixth, the two inversions of the
iad; thus,
First Inversion.
Second Inversion.
i*§if
.iriiii mmm
ART. 9P. Tan Ninth.
The ninth accompanied with the third and
fth is an appoggiatura, continued in the
tfece of the p,
ighth.
kcthe
enera
ared an
ays resolv
i.
th. It is „ J J JJj. U-sW Zp-~
;he fourth f#Sz^J»r:HFc:^t^:i
Tally pre- W i-*i*2fS E^iEEJ
d and al-J " -*- *- P-*-
i 9860807
liliiiifi
The chord of the ninth has two inversions one figured
ith a seventh, followed by its resolution the sixth, on
it third of the root; the otherfigured as fifth and sixth,
MUSICAL GRAMMAR,
III. HARMONY.
dd| the fifth
of the root.
Che follow-
ing tonic pe-
dal, or or-
gan-point, is
averyimpor- CV+^
tantstudyfor -\ u ^J
U-T.-M
mmmm
ART. 99, Api'OGGiATunAS.
Although every note of suspension maybe
reduced to an appoggiatura, yet, -in modern
music, some notes are more particularly used
as such than others by greater freedom in
their resolution. ,, .
Any part of the dominant seventh may be retained on
the tonic hase, and afterward proceed according to its
proper motion. The ninth also may resolve by ascend-
ing into the tenth, and the sharp seventh (or leading note)
must resolve by ascending into the eighth.
In this ascending resolution of the dominant seventh,
1 he fieuren of the suspended ninth often becomes a
rennd
zfe:4:fe:d:3 |r^:7:sa:M=fe:i:tefcf.:a
gEg^gpqffPl
43
III. HARMONY.
In diatonic sequences, as will be shown hereafter,
every note of the scale may bear single or double suspen-
sions. All these notes are nothing more than the retard-
ation or retention of sound, longer than the duration ot"
its own root, upon a new radical base.
ART. 100. AsTicirATio^.
When a note is diminished by half its value,
and the following degree employed to (ill up
its time upon the former base, such change is
termed Anticipation; thus,
§mmm
■rizq
mmm
These anticipated notes are coasidercd wholly as re-
lating to melody, and are not noticed by the figures of
thorough base. In the foregoing example, taken from
ihe Lexicon of Koch (article Yorousnahme.) the first
measure (A) contains the simple notes; the second (IS)
shows the anticipation in quavers; and the third (C) re-
peats the samcanticipation in syncopated notes.
Many other chords of suspension may be formed, by
combining all the preceding in different ways.
ART. 101. 3. Discords of Stncopatios-.
The discords of syncopation only differ
from those of suspension by constituting a
part of the radical harmony, and by not being
merely appoggiaturns. The diatonic se-
quence of sevenths, is one of the principal
44
III. HARMONY.
passages in which these discords are used ;
thus,
-$
mmm
The German authors, previous to the writings of Kirn
berger (1774,) seem to have classed the discords of sus.
pension with those of syncopation ; but his arrangement
of chords, into essentia] and accidental, establishes that
difference between them, which is adopted in this work.
Heck places the discords of syncopation with those of
suspension ; and Heck was well versed in the musical
literature of Germany.
ART. 102. 4. BrsconjtK or Addition.
When any discoid, which has not been
heard in the preceding harmony, is united to
the perfect triad it is termed a Discord of
Addition.
The discords of addition are the seventh, the ninth,
both on the dominant ; and the sixth on the subdominant,-
these are particularly useful in distinguishing those two
harmonies from that of the tonic.
1. Of the JhMed Seventh.
From article 88 to 94 of this grammar, the whole re-
lates to the dominant seventh, particularly Art. 88, where
thedifference between the added and transient seventh is
shown. The 89th article treats of its resolution, which
term is equally applied to the descent of the seventh,
whether used by transition, syncopation, or addition
2. Of the Added Sixth.
As the dominant harmony is distinguished from that of
the tonic by Us added seventh, so the subdominant is dis-
MUS1CAL GRAMMAR.
III. HAIiMONY.
tinguished from the tonic, and. from the dominant, by ils
added sixth, wherever the melody of a single part (as at
A,) or the harmony of the whole (as at B,) requires it,
the subdominant may have its own sixth (or supertonic of
the scale) added to its triad.
Sixth added for- the Melody. Si jttli added for the Harmony.
The fifth unci sixih on the subdominant may be pre-
pared by the submediant, or by the dominant^ as radical
bases ; thus,
By the Tonic Submediant. Dominant.
This discord m:.y resolve two different ways, viz. into
the tonic (on its second inversion,) or into the dominant
harmony ; thus,
Added Sixth, Tonic— Dominant.
r.
s±^n^?m
)m=i
mm
m. HARMONY.
The inversions of this Harmony are seldom used.
When this Harmony appe:u\s in the form of a seven*
on th£ Supertonic it frequently constitutes part of tH
diatonic sequence of sevenths, and as such, may be aj
■ ounted radical, like the diminished triad ofKiriYoerffe1.
thus.
ttameau estimates the root of this Harmony by its re
solution, D when followed by G, and F when followe*
by C. Heck considers it as a compound of both the Ha?
monies of D and F. Dr. Boyce (in his mss.) and witt1
"im the author of this grammar (Dr. Calcott) thinks tha
the root is decided by the scale of the key in which itij
found ; thus,
D, in A Minor. ^F, in C Major.
Of the Added Ninth.
When to the chord of the dominant seveuth, the nintc
is al-o joined, a chord of five sounds is formed. It rise!
from the ro<>t by regular thirds, in the following manner,
In C Major. In A Minor.
-$-- —
=&
i
-H-i ■
This harmony being generally used in four pans, lh« I
III. HARMONY,
ical base is commonly omitted, for the leading; note is
ays sufficiently powerful to guide tht ear tu its prop<-
t.
i*he added ninth of the dominant is really the sub me-
nt of the scale, or sixth from the tonic ; it is const- -
mlly major in the major mo<Je, and minor in the minor
Je. Thus, although there is but one ad<led seventh,
re are two added ninths.
'he omission of the* root forms a chord of the seventh
he leading note, which may be known from the other
enths (either of the sequence, or of suspension) by
resolution into the tonic. It may be sometimes pre-
ed, but is generally used without preparation.
Prepared. Unprepared.
5Sr
iiri^i-^
HEF
US
3~£z —3.
one of the inversions of this seventh are employed
lie major scale, but all are used in that of the minor.
a chord is considered as a combination of the domi-
t Jind subdominant harmonies, since it contains the B
J/of the former, and the A and F of the latter, while
resolution of D and F falls on the same note.
Dominant. Subdominant. Union of both.
-&£z
wmmm%
%ss
: is observable, that the above combination of sounds
ides every note of the scale, excepting the three
s of the triad on the tonic, and that it also decides
mode ot the scale, since the sixth or submediant is
of the chord of the subdominant, which is major or
>r according to the key.
MUSICAL GRAMMAR.
III. HARMONY.
The same chord in the minor mode, consists of three
.nuior thirds; and its extreme notes are the sharp sev-
enth and minor sixth of the scale. It is of such great im-
portance in modern music, that it is termed the dimin-
ished seventh or equivocal chord. In the resolution of
its parts, it conforms to that of the major chord in the
last example.
-ts~
-S-
:='^=:cr33^±=BrHrr^Zr5z31 nant harmony fol
-*! — Ez±fc==rJt*il=:5rJj lowed by that of
the tonic; thus,
45
III. HARMSNY.
of these radical cadences, there are four in general use ;
the Perfect, Imperfect, False, and Mixt ; to these may
be a-lded the Plagal or Church Cadence, which is only a
variation of the impeffect, and the Authentic, which is
only the ancient term for the Perfect.
ART. 104. I. Pkhfect Cikencb.
The Perfect Cadence consists of the domi-
Tbis harmony has a great -tdvantage over the former,
since it decides the key ; for the harmony of B with a
seventh may be in A minor, or in C major.
ilifii
*
ISP
ifsnis
ji C Major.
8-
o-
In A Minor.
mil!
But the seventh of ti sharp can only be found in the
key of A minor.
All these chords are liable to have any of their sounds
suspended on the following tonic harmony; and hence
arise many figured bases, too numerous to be inserted
within the limits of the present work.
ART. 103. Cadence.
A Cadence in harmony consists of two dis-
tinct chords (the last of which is generrlly ac-
cented,) and is used to terminate the sections
and periods of musical rhythm.
I. Of Radical Cadence.
When the bases of both chords are the roots of their
respective triads, the cadence is termed Radical; and
The first or leading
harmony is always ma-
jor.
ART. 105. II. Imperfect Cadence.
The Imperfect Cadence consists of the
tonic, fojlowed by the dominant without its
added seventh, and is the former reversed.
In C Major. In A Minor.
The second, or final
harmony is always major.
ART. 106.
III. False Cadence.
The False Ca-
dence consists of the
dominant followed ,-
by the submediant
(in diatonic grada-
tion) taken in the '
place of the tonic;
thus,
if
=*T-»»i
In C Major. In A Minor,
wmm
In the major mode, this cadence forms the interval of;
46
HI. HARMONY.
tone ; in the minor mode only a semitone ; and it is used
instead of t!.e perfect cadence from which it is derived.
AUT. 107. IV. MlXT CiDEME. .
The Mist Cadence is the direct gradation
of the subdoimnant to „In 9 MaJ°r' '" A Minor-
the dominant, and is
used instead of the im-
perfect cadence from
which it is derived.
mmm
mmm
ART. 108. Plagal Cadence.
The Plagaj Cadence , ~ l\c Ma*
only diifcrs from the [
imperfect as to its
place in the scale, be-
ing the progression of
the subdominant to
the tonic; thus,
This is used as a final cadence in church music, partic-
ularly in the Hallelujah Chorus, Messiah, and in the
Coronation Anthem, Z;idock the Priest. The final chord
of this is always major. Hence arises the necessity ot
var\ ing the third of the last harmony in the minor mode,
and of changing it to the major third. Formerly it mm?
usual to terminate every piece of music with the major
third, whatever might be the cadence.
The Authentic Cadence is the same as the Perfect Ca-
dence, and is onlj so termed in contradistinction to the
Plagal.
IT. Op MKD7AC Cadetcce.
When th e leading harmony of any cadence is not radi-
cal, but inverted, ihc c&iJtri e is termed Medial, and is
used to express an incomplete close.
MUSICAL GRAMMAR,
III. HARMONY.
1. Cadence of the Leading J\*ote- — This is the first in-
version of the dominant, and is used instead of the per-
fect cadence.
msim
2. Cadence of the Sharp Sixth.— This is the second in-
version of the dominant, and is sometimes used as a final
cadence on the tome, as in Non Nobis Doiniue ; but more
generally on the sixth of ihe descending scale, when it
Commonly bears a suspended seventh.
3. Cadence of the Major o;
first inversion
of t'le mixt ca-
dence, and is
chiefly user! in
the minor mode
It is liable also
to the antece-
dent suspen-
sion of the 7th.
Minor Sixth.— This is the
III. HARMONY.
These cadences may
also become protracted by-
using other harmonies on
the dominant. Thus is
formed what Dr. Pepusch "*
calls the Grand Cadence.
To these may be added those deceptive cadem
which, by var) ii-g the final chord, avoid the final closi
,«' ft.
LIIliilS
ART JOP. Sequences.
Any similar succession of chords in \
same scale, ascending ordescendingdiaton
ally, is termed a Sequence.
The great distinction between a sequence and a mq,
lation, consists in the scale or key remaining onahe
in the sequence, and being changed in the modulation
All sequences are particularly d'stingnisheil 1 y
irregularity of making' the lending note a temporary n
to avoid modulation out of the original scale.
1. Of Dominant Sequettces,
The principal descending sequence is that of seven!
an example of which has been already given (Art. 1G
derived from the progression of rising fourths and fall
fifths in the dominant motion. Dr.Burney calls this
qnence a chain of sevenths. The term sequence 1
probably first employed by Pasquali. It is found inj
mtau in the more extensive sense of Progression.
HI. HARMONY.
2. Of Mediant Sequences,
"he principal ascending sequence i-* that known by a
Ho wed by a 6 on a gradual progression of the diatonic
le. It is derived from the mediant progression.
n this and the following examples, the directs show
radical base.
srs? a — i __s_ r~-©zr:tz:zrr::T
-+1r-^--
y£-%Z-zz™:izzzzzzzl
Exainple continued.
« 6 5 8 5 6
spg::g:
--, -tr_e-
r-MC.&
liB
_lus sequence, like that of sevenths, admits of the
ling note, as a temporary root ; and it seems to have
fn tor the sake of elucidating these passages, that
'nberger and Kollmann have admitted the diminished
,d among the consonant harmonies.
3. Of Inverted Sequences.
'he principal Inverted Sequences are those derived
n the sequence of sevenths i and of these, the most
al I is that of a 7 followed by a 6 on the gradual de-
nding progression of the seal*.
MUSICAL GRAMMAR.
HI. HARMONY.
5 6 7 6 7 6
-fir
g?:--z^:z^r:-:B-r:Tr~D:r;zi
Krampfe continued.
\ ** "r S " "7 6 "7 li B
-4r~
This may also be considered as a simple sequence of
sixths, with suspensions or sevenths,- and in like manner
the ascending sequence of fifth and sixth may be ex-
plained by anticipation (Art. 100.)
It is not unusual in the first inversion of the sequence
o! sevenths (that of the fifth and sixth,) to leave the har-
r.'ony as .1 simple triad, in the following manner.
ijtrsfc
HiMigil
n -o.
47
III. HARMONY.
4. Gf Simple Sequences.
A descending scale may also be accompanied hv a sim-
ple sequence of sixths alone. 'I he theory of this pro-
gression is involved in some difficulty ; but the uniform
practice of authors, both ancient and modem, has <stab-
lis'ied its use.
mma
The same series may take place ascending, and the ef.
feci is nearly that of the medial sequence of 5 and 6, as
the preceding series of the descending scale resemble
the inverted sequence of 7 and 6.
nm
5. Compound Sequences.
Compound Sequences are those which by employing
the chords ot suspension, change 1 heir harmonies on the
alternate base. Of these there are various kind* : on«
48
HI. HARMONY.
of the principal is that of descending thirds with alternate
ninths ; thus,
— I-
6. Irregular &t>ryitences.
It is not unusual to find an ascending scale accompani-
ed w ilh 7 and 6, with 9 and 8, or with their compounds
j and ^ which form irregular sequences ; thus,
These chords belong regularly to a descc nd ng series.
— In these sequences the unaccented harmony must be
divided in halt, after the resolution of the discord, to pre-
pare the following one.
or LICENSES.
ART. 110. 1. Pedal Harmonies.
When the dominant harmony is taken un-
prepared upon the tonic base as a holding
note whether preceded by the tonic, or by the
eubdominant harmony, the passage is termed
MUSICAL GRAMMAR.
Ill HARMONY,
a tonic pedal note or organ point; thus,
r^t::S=i-^QZi=fc^zTrgzfeii:zn=T
m~±E£
m
In the chord of 4 the dominant note itself is generally
omitted, and the chord appears (independent of the
holding base) like that of the sharp sixth on the super-
tonic.
When also any chords or sequences are taken upon the
dominant base tjs a holding note, -a similar passage is
formed j and the base then also becomes a dominant
pedal note or organ point.
_ Not only the simple dominant,but its compound deriva-
tive, the added ninth may be taken on a tonic pedal. —
Hence arises the chord of the sixth and seventh, or the
thirteenth of Marpung. This is used in the minor mode
"II the tonic, and sometimes, by extreme license, on the
dominant.
.r^*p=SE3Eg'ES:EiB
Sc
IP—f— g—
ART. lir. 2. Exthkme Sharp Sixth.
When upon the first inversion of the mixt
cadence, the sixth of the submediant (or fourth
„ French Sixth.
III. HARMONY
of the scale) is accidentally sharpened, th«<
chord of the extreme sharp sixth is formed;
thus,
This harmony, when accompani-
ed simply by the third, has bi en j '
termed the Italian sixth. By this
alteration of the fourth, the species
of cadence is changed from thefirst
inversion of the mist to the second
inversion of the perfect ; and is considered as a license,
because the root bears a fiat fifth, while at the same limei
the third continues maj. r. The radical base, therefore,
of the extreme sharp sitxh is the supertonic of the key jt
the fifth is allowed to be defective that the original minor
mode may be totally destroyed.
When to the simple combina-
tion of the Italian sixth the root
itself is annexed, a chord of third,
fourth, and sixth is formed ; and
as this harmony is only found in <
the theory of Kameau, it may be
properly termed the French
Sixth.
Root B.
A harmony still more remote, but extreme v ivwerv
tul, is formed upon this chord by inserting: the added
ninth on the root, as a supposed * German Sixth. |
dominant to the real one. This
occurs with great effect in the wri-
tings of Gritim, he. and therefore
may be called the Germ in Sixth.
It requires, however, a continua-<
lion of its third and fifth on the
dominant base (as a new fourth and
sixth,) to prevent the consecutive
fifths.
■■ » ip i
mil
RootB.
,
III. HARMONY.
The music of France, Italy, and Germany, cannot be
illustrated. in u smaller compass than by the use of these
thiee chords. The feebleness of the French sixth, coni-
pared with ihe elegance of the Italian, and the strength
lit the German, leaves no doubt of their superior excel-
lence. The admirable genius of Graun knew when to
employ the Italian sweetness, and when to change it for
German force.
AUT. 112. Pahtial Modflattoit.
Whenever the dominant and tonic of a new
key are employed without the subdominant
harmony, such change constitutes a Partial
Modulation.
One change
»f this kind a-
fises when the I? — e>4£=-- - +Q-
Mm
leventh of the
nnjor mode is <
lattened, and
hemod ulation
'eturns again
hro* the It-ad-
H£ note of the tonic, as in the above example.
Ano'her change towards the dominant is also frequent-
Y used ; thus,
HIP;
MUS'CAL GRAMMAR.
111. HARMONY.
Qfllie Rule of the Octave.
It may appear 6'ngular to class this celebrated progres-
sion among musical licenses, but as the descending scale
equally includes a partial modu'ation, and rejects the
original subdominant harmony, so essential to'the con
stituent part6 of the key, the propriety of the classifica-
tion appears obvious.
When a diatonic scale in the base is accompanied with
harmony ascording to this rule, the roots and their inver-
sions are thus intermixed :
a isQ. <-> "B
MMwmm
[ -— g 3L_
•M — ■=» <r
The descending scale makes a partial modulation into
the dominant ; thus, I
Many other changes occur to the relative minor (or
ihnicdiant,) to the mediant, to the supertonic, &e. some
i which is peculiar to the last centary.
The Directs mark the Hoots of the Chord. tjfi.
In the minor mode, tlie reversion of the mixt cadence
takes place, which, in modern music, is generally varied
G
by the ItaJian sixth.
III. HARMONY.
49
The remainder of the scale coincides with that ot Ihe
major scale. Although this scale is given in the above
form by most theoretical writers, yet, in practical music,
such is the prevalence of partial modulation, varied se-
quences. &c. that the rule is not often found complete.
AIM'. 113. Chromatic MonrLATiois.
When the chromatic semitones are intro-
duced betwen the notes of the diatonic scale,
Chromatic Modulation is formed, in which the
key is continually, altho' partially, changing.
As the diatonic sequence of sevenths is used to avoid
modulation, so a chromalic sequence of sevenths consists
of dominant1-- alone and the scale changes at every chord
In a similar manner
may be formed an as-
cending chromatic se-
quence, derived from
thst of 5 and 6 j thus,
This also makes a par-
tial change at every oth
er harmony.
;lniiii
59
III. HARMONY.
In modern music, a species of chromatic transition is
employed, in which the semitones occur not as parts of
the radical harmony, butasappoggiaturas, after note*, or
acciacaturas. The following examples, from the celebra-
ted opera of Mozart, the zauberflole, are instances of
chromatic appoggiaturas.
pgl^ilii^
m
The acciucatura or half beat, is also used with great ef-
fect in a terzett from the same piece.
MUSICAL GRAMMAR.
HI. HARMONY.
may be altered by the diesis, the two following modula-
tions arise from the same chord.
Hoot B flat, key E Minor. Root C-#., key F-#- Minor.
The half beat (or acciacatura) may also in some in-
stances be found on the semitone above, taken as a flat.
ART. 114. ENHARMONIC MODULATTOW.
The last and most difficult branch of har-
mony, is that which arises from the sudden
change of key made by the enharmonic diesis:
for when any one of the sounds of the equivo-
cal chord is called by a new name, and
placed on a new degree, the root,. scale, and
signature all change at once.
n Root E, key of A Minor. /J*001 G» key nf c Minor.
As this harmony consists of lour sounds, each of which
Theharmeuy of the exl rente flat seventh, has attracted
the notice of all the theorists who have written on the
subject of chords in modern times ; and its complete dis-
cussion would fill an ample treatise.
As the chromatic octave upon keyed instruments con.
sists of twelve different sounds (exclusive of the diatonic
eighth or replicate of the first,) there are but three dif-
ferent chords, in respect of the keys themselves on the
key board These in their simplest forms, are the added
ninths of D, A and E, dominants of their respective mi-
nors. Each of these chords by the use of the diesis, may
change into three other harmonies ; and thus an immedi-
ate step to any one of the twelve minor modes may be
gained.
R oot D. Root A. Hoot E.
1^11111=1
These chords may also, under certain limitations, sue
ceed each other chromatically, descending or ascending1 ;
thus,
Root R. Root E. Root A.
~T>1
*$
mmw
The last and moat unusual species of enharmonic mod
illation is that which changes the dominant seventh intu
the German sixth. A remarkable instance occurs in
Handel's Solomon, «t the chorus " Draw the tear from
pV. RHYTHM.}
hopeless love ;" thus,
"Full of death and wild despair."
h' *<
b » b - s
S^rg|:ffEgilEl
(j 7 7 6 S
b- , t| *.T.1_«__
ll:?lfefii§ii
Rosseau, Art. Enhannomque, does not mention this,
modulation ; although it is extremely worthy of notice,
being formed upon a chord so apparently perfect as the
dominant seventh.
PART IV. RHYTHM.
ART. 115. Rirrra*.
The disposition of Melody or Harmony",
in respect of Time or Measure, is termed
Rhythm.
Those branches of Rhythm which are necrsnary to be
considered in the present work, ore. I. Accent, II The:
Musical Foot, III. Tbr Musical Caestire, IV. The Phrase,
V. The Section, and VI The Period.
/ OfJccent.
Accent has been already described (Art 2J) as pari o(
notation :• but it must now be examined more accurately*
IV. RHYTHM.
Since upon (hie peculiar arrangement ofsound.all Rhythm
MPcndi.
The necessity of dividing the notes of music into equal
portions of time called measures (Art. 13,) may be shown
by considering the subsequent series of notes.
¥
£§£p
The above cannot be pet-formed, as melody without
making certain paint* of division, on which pressure
must be laid. It may for instance be accented two ways
in equal time ; thus,
Trochaic Rhythm. Orthiu. Iambic Rhythm.
iilSB
The following passages are distinguished by the dif-
ferent harmonies they bear, in each variation of the
Rhythm, as well as bv the points of the melody.
1. Dactylic Rhylliro.
iiiliJiflli
iillifgig
2. AnupBMtie Rhythm.
(Mffig
i^^iliriiii:
MUSICAL GRAMMAR.
IV. RHYTHM.
3. Ampliibrachic Rhythm.
■e-j
ART. 116. Simple Commoit Measure.
The Simple Measures of equal time con-
sist of two parts, and are subdivided into four
times: the parts are minims in common time,
and crotchets in two crotchet's time; and the
times are crotchets in common time, and qua-
vers in two crotchets time; thus,
COMMON TIME.
The P«ru. The Timei.
TWO CROTCHETS TIME.
The Paru. The Timet
SEEIElEU
ART. 117. Simple Thiplf. Measoiiih.
The simple measures of Unequal (or Tri-
ple) Time also consists of two parts, one
double the length of the other; but the times
are only three: hence arises a varied expres-
sion, ae«ordiDg te the value ef the notes in
S\
RHYTHM.
3»
n the further division of simple measures the sccfnls
are known by the groups, which are regulated by the
times of the measure, as before noticed (Art. 116;)
thus,
In triple measure, the same arrangement of groups is
n general use ; thus,
fe±b=±
14 A thouiaml pleasures reign — — — —
These inferior accents which belong to the times of the
measure, do not, by any means, destroy that great and
predominant accent thatbelongs to the first note which
follows the bar, and which is accompanied by the Thesis
or depression of the hand in beatiDg time. The Arsis,
or elevation of the band, always follows on the weak
part of the measure.
ART. 118. Compound Meastties.
The Accents of Compound Measures are
exactly similar to those of simple measures,
which arc only their halves, and which differ
chiefly in their notation, and their appear-
ance to the eye; thus,
p : ^JE: B5JEE 3 S:
IV. R1JTTHM.
The Germans, and also the French, consider the
measure of tour crotchets as a species different, not only
from that of three, but even from that of two crotchets $
a distinction which arises from the nature of accent, and
which is thought of importance by those authors. Tt is
considered by some of them as a simple measure ; but it
really seems merely to differ from that of two crotchets,
by the umiasioo of the alternate bar.
In compound time, the difference between six crotchet
and three minim measure, or between six quaver and
three crotchet measure [both of which contain an equal
portion of time between the bars,] is only known by the
accent. The groups, indeed, regulate the accent to the
eye, and show the compound time of six quaver measure
by their equal division. Thus in the following example
the simple measures contain the quavers grouped by sixes
which have one strong accent on the first, and two infe-
rior ones on the third and fifth notes; thus,
MUSICAL GRAMMAR.
IV. KMYTHM.
marked at the clef; thus',
-szstiiteK
ggs^Sl
S W 6 W S
In compound time the accents are as under ;
The compound Triples of nine crotchets, or nine qua-
vers lahe tlieir accents from the simple measures whence
they «re derived.
ART. 119. Mixt Measures.
Mixt Measures take their accents from
(heir measure notes; and the groups (if any)
decide tke ■nkeralisn made in the time
Ai~4A
Although this melody is written in two crotchets, the
accompaniment is in nix quavers. — There is some doubt
whether it should be performed as written, or as if it
were compound ; that is, one dotted crotchet, one
crotchet find one quaver, in the first measure. It, how-
ever, any variation in the subordinate parts of these mixed
measures should be requisite , they must be changed to
their relative compounds; thus 2-4 will become 6-8, 3-4
will become 9-8, and common time will become 12-8.
The Following passages ^^_ZjLFE^^gzEJ
from Koch will show the & -- - -
necessity of using the
compound, instead of the j3
mixt measure in t™<-<-»
crotchet time.
The same variation takes place when the compound is
taken, instead of the mixt, in three crotchet time, as in
the following passages.
In a similar manner Handel uses the compound of
twelve quavers for the accompaniment of " Mirth admit
me of thy crew," in O (L'AUegro.) while the vocal pari
and the base arc Written in simple common time.
IV. KHYTftM.
ART. 130. EuruAsis.
By Emphasis is meant a stronger and Ail-1'
!er sound of voice than that of Accent, by
which we distinguish pome note or notes oat
which we design to lay a particular stress,
and to show how they affect the rest of the,:
passage.
The Emphasis is distinguished from the accent (as be-
fore observed, Art. 25) by its occurring on the weak; '
parts of the measure ; by the different grouping of the
quavers, semiquavers, &c. and by the emphatic marts of1!
Hi. &c. (Art. 26.) placed over die notes. In performing
the Piano Porte, a great difference seems to exist be-!
tweeti them ; since accent aiwaj s requires pressure i
mediatel) after the note is struck, and emphasis require
force at the very time of sinking- the note. Thus accent
may be employed in the most piano passages ; but em- <
phasis always supposes a certain degree of forte.
To the same species of effect which is derived from
emphasis, may be referred the Tempo d'lmbroglio (del- >
In Contusion*:) of modern music, in which the muaic, i
although written in one kind of measure, is really per- i
formed in another. Among ihe simplest instances of this |
.latiirc, is that change of time used by Correlli, Handel, j
ike. Sec. which forms one single measure of three minims,
from two measures of thre.- crotchets each, ai in the f'ol- ,
lowing example from the Pattsione of Uraun.
A mora singular example may be found in the final
Chorus of the Pilgrim of Haste ; in winch the lima
though apparently three crotchets, produces the effect
m^m
:
IV. RHYTHM.
»Ftwo erolcbetsin a measure.
ro wolcliets in a measure. |
4 -» -m -a*- a v -K"*~ «
MUSICAL GRAMMAR.
IV UHVI'HM.
presented by the opposite rhythm.
4 -» ._
— I I II -.(
_ In the last movement of Haydn's Instrumental Pan.
lioiu-, Op. 45, generally known by the name of the seven
ast words, several passages occur, in which, as in the
ireceding example, the time changes from three to two
fmtchets. In the final section the time changes to four
irotchets, fcc. An that movement is termed il Teremoto,
>r the Earthquake, this confusion is particularly appro-
priate.
//. Of the Musical Faot.
ART. 121. Simpie Feet.
A imall portion of melody, with one prin-
:ipal accent, including; the value of one
neanure, is termed a Musical Foot.
The knowledge of this rhythmical subdivision of mel.
dy is of great importance in practical music ; as the
inger must not take breath, nor the performer on keyed
ntruments separate the notes in the middle of a foot.
It has been usual u ith some authors to apply the names
f the ancient poetical feet to corresponding musical
assages; but thedifference between ancient and modern
uantity and accent, leaves a doubt concerning- the pro.
riety of uiing the terms of flrecian Khythm. An Eng.
Bh Trochee, as actor, hateful, &c. may he represented
-lusical notation several ways as in the following exam-
4n English Iambus, as reject, SbsSrve, ko. may be re.
Hie other twodissyilabicteet of the ancieflts viz the
Spondee, both syllables long, as pale moon, and the
l-yrrhic, both short, as level, mav in respect of the mea,.
lire (w Inch is guided by ihe acceni) be always considered
as trochaic m the English language, with some small occa-
sional change hi the value of the notes. The difference
between the two disei llabic feel is well exemplified by
the word desert, which when set to music as a trochee
(desert,) signifies a lonely place. Thus in the Messiah
"Comfort ye my people."
siiiii!iiEi
"Make straight in me ilotrt."
The same word set to music as an Iambus (desert,)
signifies merit. Thus in Hamlet's Judas Maccabeus.
53
iv. rhythm.
2. The anapzist may be represented bv the words
contravene, acquiesce, Sic. and in notes thus,
3. The amphibrach may be represented by the words
salvation, delightful, domestic, &c. and in notes thus,
_. ?..W,lk , , h<""" I" <to- «n be orouuM.
Ineeflcci of diese feel, in respect of deciding die key-
by means of the accent, has been before exemplified
(Art »7.) Another instance of harmony and rhvthoi
being united to determine the key in contradi«u.n'«ion
to the signature, may be seen Art. 80.
The English feet of three syllables may be divided into
three classes answering the Dacyl, the Anapsst, and the
Amphibrach of the ancients.
1. The dactyl may be
represented by the v/oi.,.-.
labourer, possible, &c. and
in notes thus;
msg
ART. 122. Compound Feet.
As a musical foot is equal in value to a
measure, although it differs in accent, on ac-
count of the place of the bar, so in the com-
pound measures the feet are double, and may
be resolved into two by dividing the measure.
The following example from llavdn, Op. 40, Sonata 3
might be resolved into single feel of two crotchets in I
measure.
The same may occur in the iambic measure, as in tha
following example. v
3
An example of the foot in six quaver time divided hy
the bar n found u, Haydn, symphony 3d, Salomon's
Concerts.
MUSICAL GRAMMAR.
av. RHYTHM.
*-"\... i j i _: i_ f-„*
^ he difference between compound and simple feet,
may be further exemplified by the following extract fr< m
the messiah, in addition to the remarks already given.
gii
Strength, lift it
up, be not afraid."
SifilSilli
know that my Redeemer."
The second measure of both examples is divided in the
same manner ; but the accent, and consequently the feet,
are entirely different.
III. Of tlie Musical Ccesure.
The term ensure is used in this grammar in the signi-
fication annexed to it by Koch.
ART. 123. Caesohe.
The ensure is the rhythmic termination of
qny passage which consists of more than one
musical foot. Or, it is the last accent of a
phrase, section, or period, and is distinguished
in all the simple measures by the place of the
bar.
The utility of this distinction will appear, by consider-
ing the two methods in which the music might be com-
posed to the In:"*.
" Conquest is not to bestow.
In uie.owiv, tn in the Uow." Dr. Arn&'s Juihfc*
IV. RHYTHM.
t
IV. KHYTHSI,
^^3
If these measures were not divided as they are, the
erasure, which uowis properly placed 6na strong part („,)
Tfould fall on a weak part (f,) contrary to the nature of
accent.
The erasure in ancient music most frequently occurs in
the middle of the compound measure, and thus appears
(o a modern view irregular and incorrect. The excep-
tions to the musical erasure falling upon the last syllable
of the line in poetry, are few, but very important. From
the nature of harmony, it sometimes occurs that the
'hree last syllables may belong to a melody derived from
the same chord ; in that case, the ensure is thrown back,
as in the following example
ij £ -
" So ihal) tin' inti- end harp av ake,
And sprightly voice sweeUlescaiilrun."
Here the cohort- falls on the third rrotchet to the sylla-
bles, descant run, instead of being placed on the last syl-
lable, run.
It appears that the erasure, or rhythmic termination, ;s
not always the lawt note of the passage. The melody i«
often prolonged after the erasure, by varying the Ionic
rrWmony ; thus,
UsdI i-H |
The whole chord of the disnoinant is also often retain-
ed upon the cssure, as in the fallowing example from
Moau'tt'i duett in C, Op. 14, p. 11.
^Hlfe'I
The air by Handel in the occasional oratorio, of whicl:-
the subject is here given, will be found an excellent!
study for the correct position of the erasure.
llililNi^^ilfii
Prophelic Visions eharni mine eve,'"
In the following instance, Maude I has not been so care I
ful, since the erasure comes in the wrong place, and th<*
bars are consequently erroneous. It should begin liko
the first example of this article, with the half measure.
iHiliii^S
Strange reverse of human fate."
In the old arrangement of compound common time, ij
was usual to change the place ot the ensure ; sometime!
forming the cadence at the beginning of a measure, am
afterwards repeating the same erasure in the middle of i
measure. Thf- airs of P^rgolesi, .Ion>eli, Stc. are re
markable for this rhythmic variation. See a particular)
instance in the admirahle song by Hasse, Pallidn il sole.
First part. S woml prtrt.
-Ij -77"1"~""*V~"r"~~^ *-**
II
^In the tune called Poioncise or Polacca, a consulerabli
exception to the rule of the crasuiv occurs, as it falls therf
the weak part of the measure ; thus,
ifeiiiiipf
•pfsz;
ty. RHYTHM.
An instance also of equivccul ensure might occur in
he following common melody which is properly barred
S^Piiie^l
This might be barred difierenJy, for the i*z<- uf
hrowing the e»ure on the last svlkihlr of the second
ne contrary to the accent of all the other feet.
IF. Of the Phrase.
ART. 124. Phrase.
1 A Phrase (EinschniU) is a short melody,
k'hich contains no perfect nor satisfactory
busical idea.
A RT. 125. Simple Tim Phiiasxs.
1 The Phrase is generally formed of two
busical feet of simple time, and therefore
ontains the value of two measures; thus,
■±m-r-——£ *
m^M
Koch has used the mark of a triangle ( k) to express
le phrase, and places it over the final note. In musical
unctuation this sign seems analogous to that of the
)mrna ( , ) in language.
ART. 126. CottMEjrD Tim Puhjlsbs.
In the compound time of the older writers
phrase sometimes consists of a single roeas-
MUSICAL GRAMMAR.
IT. RHYTHM.
ure; thus,
"O had IJubal's Lyre."
IV. RHYTHM.
mas-, , - jfcfc t,
•'OhadlJ^Lrr^N^ f». -Q-^ , jFFm • -p|t) jE
i:braj..-. fhra*e. '. . "^" •
Reipel ffiwdesf musical phrases into two species, viz
Pi-rftct, wjier. concluded by the tonic harmony; and Im
peitect, when concluded by the dominant.
Imjvrf. :ct Phrase. [^ Perfect Phmse. |^
The phrase Is subject to all the varieties of accent
that distinguish the feet of which it is formed ; and the
two measures of the Regular Phrase should always be
complete.
When the same phrase Is repeated per tenor, that is
a note higher or lower, asligh' variation may occur.
The too frequent repetition of the same passige in
various keys, particularly on the chromatic modulation
ascending, as found in Correlli, Dr. Green, &c. is termed
by the Italians Rosalia.
Koch makes three remarks upon the harmonical con.
atruction of the phrase, which apply to what has been al-
ready observed to Reipel. First, that the phrase fre-
quently tormiaates with the subdominant harmony.
Secondly, that as the phrase is an incomplete passage
th csesure may be made on the discord, particularly thS
dominant seventh.
i=gig^|i!i
Thirdly, that the exsure also may take place on the
inversion of a chord.
L— I — g
IHPH
ART. 127. iBBxeoiia Paiuss.
Whenever, by repeating one of the feet, or
by any other variation of the melody, three'
measures are employed instead of two, the
phrase is termed ExteBded or Irregular.
HP
A beautiful example of two extended phrases, the lat-
ter of which contains a measure of double time,/ Alt
119) is found in Handel. '
m
JCTk L.-
"s:!:?^
IV. BHYTHM.
The contracted section resembles the extended phrase
in the number of its measures, botli consisting- of three
feet;' but the pbrase is always an imperfect melody,
whereas the seetion always terminates with a cadence.
A phrase is often extended by continuing the harmony
ot its first measure, as in the following example.
IN.
i^EHHiii
s
s
A phrase also becomes irregular when a measure
foreign to its subject is introduced by way of prelude ;
thus,
-Q--# r : 1 — -i— fTV!-Twi*
^!
=aFf^
es^i
mm
fn some passages, the variation of the ociure note, by
an appogiatura, or by other meano, 'will give to the con-
tracted section the effect of an extended phrase. The
following e*ample from Haydn's Creation is of that na-
ture, and is therefore equivecal ; at its melody indicates
an extended phrase, and its harmony a contracted section
» ■ next passage is, however, more complete, ant!
re; • terminates the section.
Hence appears the propriety ef terming the first a
extended phrase.
In choral music of the ancient school, the contract
phrase seems to be, in many cases equivalent with tl
-^mponnd foot- Tims in the sublime chorus of Handel's, j
MUSICAL GRAMMAR.
IV. KHY1 HM.
tfessiah, " For unto us a child is born," the first phrase
is little more than a compound foot.
-f># :
^i|g§glgll
ART. 128.
Pu&ueh ov Attsmbntatioh AND DrMT*UTI03r.
In Fugues of Augmentation, feet become
phrases, phrases become sections, and sec-
tions become periods. In Fugues by Dimi-
nution, on the contrary, periods become sec-
tions, sections become phrases, and phrases
become feet.
Phiases become feet as in the following example.
Subject in Phrmtes.
C=^
SffllS
Answer in Feet.
B^Slfegi
The answer I)} diminution chanties crotchets into
quavers, quavers into demisemiquavers, &c.
ART. 129. Interwoven Puhases.
In figurate counterpoint, anciently termed
Descant, where imitations, fugues, and can-
ins are employed, the phrases, as they occur,
are interwoven in different parts.
IV. nHYTHM.
SSIilglS
r-l
Thus the extended phrase to the words " Sliail be re-
vealed," is interwoven in the various parts. The union
of phrases towards the end of a fuge, &c. is sometime*
even closer than a foot, being at the distance of a crotchet
only. Many examples of this style may be found in the
madrigals of Wilbye, W eelks, &c. In Italy this is calledj
I,o Slretta di-lla Fuga, the Knot of the Fugue. The ac-
cent of the words, however, will not alwajs permit them
lo agree with so close a union of the music, a$ the altera-
tion in the following example will shevw :
llflgiiiiil
A similar pasiiige is introduced with great elite1 at the
- nd of '* The f] celts shall leave," where the violins re-
echo the same nwtes (in the oci-*ve above) as air snngih;
the preceding time to the words " Die, presumptuous
i^telgS
W. RHYTHM.
In those pieces of music termed canons, in which tiie
»me melody is continual y heard in 'lie different parts,
be phrases are of course, united throughout the whnlt-
opposition Or' this kind of music, the finest specimei
xtant is the celebrated Non Nobis Domine, by Dr Bird,
diich will ever remain a lasting ornament to the taste
nd science of the country in which it was produced.—
The phrases of this canon are as fol ow :
-Non oobif. Domine, non Nobis, Sed nomini Tu-
H_Ofc- ^ , , k k
» da glo-riam, Stal nomini Tuo da glo-riam.
V Of the Section
ART. 130, Regular Xectiow.
A Section (Absiitz) is a portion of melody,
>rmed by two regular phrases, the last of
'hich is terminated by a cadence.
The section takes name of Tonic or Dominant, »ccor<]
K to its fir.al harmony; as in the following exampli-
om Haydn's Creation " The heavens are telling."
MUSICAL GRAMMAR.
IV. RHYTHM.
Koch has also adopted ihe mark of a square (q) to ex.
press the section, and places it, like the triangle of the
phrase, over the final note. This sign seems analagous
to that ot the semicolon ( ; ) in language.
In the Arioso or Legato style of music, it is usual to
find sections which are not subdivided into phrase»,as in
the following example.
SSIggSpJp
Dominant Section.
* omc Section. q
In the musir of the old,-r school the section if en con
»s of two measures only, as in the example « Oh had 1
bit's Lyre," Art. 126.
Koch also makes three remarks upon the section (ab-
saz) as relating to its punctuation, to its rhvtl.m, and to
its harmony. First, Its conclusion, or the form and har-
monic*' disposition of the cadence, termed by Koch i's
Interpunctal Nature. Upon thisdependtheciassificatinn
into tonic, dominant, or even subdominint seel inns, ihe
variation of the c-esure note. &c. Secondly, Its extent
in the number of measures, and in the similarity of feet
t rmed its Rhythmical Nature. By this Ihe regular sec-
tion or rhythm (Vierir) ol four measures, is distinguished
from the irregular se~fion,\»hether extended or contract-
ed, &c &c Thirdly, The extent and varialion of its
component harmonies; or the degree of its perfection, as
to being dependent or independent of the adjoining sec
tions, termed its Logical Nature.
ART. 131. Irrbqulaa Sectiobt.
Irregular sections are of two classes, viz.
contracted, of less than four feet, and extend-
ed, of more than four feet.
ART. 132. CouTRACTEn Section.
The contracted section differs from the ex-
tended phrase by its terminating with a
cadence, and generally consists of three feet.
H
5?
IV RHYTHM.
ART. 133. Extended Section*.
The extended section may consist of five,
six, seven or more feet; and the sections are
distinguished from each other by the similar-
ity of time or modulation in their respective
feet. y
The extended section of five feet is formed bv variott6
methods The following example from Koch, augments
the two first nores of the rrgu'ar seclion.
The section of six fVet consists either of two extended
phrases of three fe^ t each ; thus,
(Mozart's Duett.)
I he limits of the present work will not admit any fur-
ther examples, ol more extensive sections.
ART. 134. Interwoven Suctions.
When the regular section is so united to the
following one, that upon the cansure note of
the first the second commences, the section is
not only contracted, but interwoven.
53
IV. RHYTHM.
Thus the following section, which is regular in the
former part of the page is interwoven in this t-xample.
When the subject of a fugue constitutes a section, the
answers are interwoven at the caesure of the melody. —
Thus in the Overture to Esther.
sgisiili
The second section commences in the middle of the
fifth measure, on the caesure note.
In the ancient style of music, great effects are pro-
duced by inters enving phrases, sections, he. and also by
intermixing subjects of different rhythms.
Thus in the final chorus of Steph;ini*s JMotett, the o-
rig'mal plain song, "Qui diligit," is introduced with un-
expected effect in the base, while the other parts are
singing the descant, " Eflangpre telum "
MUSICAL GRAMMAR.
IV. RHYTHM.
From this union ot the parts arises the custom before
mentioned (Art. 123,) of placing the exsure. in the mid-
dle instead of the beginning of >he measure. It is usual
to protract the harmony of art interwoven section, so that
it shall appear regular in in the number of measures.—
Such is the following section in the last chorus of Graun's
Fassione.
-In the choruses of Handel, these effects continually oc-
cur. A remarkable instance may be seen in that of
•■ Wretched lovers" (in. Acis and Galatea) at the words
"Behold the monster Poly heme"
In compound time, the interwoven sections commence
at the half measure, and consist only of a measure and a
ball'. The following example is taken from the duett in
the sane motett of Stephani, Qui diligit.
^EE
±fer
2rs:
m
In this instance the prolongation of the tonic harmony
in the 6rst measure, makes the section appear regular,
although it is really interwoven
In vocal music, the harmony of a section is also pro-
traced for the sake of expressing the words, as in the
glee of the " Red Cross of the Knight," bj Dr. Oalcolt ;
the firs1 section of which, if regular, would have been
expressed thus,
§§s
Blow , warder, blow thy sounding horn.1'
But to give greater effect to the words, "Blow, ward-
er, blow," the two first notes are augmented to minims ;
and the section, as written in common time, appears con-
tracted, alrapugh it is really extended ; thus,
inipi^ii
*Blow, worfcjj, blow thy sounding liorn.'^
* IV. RHYTHM.
ART 135. Codetta.
A short phrase, or any other passage, whicfr
does not constitute part of a regular section i
but serves to connect one section or period tc<
another, is termed a Codelta.
The term is used by Sabbatini, the successor of VaJ;
Iwtti at Padua, in his Tiaitato sopra a fughe, in amoral
limited sense.
In the duelt of Mozart, referred to, (Art. 133.) the fol<
lowing phrase tvnites the minor period to the original
theme.
The extempore divisions made at a close by singers t.
solo performers, and termed cadenze, or cadences »<■'
libitum, are all a species of codetta. In the repetition o
a strain, the passages marked first time, and second time
generally contain each a short codetta ; one to lead bacV
to Hie commencement, the other to lead forward to itr
continuation.
SHHiiPii]
In this example, the short aUacco of each time is not
as in general, a separate codetta, but very ingenious!'1
makes a part of the original subject.
In the Da Cipo airs of Handel, &c. a codetta is gen
eraffy inverted to lead buck to the theme. Thus in " (
the pleasure of the plains
limits
The most successful composer in this styh' is Graun y
who in his celebrated Te Deum, has used the codeifc :
IV. RHYTHM.
jt the end oF severa' movements, to unite them to the
ext. Thus, after Hie final cadence of the air, "Til, ad
bei-andurn," ihe following codetta is inserted in ditfer-
nt modulations; thus,
mmmg
'*B4
-xf-
M—Z%w— set— 1— ±r
Willi what great effect this p
>wing theme (lie ad. -L,
>ining example will ?!S5j^tti
enioiistrate. S^V*I
ge leads into the fol-
VI. Of Ike Period.
ART. I 56. PEB,on.
A Period consists of one or more sections,
ccasionally interspersed with independent
Jet, phrases, or codettas.
Thus the air, God nave the King (Art. 44,) consists of
vo periods ; the first period contains one extended see-
on (Art. 133,) and the last two regular sections.
AHT. 137 Strains.
When one or more periods are terminated
J a double bar (Art. go,) they are termed
trains.
MUSICAL GRAMMAR.
IV. RHYTHM.
The period always ends with a radical cadence, like
ihe seci ion (some few instances excepted,) and answers
to the full stop (.) in language.
ART. 138. Tokic Pinion.
Those periods which terminate with the
perfect cadence, are, from their last harmo-
ny termed Tonic Periods.
The following example of a tonic period, is taken from
Ihe third Sonata of Pleyel, dedicated to the Queen.
liisil
This whole period consists of four regular sections,
and is distribu ed into eight regular phrases The third
section is a r< petition of the first by the violin, while
the Piano Forte takes the accompaniment The fourth
section is similar to the second in respect to its leading
phrase, hy terminating wilh the perfect cadence. — The
iransten notes are omitted, and none but the chief sounds
of the harmony retained.
As the sonatas of Kozeluch are particularly distin-
guished by the regularity and clearness of their rhythm,
another instance of a tonic period may be taken from his
opera 21, sonata 2, in A major'
1 - ^lllg^gl
fP-H-f-
st-r
5»
IV. RHYTHM.
The second section consists of one regular phrase
repeated ; thus,
isti
The third section (with the omission of the passing
notes) concludes the period; thus,
iiiils=Siiiiyi§
Many more examples might be given from the works
of the Bach's, Vanhall, Haydn, Mozart, Stc. &c. since the
variety of periods, in respect to their component parts,
is as great in music as in any other language.
ART. 139. Dominast Period.
When a period concludes with an imper-
fect cadence (Art. 105,) it is termed a Domi-
nant Period.
An example of this period may be found in Kozeluch,
op. 23, sonata 1.
ISiliii
, 0 — ,-,,— , -,
The second section beim*- interwoven with the third is
contracted and consists of three measures only. (See
Art. 132.) '
pillililiiilll
The third section is formed of two extended phrasae'
CO
IV. RHYTHM,
with one measure repeated, and concludes on the domi
nant; thus.
It is to be understood that the terms tonic and domi-
nant, relate only to the nature of the cadence, not to the
modulation of the period. It not nnfrequently happens
that a period, after modulating" from the original tonic to
its own dominant, may terminate with an imperfect, or
even with a mixt cadence in the new key. The final
chord, in this case, will be the supertonic of the original
scale and made a new- dominant.
As the knowledge of feet and phrases is very import
ant, to prevent the bad delivery (Votrag) of vocal, or
instrumental pk-ces ; so also the distinction of sections
and periods, gives the performer an opportunity of
lengthening or contracting his performance at pleasure.
The following hints may be useful till a more extensive
analysis of rhythm can be given.
1. Every section and period may be repeated, provi-
ded that the codetta (if any) leads back to the original
note.
2. Every repetition of a section or period may be
omitted, due care being taken to perform the last codetta
(if any) instead of the first.
3. Those sections and periods which contain solos for
the violin, flute, &c. when not practised with the accom-
paniment, should be omitted; and the two sets of sonatas
oy Kozeluch, op. 21 and 33, will admit of those omissions
Vitb great propriety.
MUSICAL GRAMMAR.
IV- RHYTHM.
4. In all omissions of periods, great attention must be
paid to make the harmonical conclusion of the period
agree with the harmonica) commencement of the next,
and to join the passages by their attendant keys.
5. The difficult modulation of the opening the second
strain of a sonata, may be sometimes omitted for the sake
of gaining time; but every person who wishes to excel
in science or execution,. will practise those passages
much oftenerthan any other in the movement.
ART. 140. Interwoven Period.
As the periods of modern music are distin-
guished by the accuracy of their phraseology
(being for the most part regular;) so those of
the old school are generally interwoven, and
the caesure note of one period becomes the
first nole of the next.
The fugues of Sebastian Bach are highly celebrated
throughout Europe, for union of periods and closeness
of harmony. The first fugue of his twenty-tbur pieces,
entitled Das Wohltemperirte Klavier, is formed on the
following subject.
IV. RHYTHM.
The fifth in C major, on the beginning of the twenty*
fourth measure ; whence the sixth and last four measures
conclude on the tonic pedal.
The third fugue by Handel (op. 3.) of two subjects in
B flat major, contains a greater number of interwoven
periods.
^fr
mm
=Eeff
=t#
The first period terminates in G major, on the middle
of the tenth measure.
The second in A minor, on the beginning of the four-
teenth measure.
The third in D minor, on the middle of the nineteenth
measure.
The fourth in G major, on the middle of the twenty-
first measure.
The first dominant period of two contracted sections
ends on the caesure note of the seventh measure.
The second on the fifteenth measure.
The third on the middle of the thirty-first.
The fourth on the middle of the thirty-fifth.
The fifth (atonic period in D minor) on the caesure
note of the forty-fourth, &c.
Another instance of a fugue on two subjects, much
longer than this of Handel, is that of Dominico Scarlatti,
vol.2, p. 62, on the following theme.
PPfP'
All the fugues in Handel*s choruses, in his overtures,
in his lessons, in his violin sonatas or trios, in the sym-
phonies of the chandos anthems, &e. &c. are master-
pieces of learning and effect.
Among all the various methods of interweaving periods
of the fugue, none has more effect than that of making
the tonic harmony of the final cadence a new dominant.
This may be performed diatonically, by flattening the
third of the leading chord (Art. 108. 11. Deceptive Ca-,
dence,) or chromatically by the ascending modulation
given in Alt. 113,
IV. RHYTHM,
.Diatom tally.
4 5 J 4 4-S- 4 3
The same effected ChroomticaUy.
-t— L-— — 1 — i-_r-y~j — u_fi-_t^ jfr
t«
ART. 141. Coda.
The concluding passage of many move-
lents, when it occurs after a protracted per-
3Ct cadence, is termed the Coda, or final
eriod.
In modern music the coda is generally preceded by a
mg shake on one of the notes of the dominant harmony
The length of the coda may be various; in some pieces
contains several sections, in others merely a single
"lrase. The following short coda from Haydn's op. 40,
ill serve as an example.
-#-
pr=§iseg
In this passage the two first measures of the coda
ight be omitted without injuring the harmony.
MUSICAL GRAMMAR.
IV. RHYTHM
When the coda consists wholly of the tonic harmonv,
the open or right pedal of the grand piano forte, which
raises the dampers, may be employed with good effect
Instances occur in Kozeluch, op. 40, sonata l.in F major'
p. 11, and in op. 41, sonata 1, in B flat major, p. 9, where
he uses the term Apeito (open) lor this purpose. In
foreign printing, the abbreviation C. S. Con Sordi, with
dampers (or mutes,) S. S. Senza Sordini, without dam-
pers are used tor the same purpose.
In ancient music, the coda generally occurs on the
tonic pedal; and in minor movements it is used as lead-
ing to the plagal cadence (Art. 108.)
There is a style of coda peculiar to Italian bravuria
airs. (See the conclusion of the chorus in Haydn's crea-
tion, The Heavens are telling ) In rondeaus. &c. the
cxla is placed as a separate strain, with the term itself
annexed.
But to show what great effects are derived from this
addition after the last perfect cadence of the movements
lias been heard, the Hallelujah Chorus may be atlduced
The !ast section before the coda closes the period, with
the perfect or authentic cadence ; thus,
«
S^i
This is followed by a coda on the chords of subdom
nant and tonic, concluding with the plagal cadence.
/-ft-fr-r-f -d -h, 1-?- — ->.-ii-
5 " tf b S
IV. RHYTHM.
..H — -S-a-
Gl
-,.-a_a.T__
— h — i — r — i a_3_^_™ a_3
t - K* = fete ..
m
iiPHiiPii
Such were the simple but sublime noles which oc.
cured to the genius of this trulv great composer ; rind the
chorus in winch they occur will ever remain a striking
memorial of the immortal talents of Handel.
Ehd of the Grammar.
■a ® c-
APPEMDIX TO THE GRAMMAR.
ART. 142. Taste.
Taste may be defined " The power of re-
ceiving pleasure from the beauties of nature
and of art."
There are few subjects on which men talk more looselv
and indiscriminately than on taste ; and few which it is
mere dimcult to explain with precision.
I?
Taste has borrowed its name from that sense by which
we receive and distinguish the pleasures of food, having",
in several languages, given ris% to the word taste, in the
metaphorical "meaning- under which we now consider it.
Taste is a faculty common in some degree to all men.
Nothing that belongs to human nature is more universal
than the relish of beauty of some kind or other ; of what
is orderly proportioned, grand, harmonious, new, or
sprightly.
Although none be wholly devoid of this faculty, yet
the degrees in which it is possessed are widely different.
In some men the feeble glimmerings of taste appear;
the beauties which they relislvare of the coarsest kind;
ami of these they have but a weak and confused impres-
sion ; while in others taste rises to an acute discernment
of the most refined beauties- This is owing in part to
nature, but it is owi'g to education and culture much
more.
Exercise is the chief source of improvement in all our
faculties. This holds both in ourhodily and mental pow-
ers. Placing internal taste therefore on the footing of
of , a simple sense, it cannot be doubted that frequent
exercise and curious attention to its proper objects, must
greatly heighten its power. Of this we have one clear
proof in that part of taste called an ear for music. Expe-
rience every day shows that nothing is more improvable.
Only the simplest compositions are relished at first ; use
and practice extend our pleasure ; teach us to relish finer
melody, and by degrees enable us to enter into the in-
tricate and compounded pleasures of harmony.
In music, as in other sciences, attention to the most
approved models, study of the best authors, comparisons
of lower and higher degrees of the same beauties, ope-
rate towards the refinement of musical taste. When one
is only beginning his acquaintance with works of genius,
the sentiment which attends them is obscure and con-
fused. He cannot point out the several excellencies or
blemishes of a performance which he peruses; he is at a
loss on what to rest his judgment ; all that can be expect-
APPENDTX.
ed is, that he should tell whether he be pleased or not.
But allow him more experience in works of Ibis kind,
and his taste becomes by degrees more exam and enlight-
ened. He begins to set- not only the character of the
whole, but the beauties and defects of each part ; and is
able to describe the peculiar qualities which he praises
or blames. The mist dissipates which seemed formerly
to hang over the object ; and he can at length pronounce
firmly, and without hesitation concerning it.
The characters of taste, wren brought to its most per-
fect slate, are reducible to (wo. deliraci' and correctness.
Delicacy of taste respects principally 'he perfection of
that natural sensibility on which taste is founded. It im-
plies those finer organs or powers, which enable us to
discover beauties that lie hid from a vulgar eve. One
may have strong sensibility, and yet be deficient in deli-
cate taste. He may be deeply impressed with such beau-
ties as he perceives; but he perceives only what is in
some degree coarse, what is bold and palpaMr ; while
chaster and simple ornaments escape his notice. In this
state, taste generally exists among rude and unrefined
nations. But a person of delicate ta^te both feels strong-
ly, and feels accurately. He sees distinctions and differ-
ences where others see none; the most latent beauty
does not escape him, and is sensible of the smallest blem-
ish. Delicacy of taste is judged of by the same marks
that we use in judging of. the delicacy of an external
sense. As the goodness of the palate is not tried by
strong flavours, but by a mixture of ingredients, where,
notwithstanding the confusion, we remain sensible of
each ; in like manner deliracy of internal taste appears,
by a quick and lively sensibility to its finest, most com-
pounded, or most latent objects.
Correctness of taste respects chiefly the improvement
which that faculty receives through its connexion with
the understanding. A man of correct taste is one who is
never imposed upon by. counterfeit beauties; who carrier
always in bis mind that standard of good sense which he
employs in judging every thing. He estimates with pro-
priety the comparative merit ofthe several beauties whicl>
be meets with in any work of genius ; he refers them u
their proper classes ; assigns the principles a> i'tir as ihcjl
can be traced, whence their power of pleasing flows; ant
is pleased himself precisely in that degree in which hi
ought, and no more.
It must be acknowledged, that no principle ofthe hu
man mind is, in its operations, more fluctuating and ca
pneious than taste. Its variation* have been Bo grent ant
frequent as to create a suspicion with some, of its beinj
merely arbitrary ; grounded on no foundation, ascertain
aide by no standard, but wholly dependent on changing
fancy ; the consequence of which would be-, that all sru
dies or regular inquiries concerning the objects of tastt
were vain.
Is there any thing in music thai can be called astandatt'
ot taste, by appealing to which we may distinguish be
ween a good and a bid taste ? Or, is there, in truth, n<
such distinction: and are we to hold that, according H
the proverb, there is no disputing of tastes ; but iha
whatever pleases is right, for tfist reason that it doeii
please ? This is the question, »nd a very nice and sub tit
one it is, which we are now to discuss.
I begin by observing, thnt if there he no such thing as :
standard of taste, Lliis consequence must follow, that a|i
tastes are equal ty good ; a position, which, though it mai
pass unnoticed in slight matters, yet when we apply it t<
the extremes, its absurdity becomes glaring. For i
there any one who will seriously maintain that the taste o
a Hottentot or a Laplander is as delicate and as correct fo
music as that of a Correlli or a Haydn ? or th»t he can bi
charged with no defect or incapacity who thinks a com
mon music-writer, as excellently well calculated to com
pose oratorios as a Handel ? As it would be downright fy
extravagance to talk in this manner, we are led unavoidi tti
ablv to this conclusion, th.it there is some foundation (bi 01
the preference of one man's taste to that of another ; or
that there is a good and a bad, a right and a vtreng info
taste as in other things t
liiit then to explain this matter more thoroughly, I
liu'st observe farther, that the tastes of men may differ
ery considerably as to their objects, and yet none of
hem be wrong Though all diner, yet all pilch upon
ome one beauty, which peculiarly suits their turn of
nind ( and there-fore no one has a title to condemn the
est. Taste therefore admits of a diversity of objects in
sufficient consistency with goodness or justness of taste
, His taste must be esteemed just and true, which coir
pides with the general sentiments of men In this stand-
ard we must rest. To the sense of mankind the ultimate
ippeal must ever lie, in all works ot taste.
But have we then, it will be said, no other criterion of
vhat is beautiful in music, than the approbation of the
Majority? Musi we collect the voices of others, before we
brm any judgment for ourselves of what deserves ap-
>lati8e in music, poetry, or eloquence? By no means ;
here are principles of reason and sound judgment which
:an be applied to matters of taste, as well as to the sub-
ects of science and philosophy. He who admires or
:ensuros any work of genius, is always ready, if his taste
>e in any degree improved, to assign some reasons for
lis decision. He appeals to principles, and points out
he grounds on which he proceeds. Taste is a sort of
:ompoundpuwer,in which the light of the understanding
ilways mingles more or less with the feelings of senti-
nent.
When we refer to the concurring sentiments of men
s the ultimate test of what is to be accounted beautiful
n music, this is to be always understood of men placed
ri such situations as are favourable to the proper exer-
ions of taste. Every one must perceive that among rude
nd uncivilized nations, and during the age of ignonmce
nd darkness, afty loose notions that are entertained con-
erning such subjects, carry no authority. In those
tates of society taste has no materials upon which to op.
rate It is either totally suppressed, or appears in its
jwest nd most imperfect form.
In the course of time, the genuine taste of human na-
are never fails to disclose itself, and tto gain the ascend-
APPENDJX.
ant over any fantastic and corrupted modes of taste whicl:
may chance to have been intioduced. 1 best- may have
currency tor a while, and mislead superficial judges ; but
' eing subjected to examination, by degrees they pass a
way ; while that alone remains which is founded or
sound reason, and the native feelings of men-.
I by no means pretend, that there is any standard of
(arte, to which in every particular instance, we can re-
sort for clear and immediate determination Where, in-
deed, is such a standard to be found for deciding any of
those great cont roversies in reason and philosophy which
perpetually divide mankind ? In the present case there
was no occasion for any such strict and absolute provision
to be made. In order to judge of what is morally good
or evil, of what n an ought, or ought not in duty to do.
it was fit that the means of clear and precise determina-
tion should be afforded us. Hut to ascertain in every
case with the utmost exactness what is beautiful or ele-
gant, was not at all necessary to the happiness of man. —
And therefore some diversity of feeling was here allowed
to take place ; and room was left to discussion and debate
concerning the degree of approbation to which any work
of genius is entitled.
The conclusion, which it is sufficient for us to rest up-
on, is, that taste in music, as in other things, is far from
being an arbitrary principle, which is subject to the fan-
cy of every individual, and which admits of no criterion
for determining whether it be false or true. Its founda-
tion is the same in all human minds. It is built upon sen-
timents and perceptions which belong to our nature;
and which, in general, operate with the same uniformity
as our other intellectual principles. When these senti-
ments are perverted by ignorance and prejudice, they
<re capable of being rectified by reason. Their sound
ind natural stale is ultimately determined, by comparing
hem with the gem ml taste of mankind. Let men de-
claim as much as they please concerning the caprice and
uncertainty of taste. It is found by experience, lha'
there are beauties in music, which, if they be displayed
in a proper light, have power to command general and
| lasting admiration. In every composition, what interests
the imagination, and touches the heart, pleases all ages
and nations There is a certain string, to which, when
properly struck, the human heart is made to answer.
From Dr. Blair.
ART 143. Ahticclatios, and Delivery.
Articulation is that distinctness and accu-
racy of expression, which clearly conveys
every syllable and sound to the understanding.
Articulation is one of the most important words in the
musician's vocabulary. It applies equally to vocal and
instrumental performance, and forms the foundation of
pathos and grace.
As this article is upon the subject of vocal music, I
shall follow Dr. Blair, on pronunciation, or delivery.
As in eloquence, so in music, mueh depends upon a
right delivery of it. Nothing is of greater importance in
music than a graceful and just delivery of it. To super-
ficial thinkers the management of the voice and gesture
in public singing, may appear to relate to decoration only,
and to be one of the inferior arts of catching an audience.
But this is tar from being the case. It is intimately con-
nected, with what is, or ought to be, the end of all public
singing, persuasion ; and therefore deserves the study of
the most grave, and serious performers as much as ot*
th se, whose only aim it istoplease.
For, let it be considered, whenever we address our-
selves to others by singing, our intention cer'amly is to
make somt impression on those to whom we sing; it is
to convey to them-our own ideas and emotions Now the
tone of our voice, our looks and gestures, interpret our
ideas and emotions no less than words do ; nay, the im-
pression they make on others, is frequently much strong-
er than any that words can make. We often see that
an expressive look, or a passionate cry, unaccompanied
by words, conveys to others more forcible ideas, and
rouses within them stronger passions, than can he com-
municated by the most eloquent discourse. The signify
6-4
fcss. i Sir^x rke a, m°- «*""«
words fullv «m,fl,, . !i ' ' ,0 render notes and
receive some fid f'.,,tbey must' a,most '" every "»*
delivery and I «^ h? """"^ °f Pr°ntmciation and
Bote' witlinn?pn? • '" 8'"e'nE should emPloy bare
«nts wn^l I ang hem by P™Per ">nes and ac
iorraing tnem, that he who does not perform them after
P»™„. - •sserts ln his Performance,
nenf, M • M '" music as we" as i" oratory is of indis-
uaiy exerted to produce a good effect ; otherwise we
sa^rasssMssr Duci,e9s who
His words come from his mouth , ours'tom our br'east •
He prays b t f int[y ?nd • ^om our breast ,
We pr»y with heart and soul.
,r. _ *• Proper Loudness.
APPENDIX.
°e™P/edby 'he/assembly. Th;s P°«« of voice, it
aeoodm.°Ught'^ wh°>'y a natural talent. It is so in
sKn™. f ! bUt' llowever. may «ceive considerable
the kroner IT^a Much ^nds ibr this purpose on
manPh P?i P Cl- a',,d management of the voice. Every
man has three pitches in his voice. The high, the mid-
sound! T °,W- The "*"■ is **t which he uses in
mThefoi , «o some one at a distance as it were, and
orCS "t, aS fhe e*Pression of the term Forte
whine, I T 'le ,0W, iS' When he approaches to a
riveTnS™ ,h "J'7 pr<!perly '^resent the idea to be de-
Si!«fcShi he terms P,a, or Pianissimo. The middle is,
sho ,M ~ employs m common singing, and which he
should generally use in public singing For it is a creat
™sSvaoicet0:ma§''ne,hat0ne "'US1 take^the highest pifcho
T»*ItaS f " ? l° be We" heard by a f^at assembly,
ness or°Z °Mh 'T ,W° ,"""? Thich are different, loud-
"".g! °f 30und' w"h the key- or "otf o» » hicl,
sJterinf '.h Ats'nSer "Pay render his voice louder, without
boHv £™f y ' and-We Sha" alwa3s be ab'e to give most
voice rlf;ehSeVmn? f0rce of sound- to that pitch of
ml, T h '" Performance we are accustomed.-
Whereas, by sett.ng out on our highest pitch or key, we
stra in'l;lyda"r °"rSelV?9 leM comPass, alid are likeMo
fS °U',rUn ourvoice before we havedone. We shall
fatigue ourselves, and sing with pain: and whenever a
bl h?^S" Pa'ntohimself.he is always heardwith pain
and ™S ^-nCe- *G'Ze thf V0iCe there'°re f"" s,rength
concept fee. Tl' -^ a'ways pitch !t on your OT(ii"»rv
concert key. Make it a constant rale never to utter a
f 1 ^»qU'm!ty °f V?ice> than you ca" aff°rd »ithout
pain to yourselves, and without any extraordinary effort
„,» KS.aS y°u keeP wilhin the9e bounds, the other
e Kffi? m"S,u WiU be a' l,berty ,0 dis^harge their sev
e ral offices with ease ; and you will ever have your voice
hound. '"d- Bu? "henever you transgress these
bounds, you give up the reigns, and have no longer the
weuT™T,°' ^ * i9 an Use,UI r",e '"">• '" "rder to be
nerannHn Jk B* "S eye on some of the most distant
persons m the assembly, and consider ourselves as sing-
ing to them. We naturally and mechanically utter oup
he hLT' KSU°h adegre °''«"'*». as.o make ourselve.
he he , ,ry T '" Whu0D\ Wc ad"rass ourselves, provided
he be within the reach of our voice. As this is the cast
in common performance, it will hold also in public sing,
ing. But remember, that in public as well as in common
performance, it is possible to offend by singing too loud.
1 his extreme hurts the ear, by making the voice come
upon it in rumbling indistinct masses ; besides it irivea
the singer the disagreeable appearance of one who en.
of souud" '° C°mpel aSSel"' by mere vehemence and forco
2. JlrticiUntim.
In the next place, to being well heard and clearly un.
derstood, distinctness of articulation contributes more,
perhaps, than mere loudness of sound. The quantity of
sound necessary to fill even a large space, is smaller than
is commonly imagined ; and with distinct articulation, a
man of a weak voice will make it reach farther, than the!
strongest voice can reach without it. To this, therefore, '
every public singer ought to pay great attention. He
must give every sound which he utters its due propor-
tion, and make every note and syllable, and even e*err
letter in the word which he pronounces, be heard dis.
tinctly, without baw ling, whispering, or suppressing anx
of the propersounds,
5. Moderation.
In the third place, in order to articulate distinctly,
moderation is requisite with regard to the speed of per- ,
tormance Precipitancy of singing, confounds all artic.
illation, and all meaning. I need scarcely observe, that I
there may be also an extreme on the opposite side. It is
obvious that a lifeless, drawling performance, which a|.
lows the minds of the hearers to be always outrnmiingthe '
singer, musl render every piece insipid and fatiguing.—
But the extreme of singing too fast is much more common,
and requrcs the more to be guarded against, because
when it has grown up into a habit, tew errors are mor«
difficult to be corrected.
■
*"o etng with a proper degtee of slowness, and with full
ind clear articulation, is the first thing to be studied by
ill who begin to sing in public j and cannot be too much
recommended to them. Such a performance gives
weight and dignity to their music. It is a great assistance
10 the voice, by the pauses and rests which it allows it
more easily to make; and it enables the singer to swell
til his sounds both with more force, and with more music.
it assists him aso in preserving a due command of him-
ieM; whereas a rapid and hurried manner is apt to ex-
site that flutter of spirits, which is the greatest enemy to
ill right execution in the way of delivery.
4. Propriety of Pronunciation.
After these fundamental attentions to the pitch and
management of the voice, to distinct articulation, and to
l proper degree of slowness of performance, what a
Jublic singer must, in the fourth place study, is, propri-
sty of pronunciation; or the giving to every word which
le utters, that pronunciation which the most polite usage
)t the language appropriates to it ; in opposition to broad,
'ulgar, or provincial pronunciation. Tins is requisite,
,0jh'or s'"f5"lng intelligibly, and lor singing with grace
ind beauty. Instructions concerning this article can be
pven by the living voice only. But there is one obser-
'ation which it may not be improper here to make. In
he English language every word that consists of more
yllables than one, has one accented syllable. The ac-
:ent sometimes rests on the vowel, sometimes on the
:onsonant. Seldom, or never, is there more than one
ccented syllable in any English word, however long.
5. Intonation, or Tones.
Unless a tune, containing several parts, is pitched on
ta proper key, that all the voices may perform their
'arts clear and strong, neither too high, noryet too low,
t never can give any delight to the performers or audi,
nee i ; this cannot regularly be done without some inslrn-
aent for the purpose of giving a sound from which the
ante or key note must be derived in concert mionation
low much of the propriety, the force and grace of music
Mist depend on this, will appear from this single consid-
APPENDlX.
eration ; that to almost every passage we perform, more
especially to every strong emotion, nature hath adapt, d
some peculiar key. Sympathy is one of the most power-
till principles by which persuasive music works its effect,
file singer endeavours to transfuse into his hearers his
own sentiments and emotions, which he can never be
successful in doing unless he delivers them in such a
manner as to convince his hearers that he feels them.
The greatest and most material instruction which can
be given for this purpose is, to form the tones of public
singing as clear as possible and upon the tones of sensi-
ble and animating performance.
On some occasions, solemn public singing requires the
tones of the voice to be exalted beyond the strain ol
common delivery. In set pieces, anthems, &c. the eleva-
lion of the siyle, and the harmony of the passages,
prompt, almost necessarily, a modulation of voice more
rounded and majestic thancommon psalm-singingadmits.
But though this mode of delivery runs considerably be-
yond ordinary performance, yet still it must have for its
basis, the natural tones of grave and dignified delivery.
I must observe at the same time, that the constant indul-
gence of this elevated manner, is not favourable either
to good composition, or good delivery ; and is in hazard
ol betraying public singers into that monotony of tone
and cadence which is so often complained of. Whereas,
he who forms the general run of his delivery upon a
singing manner is not likely ever to become disagreeable
through monotony. He will have the same natural vari-
ety in his tones, which a person has in conversation.—
Indeed the perfection of delivery requires both these
different manners.that of singingwitb liveliness and ease,
and that of elevation with stateliness and dignity, to be
possessed by one man ; and to be employed bv him, ac.
cording as the different parts of his piece requir. either
the one or the other. T'lis is a perfection which not
many attain ; the greatest part of public singers allowing
their delivery to be formed altogether accidentally ;
according as some turn of voice appears to them most
beautiful, or some artificial model has caught their fancy ;
6"t>
and acquiring, by this means, a habit of singing which
they can never van . But the capital diretlion which
ought never to be forgotten, is, to copy the proper tones
for expressing every sentiment from those which nature
dictates to us, in performing with others ; to sing always
with her voice ; and not to form to ourselves a fantastic
public manner, from an absurd funcy of its being more
beautiful than a natural one.
6. Gesture.
It now remains to treat of Gesture, or what is called
action in public perforpiauee. Some nations animate
their music in common singing, with many more motions
of the body than others do. The Frilicil and the Ital-
ians are, in this respect, much more sprightly than the
English. But there is no nation, hardly any person so
phlegmatic, as not to accompany their music with some
actions and gesticulations (this more particularly alluues
to solo performaoces than choral,) on all occasions, when
they are much in earnest. It is therefore unnatural in
a public singer or leader ; it is inconsistent with that ear-
nestness and seriousness which he ought to show in all
affairs of moment, to remain quite unmoved in his out-
ward appearance ; and to let the music drop from his
mouth, without any expression or meaning, or warmth in
his gesture.
The fundamental rule as to propriety of action is to at-
tend to the looks and gestures, in which earnestness, in-
dignation, compassion, or any other emotion discovers it-
self to most advantage in the common intercourse of men;
and let these be your model. A public singer must take
that manner which is most natural to himself. For it is
ere just as in tones, rt is not the business of a singer to
form to himself a certain set of motions and gestures,
which he thinks most becoming and agreeable, and to
practice these in public without their having any corres-
pondence to the manner which is natural to him in pri-
vate. His gestures, slid motions ought all to carry that
kind of expression which nature has dictated to him and
unless this be the case, it is impossible, by means of an'r.-
study, ta avoid their appearing stiff and formal.
66
However, although nature must be the ground-work,
I admit that there is room in this matter for some study
and art. For many persons are naturally ungraceful in
their motions which they make j and this ungracefulness
might, in part at least, be reformed by application and
eare. The study of action in public singing, consists
chiefly in guarding against awkward and disagreeable
motions, and in learning to perform such as are natural
to the singer, in the most becoming manner. For this
end it has been advised by writers on this subject to
practice before a mirror, where pne may see and judge of
bis own gestures.
When singing in public, one should study to preserve
as much dignity as possible in the attitude of the body.
An erect posture is generally to be chosen ; standing firm
so as to bave the fullest and freest command of all his
motions ; any inclination which is used, should be for-
wards towards the hearers, which is a natural expression
of earnestness. As for the countenance, the chief rule
is that it should correspond with the nature of the pas-
sage, and when no particular emotion is expressed, a
serious and manly look is always the best. The eyes
should never be fixed close on any one object, but move
easily round the audience. In the motions made with
the hands consist the chief part of gesture in singing. —
The ancients condemned all motions performed by the
left hand alone; but lam not sensible that these are
always offensive, though it is natural tor the right hand to
be more frequently employed. Warm emotions demand
the motion of both hands corresponding together. But
whether one gesticulates with one or both hands, it is an
important rule, that all his motions be free and easy- —
Narrow and straightened movements are generally un-
graceful ; for which reason, motions made with the hands
are directed to proceed from the shoulder, rather than
from the elbow. Perpendicular movements too with the
hands, that is in the straight line up and down, which
Shakspeare in Hamlet calls 'sawing the air wiih the
hand' are seldom good. Oblique motions are in general
APPENDIX.
the most graceful. Too sudden and nimble motions
should be likewise avoided. Earnestness can be fully
expressed without them. Shakspeare's directions on this
head are full of good sense; * use all gently,* says he,
* and in the very torrent and tempest of passion, acquire
a temperance that may give it smoothness.'
I cannot conclude without an earnest admonition to
guard against all affectation, which is the certain ruin of
good delivery. Let your manner, whatever it is, be your
own; neither imitated from another, nor assumed upon
some imaginary model, which is unnatural to you. —
Whatever is native, even though accompanied with sev-
eral defects, yet is likely tu please ; because it shows us
a man ; because it has the appearance of coming from the
heart. Whereas a delivery, alien Jed with several ac-
quired graces and beauties, if it be not easy and free, if it
betray the marks of art and affectation, never fails to dis-
gust. To attain any extremely correct, and perfectly
graceful delivery, is what few can expect ; so many natu-
ral talents being requisite to concur in forming it. But
to attain, what as to the effect is very little inferior, a
forcible and persuasive manner, is within the power of
most persons ; if they will only unlearn false and corrupt
habits ; if they will allow themselves to follow nature, and
will sing in public as they do in private, when they sing
in earnest and from the heart. If one has naturally any
gross defects in his voice or gestures, he begins at the
wrong end, if he attempts at reforming them when he is
to sing in public. He should begin rectifying them in
bis private manner of singing; and then carry to the pub-
lic the right manner he has formed. For when a singer
is engaged in a public performance, he should not be
then employing his attention about his manner, or think-
ink of his tones and his gestures. If he be so employed
study and affectation will appear. He ought then tti be
quite in earnest; wholly occupied with his subject and
his sentiments; lenving nature, and previously formed
habits, to prompt and suggest his manner of delivery.
From Dr, Blair,
ART. 144. Sacked Montr.
Sacred Music tends to elevate the mind
above earthly objects, and to inspire divine,
meditations, and devotion.
Divine Music must be allowed by all who practise it
to be an emanation from the Deity. It is admirably cal*
culated to raise the mind above the sublunary enjoy-
ments of this life in gratitude to our beneficent Bene-
factor and Creator. When I consider upon the divine
nature and power of music on the affections, I am
wrapped up in admiration, love, and praise ; and cannot
but adore the Almighty Giver of .so good and glorious a
gilt, and that it has pleased him to bestow upon me ana
my fellow beings faculties to sing his praise. It is in the1
performance of sacred music that we assimilate ourselves
to the angelic choirs of glory more nearly than any other
employment on earth besides. Most of the a'tsand em-
ployments of this life will accompany us no farther than
the grave; but this will continue an employment with the
redeemed of God, whileeternal ages roll. It had its origin
in God, and from God it was communicated to angels and
men. Long before this world's foundations were laid, an-
gels and archangels sang and played their grateful praises
to the eternal Jehovah, encircling histhrone, and inftV
nitely exulting. When God had created this lower world,
and all its appendages, the angelic hosts, the serapbims
above, like bright morning stars shining with the most
serene brilliancy, sang together; and the archangels, the
chief cherubims of heaven and sons of God,shouied for
joy to behold the new creation so well accomplished.
Since then the cherubims and serapbims of heaven sing
their ceaseless lays to their creator, and consider music as
one of the most noble and grand vehicles for conveying
their love and gratitude to him, shall man, mortal man
presume to look with haughty scorn, derision and con*
tempt upon that science, which dignifies those exalted
beings above ? Ungrateful to God, and unmindful of his
transcendent privilege must he be, that is possessed of
APPENDIX.
67
the voice of melody, who delights not to celebrate the
praises of the Must High by singing hymns and anthems
to his name.
When amazing- pity had seized the compassionate
bosom of our Redeemer; when it had prevailed upon him
to resign his royal diadem of glory and robes of effulgent
light into the hands of his eternal Father with filial sub-
mission and humility ; when he condescended to leave
1 the throngs of adoring angels who clustered around the
j throne of God, and when he voluntarily left the realms of
bliss that he might veil his divinity in humble clay, and
\ become the suflvrer for all sin against an incensed God
to appease his flaming wrath for a wretched world of men,
[ I say, well might shining legions of angels descend thro*
the portals of the skies at his Nativity at so amazing con-
jdescension, and proclaim the joyful news to man, that a
Gud on earth was born, and sing, while hovering over
the Redeemer's humble manger, and around the vigilant
shepherds, "Glory to God in the highest ; peace on earth
and good will towards men. Before his unparalleled
sufferings, while in humble state he rode upon the foal
of an ass toward Jerusalem, well might his followers strew
the way with their clothes and branches of palm trees,
and shout, Hosanna; blessed is he that cometh in the
name of the Lord ; Hosanna in the highest ! After he
had administered his memorable supper to his disciples,
he sang with them a hymn as the last consolation to them,
till he should have passed through the gloomy vale of
death and all its horrors. Soon after his agonizing pas-
sion, while the internal powers roared their loud accla-
mations through the glooms of hell and black despair,
triumphing at the bloody, horrid deed, he brake the
bawls of death and the grave, rose triumphant, and was
escorted by myriads of hymning sngels to the bosom of
his Father Gud, from whose paternal hands he again re-
ceived his diadem of glory, and robes of eternal efful-
gence, there to be our Advocate, Mediator, and Re-
deemer, until he shall once more descend from heaven,
not as before in his humility, but, with all the grandeur
and majesty of heaven with the about of the archangel to
judge the world, and till then, and eternally after, the
choirs of glory will ever worship him with songs of end-
less praises, and sing Hallelujah ; for the Lord God
omnipotent reigneth ; and he shall reign forever and ever
King of Kings, and Lord of Lords. Hallelujah ; ** wor-
thy is the Lamb that was slain," (shall the saints of glory
forever sing) "and hath redeemed us to God by his
blood, to receive power, and riches, and wisdom, and
strength, and honor, and glory, and blessing. Blessing
and honor, glory and power be unto him that silleth upon
the throne, and unto the Lamb forever and ever. Amen "
No art in nature is better calculated to interest the
feelings ami command the passions of the soul, than
sacred music when well performed : it raises within the
soul a kind of seraphic pathos, and almost transports the
mind to the paradise of God, far, far beyond the contami-
nations of this gross sphere of nature, to a sphere of
elevated glory. Were the soul to expand her wings,
and take her flight to the realms of bliss, what would she
behold among those celestial choirs less than ten thousand
thousand saints and angels clad in robes of purest white
and interstreaked with shining gold, and exulting in the
all-glorious praises of God ? What would be her raptures
to hear the chief cherubims of Heaven sweeping the
cerulian strings of their golden lyres symphoniously, and
then the whole chorus of heaven, both vocal and instru-
mental to fall in with them in one full burst of heavenly
harmony ? She would not behold a single being in so
august a throng as millions indifferent in the praises of
God, nor hear one languid tone from the meanest sen ph's
tongue. If such be the harmony of heaven, let it raise
the flames of emulation in every bosom to imitate the
blest above,
" I cannot forbear," says an author, "making a few
strictures on the general practice of the religious world
with regard to the solemn ordinance of singing ; an or fi-
nance not of man's but God's appointment ; and therefore
most deservedly entitled to our most industrious care
and accurate attention. Surely it cannot be a matter of
i ndiiTeren«e, how it is done, or whether it be done at all !
no ; let us as the sweet singer of Israel, strain every nerve
to exalt the praises of him whose transcendant worth
exceeds all the praises of all the hosts of heaven to all
eternity. We are not only commanded to sing praises,
but with understanding; by which is meant, 1 conceive,
that we should endeavour to attain the most perfect
knowledge of sacred music. But how unhappily is this
sacred precept transgressed in many places of worship;
where instead of taking any pains to learn and adapt the
tunes and hymns, so that the sound may be an instructive
echo to the sense, you hear the most awfully solemn in-
vocations applied to music, so very light and irolhy in
style and expression, that one would think they were
calculated for the meridian of the theatre, rather than the
praises of God in his own house At other times you
shall hear the most drawling and lifeless tunes affixed to
the most cheerful strains of praise. From one extreme
to the other the transition is easy ; and in avoiding the
tiresome drawl, we are apt to get into the allegro immo-
derato, or giddy gal op. Can this harmonize the soul or
promote melody within ? As well might the funeral dirge
exhilarate the nuptial solemnities, or the croaking howl
of the most solemn bird of night unison with the night-
ingale's transporting warble. Is this praising God ? no!
singing praises in the madly rapid manner that some dr>
is not praise, but riot ; unworthy any but the bacchanalian
reveller. It implies such a want of feeling as cannot be
where there is any true music in the soul."
Singers ought to stand during the performance of sat,
cred music in all worshiping assemblies; because this
position is most favorable to the voice, and adds much
dignity to this exalted part of divine worship. This
pvactice prevails in the most of churches : notwithstand-
ing, what is more common in some churches than to see
the performers promiscuously scattered throughout the
whole assembly regardless of that sublimity oi devotion
which becomes them ; instead of being properly enchoir-
ed ? The method of giving out the lines as is practised
in some churches, is very injurious to good music. Those
who have been long habituated to thi3 practice, are often
68
S.S° deparf1 f''om il : but on,y ,et them <">■»!&* i
now much more devotional a well regulated choir of
singers appears standing in !he courts of our God, and
g.accfu ly singing from their hymn-books held up hand-
somely before their faces, than to wait to hear a line or
two read by winch means the chain of harmony is very
frequently broken, ami the words very wrongfully re.
pealed, and perhaps the impropriety of such continuation
will plainly appear to them. Let each singer perform
in church properly enchoired, and in the manner that it
ought to be done, and grand effects will be the unavoid-
able result ,f the music itself be good. By hearing good
music well performed, we may join with St. AugufthTLn I
his confessions, who thus confesses to Rod, "O how 1 1
wept at thy hymns and songs ! being vehemently moved i
by the voices of thy sweet sounding church, those voices '
(Jul pierce my ears, and thy truth distilled inlo my heart
APPENDIX.
and thereby was inflamed a love of piety . the tears trick
led down my eyes, and with them , wa^'in a h^ot
"With all the solemnity of an entire dedication I com
mil this volume of sacred music to thy care, pat ronaje
and special bessing-O thou infinitely beautifi fand boun'
•I l\l ^ W}0ID > am- o»' "I the 'sons of Adam Tec,
l.arly indebted ; beseeching thee, for the sake of my cru"
cifietl and ascended redeemer, to ersnt th „ l, y
weak and contemptible this wo'rk rn^ay s em f„ \Z HZ
of he children of this world, and however imperfect!?
really may be we„ ,he amhor UImJ$X™J
neverlheless, live before thee, and thrmmh • A- • 7'
power be mighty to ,essen the m sti ™a nl n!„ crease'
he holiness and bliss of mgl.itudes, in distanl places and
m generations yet to come ! Impute it not O God ,s
a culpable ambition, if I desire that, whatever becomes
??™Z nme{ '.his Tori ™v be !»»P»g»t«J abroad i {tie
may reach to those who are ye unborn, and eacl
a To„,°dw0h "^.V15 rm" an<' P™-' -hen Theau? t.
has long dw elt In the dusl : that so, when he shall appea
before thee ,„ the great day of final accounts, his joy ma,
known ,T^"i h'S Crrn, h'%htened by numbers un'i
ofCZ , , an,'1 '° him ! an,i ''< sha» b<- » s»oie«
of immortal praise to thee, O blessed God, for and bjl
ITrl 7llVh™' t£ro"Kh the b,ond of Jesus, and ml
grace of thy spirit thou hast saved ; and everlasting ho...
the Holv ^ a:CKbe.' '" lhe Fa,h"- t0 'he Son. £33
and hv ih P y, "'e "™m"able comp.m of angel.,c
fir fe , "I6"""' assfmbl-v, and by the church of th«,i
hrst born in heaven. Amen."
SETH EL¥,.
Germantevm, F. C. Pa. November 6, 182L
.3, in, for, &o.
A Una, or A 2, for two voices or instru
inputs.
A Tempo Ordinario, inordinary time. '
A Tempo, in time.
A Tre, or A 3, for three voices.
A Tempo Ginato, in exact time.
■Accord, to agree in pitch and tone.
.'l Bern: Pladto, at good pleasure.
Accent, a certain modulation of thesounds,
to express the passions, either by a voice
naturally, or artificially by i,„i,.f„„ents
Accompaniment, that part which is (or those
parts which are,) subservient to the:
principal part, or that only accompanies
the principal part.
Adagio, slow , the second degree in the
movements.
A DICTIONARY OF MUSICAL TERMS.
/Till l> T^ln clmi: n.,,1 C. - -» >-l •
Adagio e Pin, slow and soft.
Adagio e For, slow and loud.
. Idagio Mxstoso, slow and majestic.
Adagio Affeltuoso, slow and affecting.
Ad Libitum, at the performer's pleasure
■ Iffettuaso, tender and affecting, requiring
a solt and delicate st> le of performance!
Agitato, a broken.interrupted style of per-
formance, calculated to shake and sur-
prise the hearer.
*;, generally means what the ear realizes
from a melody or harmony. In aspecial
sense it is the leading, and the most
pleasing part of harmony.
Alia Breve, an Kalian terni for church mu
sic of lour or eight minims in a measure
to be performed quick : it is usual how-
ever at the present day, to insert a bar
alter every semibreve or two minims,
and the movement is denoted by a bar
drawn through the character. '
Alia Breve Moderate, moderately lively.
Am Alt, the second note in alt, the ninth
above G, or treble clef note.
Alia Capclla, in church style.
Allegro or Alio, brisk, gay, quick. 4th de-
gree of the movements.
Allegro Moderato, moderately brisk, jravor
quick. " '
Allegro Mxstoso, lively and majestic.
Allegro, ma wm troppo, or Presto, lively but
not too quick.
Allegretto, not so quick as allegro.
Allemand, a sort of grave and solemn music
in common time.
Al Segno, turn back to this mark :S:.
Alt, a term applied to that part of thegreat
scale of sounds, which lies between r
above the treble clef, and G in altar. .,
si mo.
Alto, counter, or counter-tenor part.
Altissimo, is applied to all notes situated a.
bove F in alt ; that is. those notes which
are more than an octave above F on the
first line in the G or treble clef.
•?!,' **•"»■ 'he tenorof the grand chorus.
All, all the performers, tulti, chorus.
Allm, the same as alto.
Amoroso, lovingly, meltingly, tender, af.
feeling, &c. Seesftet'unso
Andante, implies a time somewhat alow,
anda performance distinct and soothing;
the third degree in the movements. '
Andante Allegro, lively and distinct : yet
slower than allegro.
Andante Larghrtlo, quite almv and distinct;
yet not so slow as larghetto.
A* DICTIONARY OF MUSICAL TERMS.
tndante Mastoso, somewhat slow, dignifi-
ed, and mujeci'ic.
fndante Jlffettiioso, slow, tender, soft, deli
date, and affecting,
tndtmte di .Mo/to, slow and melting1.
tndante con motto Ajfeltuoso, with a melting
and tender style, and slow.
bulante Gmziozo, rather slow and very
gracefully.
Undantino, is somewhat quicker than an-
dante, but in otner respects it is the
| same.
faihem, a portion of scripture set to music.
huiphono, the response one side of a choir
makes to another in the chant.
typoggiatw a, a note of embellishment.
Irain et Thesin, or Arsis et Thesis, a part,
point, or fugue, is said to move so when
one point falls in one part, and the same
point rises in another part. In beating
time, thesis, signifies the depression or
fall of the hand which always accompa-
nies the grammatical accent or first part
•f every measure; and thesis, the ele-
vation of the hand which alwaj s follows
on the weak part of the measure.
Issaying. is a flourishing before onebegins
to play, to try if the instrument be in
proper tune.
frco, or Col Arco, after having pinched the
string of the viohn,then resume the bow
as usual.
h-ivao Legato, tied, slured.
htimato, with life and animation.
'rticnlntion, this word is one of the most
important in the musician's vocabulary.
It applies both to vocal and tnBtrumental
performance ; to words and to notes ;
and includes that distinctness and accu-
racy of expression, which gives every
\
syllable and sound with truth and per-
spicuity, and forms the very foundation
of pathos and grace.
Assai, to augment the quickness or slow-
ness, as Allegro Aysai, veryquick, Largo
Assai, very slow.
Antistrophe, a repetition that one side of a
choir makes after another.
B
B, or Basso, base in general.
B. C. or Basso Continuo, the thorough base
for the organ, harpsichord, and spinnet
Base, Bass, Basso, or Bausus, the lowest
part in music, which is set at the bottom,
and is the ground work of all the rest.
Binary Measure, isa measure beat equallv
as common time. There are also binarj
triples.
Bassoon. Bass-Hautboy, a musical instru-
ment of the wind kind, and is very murli
in request in many churches, and makes
an exceeding good adddition to the har-
mony of a choir of singers where there
is no organ.
-B/m-FiW, amusical instrument of the siring
kind, and is in much repute in many
churches.
Beat, a transient grace note struck imme-
diately before the note it is intended to
ornament. Also, a motion made with
the hand or foot to regulate time.
Bis, a term signifying that the measures
over which it is placed should be per-
formed twice.
Bene Placito, at pleasure.
Breve, an ancient note, equal in duration
to two semibreves.
Brilliante, brisk, airy, gay and lively.
Brio, spirited.
Cadence, a close in music, similar in effect
to stops in reading. It alludes to the
end of a strain, as well as to the end of a
piece of music. See cadenza.
Cadenza, a pause or suspension at the end
of the air, to afford the performer an op-
portunity of introducing a graceful ex-
tempore close.
Canon, a vocal composition in two or more
parts,so constructed as to form a perpet-
ual ; that is, a canon is a fugue so bound
up or restrained, that the following part
or parts must precisely repeat the same
notes, with the same degrees rising and
falling, as were expressed by the leading
part ; and, because it is tied to so strict
a rule, it is called a Canon.
Cantabile, a term applied to movements in-
tended to be performed in a graceful,
elegant, and melodious style.
Cantata, a song in an opera style.
Canto, or Cant us, the treble, air, melody,
or highest vocal part.
Canto Firme, plain song.
Canzone, a song.
Capric'w, a loose irregular species of com-
position, in which the composer without
any other restraint than his own imagin-
ation, continually digresses from his sub-
ject, and runs wild amid the fervor of his
fancy.
Carillon, an air to be executed by small
he lis, or clocks.
Catch, a humorous vocal composition of
English invention, consisting of three or
more harmonic parts, in which the mel-
odies ate so opposed and interrupted bv
the contrivance of the composer, that in
the performance, the singers catch up
69
each others sentences, and give to the
words a different sense from that of the
original uvamng.
Catena, a chain or connexion.
Catena di Trilli, a chain of shakes, or a
connected set of trills.
Choral, appertaining to a chorus ; sung by
a ci.oir, of a choir.
Choral Harmony, harmony in chorus, to be
performed by a choir.
Chromatic, that species of music which
moves by semitones.
Chora Grancfo, grand chorus.
Chorus, full, all the voices, tutti.
Chorister, a leader of a choir, a singer in,
cathedrals, a singing boy.
Chord, any sound with its third and perfect
fifth ; a string of a musical instrument.
Coda, the concluding passage of many
movements, and is generally preceded
by a long shake on one of the notes of
the dominant harmony. See Art. 141,
Col, with, as col viola, with the violin.
Con, with, as con doice, with sweetness;
conaffettuoso, with affection ; confuria,
with boldness ; con spirito, with spirit,
r'&c.&c.
Concord, an union of two or more sounds,
which, by their harmony, produce an ar
greeable effect upon the ear.
Connoissem, one who professes a knowl-
edge in the principles of composition or
performance.
Concert, instrumental, union, symphony.
Concerto, a piece of music for instruments.
Capella, a chapel or church, as alia capeUa,
in church style.
Contra, over against, against.
Contra Basso, double base.
Contra Tenor, the part assigned to th*
70
highest voices of men ; the counter.
Crescentk, or Ores, a term signifying that
the notes of the passage over which it is
placed, are to be gradually swelled j in.
crease the sound.
Consonance, accord of sound, agreement
Consonant Triad, a union of three sounds
tormed by two dissimilar thirds, one ma-
jor, the other minor
Consonant Intervals, are those which are
most agreeable to the ear, as the oclave
Mih .fourth, both the thirds and both
the sixths.
D
Da. Capo, or D. C. end with the first strain.
Da Capo, are two Italian words, which
signify from the beginning, and are fre-
quently joined with al segno, winch
mean that the performer is to return and
commence the repeat at thesign:S:,»r :
Dal Segno, Del Segno, or M Segno, or D S
or .J. S. from Hie sign.
Descant, the ait of composing in several
pans; a song or tune ; a treble.
Diapaso, an octaie or eighth.
Diupenle, a Win.
Diutessuron, a perfect fourth.
Diatonic, that species of music in which
both tones awl semitones ar,- used
Diatonic Scale, is the natural scale of mu-
sic which, by proceeding by degrees,
includes both tones and semitones and
is so called Because the greater number
v, intervals in the scale, viz. five out of
seven are tunes.
Decani and Cantoris, the two sides of a
choir
Diminuendo, or Dim, a term signifying thai
the notes of the passage over which it i> i
placed, are to be gradually diminished
A DICTIONARY OF MUSICAL TERMS.
in sound : it is also used to signify a
gradual diminishing of the sound of a
passage from forte to piano, as does
Crescendo the contrary.
Discord, a disagreeable sound in harmony
when compared with the concords.—
The discords, when duly taken, render
the concords more sweet and delightful-
they are the second, seventh, (A,
JJissonance, a mixture of harsh sounds.
Dutonant, discord, unharniomous.
Dissonant Intervals, are those which, when
compared Willi the consonant intervals,
art less agreeable to the ear, as both the
seconds, both the sevenths, &c.
Dissonant Triad, a union of three sounds
tormed by two similar thirds.both major,
or both minor.
Dirge a solemn andmournfulcomposition,
performed on funeral occasions.
Ditone, a sharp third.
Divoto, solemn.
Dolce, tenderly, sweetly and softly.
Dolorosa, in a plaintive style.
Dominant, a fifth f,.om the tonic (or key
note) in the ascending scale.
Dominant Period, a strain ending with an
itiVerlect cadence.
Dominant Seventh, is the minor seventh,
.jo ned to the major triad.
Doxelogi), an ascription of praise to the
Deity, often used at the close of anthems
and other pieces of music.
Duetto,-} i, composition expressly written
JJuett, v. for two voices or instruments
vuo, j (not for two parts or sides of a
company of performers,) with, or with-
out a base and accompaniments.
E
E, and ; as largo e piano, slow and soft.
j-EcAo, soft like an echo.
Echo and Swell, a stop in an organ to play
soft like an echo, and by swelling in-
creases much in loudness at the pleasure
of the organist.
Effect, that impression which a composi-
tion makes on the ear and mind in per-
formance.
Elegiac, an epithet given to certain plain-
live and aft' cting melodies.
Enharmonic, quarter tones.
Emphasis, force laid on the weak part of a
measure in contradistinction to accent
Euphony, an agreeable sound ; a smooth
and graceful pronunciation of the words
Expression, that quality in a composition or
performance from which we receive a
kind of sentimental appeal to our feel-
ings, and which constitutes one of the
first of musical requisites
Expressivo, with expression.
Ecclrsia, a church ; congregation.
Ecclesia JJarmonia, church harmony.
Fagotta, the bassoon part.
Ealsetto, that species of voice in a man the
compass of which lies above his natural
voice, and is produced by artificial con-
straint.
Finale, the last movement of a piece of
music.
Fine, ) the end of a piece of music, or a
•*»«», 5 book.
FUiulo, a fiote.
Forte ,■ For,- F; loud.
Forte. Porte ,■ F. F. loud as possible.
Forttssimo; Fortiss,- very loud ; the super-
lative ol forte. i
Forte Piano, loud and soft ; a kind of harp,
sichord which plays load and soft.
£Va. } to fly or chase, lie. as when t
*'«*. > or more parts chase each ott'
fugue,} in the same point ; or a piece
which one or more parts lead, and i
rest follow in regular intervals.
fundamental, radical ; principal.
Fundamental Base, the prime or lowi
not* of the triad. See thorough base.
G
Gmnmul, the diatonic scale of music.
Oavotta, a gavot ; an air in music, alwa
m common lime.
Graces, notes of embellishment, trills.
Grave, . denoting a time of tl
Gravemente, 5 second degree from slow '
quick, 6lower than adagio, but not i
slow as largo ; grave, heavy, solemn an
distinct. These words are used for th
slowest time by some.aml also refer but
to the style of the composition and th
execution.
Gravity, is that modification of any soun
by which it becomes deep or low, i
respect of some other sound.
Grazioso, gracefully, w ith much taste ; it i
often used with andante.
Guida, guide, direct, index.
Gmttura, a guittar, a stringed instrument
Gusto, with taste.
Gustoso, the music before which it is writ
ten is to be performed in an eltjran
style. "
H
Ilallelujah, praise the Lord. The j, in thi:
word, should be sounded exactly likey
Ifarmonin, hurmony.
Harmony, two or more melodies heard >i
the same time.
Harpsichord, a musical instrument of the
stringed kind, played on after the came
A DICTIONARY OF MUSICAL TERMS.
i manner as the organ.
Vtxachord, the greater sixth. The solfe-
gio introduced about the year 1022, bv
Guido, a monk of Arrezzo in Tuscany.
Italy, was called by his followers the
Hexachord, the syllahles he introduced
were, ut, re, mi, fa, sol, la.
Hold, a pause, retardation of time.
5fiw#nmirt, an exclamation of praise to God,
or an ascription o* salvation to Clirist.
Hypo, infra, below.
lyptiproshmbanomenos, the lowest sound,
&c.
I
fndex, a direct, guide.
Interlude, a short musical representation
introduced between the acts of any
drama, or between the play and after-
piece : Interludes are played on the or-
gan, Sic. at the beginning of a piece of
music, before the voices or verses fall in
and sometimes in the middle of a piece
of music.
rnterval, the difference in point of gravity
and acuteness, between any two sounds.
'ntonation, a word relating both to the con-
sonance, and to the strength and weak-
ness of sounds It not only includes the
act ef tuning, but the giving to the tones
of the voice or instrument that occasion-
al impulse, swell, and decrease.nn which.
in a great measure, all expression de-
pends.
rrefative*, applied to anv two chords
which do not contain some sound com-
mon tn bi th.
mmoderato, immoderately.
J
argon, very unmusical ; a jumhle of
chords and discords thrown together
and founded on no musical rules, and so
unskilfully mixed as to create in the
breast of a judge of music, the utter-
most disgust.
K
Key, a certain tone whereunto every com-
position ought to be filled
Kfy-JK'nte, or the Tonic ; is that chief
sound upon which all regular melodes
depend, and with which the chief melo-
dy (generally) and the base (always)
end.
L
Largo, ihe slowest degree of the move-
ments; very slow.
Laignet.ro, not quite &o slow as largo.
Larghetto e Staccato, quite slow and em-
phatic or pointed
Larghetto e mezzo piano, quite slow and
rather sof'.
Isirghetto e JJettuoso, quite slow and af-
fr-ctrngly.
Lentemento,') very slow, grave, and
J^nfo, 5 mournful.
leading- Note, the major seventh.
legato, shirred or tyed.
Lyre, a harp.
M
Ma, but ; as presto ma non troppo, quick
but not too fast ; allegro ma non troppo,
lively, but not too brisk j Vivace, ma non
troppo presto, animated but not too
qu ck, &c.
Mastoso, a word implying that the compo-
sition or movement to which it is prefix-
ed, is to be performed with dignity,
majesty, and strength.
Major greater.
•Men, when set over a passage of music,
implies that all female voicc-s and treble
instruments are to be silent in the air
and second, and only tenor voices and
instruments are to be employed in per-
forming those parts.
Men, less ; as men for, less loud ; men
pia, less soft.
Mencando, decreasing in sound.
Messa di voce, a swell of voice upon a
holding note.
Mezza, 5 moderately, rather; as, mezzo
Mezzo, $ forte, rather loud.
Mezza Pia. moderately soft.
Minor, less.
Mezza Voce, a moderate strength of voice,
and in a pleasing and delicnte manner.
Mezzo Soprano, a treble voice of a some-
what low scale;
Moderato, moderately.
Moderato e "omposo, moderately and with
grandeur and pomp.
Motto, meltingly, softingTy; as andante con
mclto affettuoso, somewhat slow with
tenderness and affection.
Mottetto, a kind of Latin anthem.
Minuet, ~) a kind of dance, always in
Mimtetto, $ triple time.
Music, the science of sound.
Musica Saera, sacred music.
Mode, a key ; as major mode, major key,
minor mode, minor key.
Modulation, implies a change of the key or
tonic from one letter to another of the
scale.
Monotony, one tone, without variation.
N
A'on, not, nor, no.
JVon Troppo, Presto, not too quick.
JVbn Troppo JIdagio, not too slow.
JVbnupla, a jigg.
Notenptan, the staff.
7'1
Note, a representative of musical sound.
Notation, the art of singing with propriety.
O
Ode, a lyrick poem, a short poem.
Octave, an interval of eight sounds.
Opera, a musical play, a poetic tale repre-
sented by music.
Orchestre, ? part of the theatre approprl-
Orchestra, S aled to the musicians, a mu-
sical gallery
Obligato, implies that voice or instrument
which cannot be dispensed with m the
performance. [usual time.
Ordinario, nsual ; as, tempo ordinario, in
Organ, the hrrgest and most harmonious
wind instrument.
Organo, the organ part.
Organs Solo, only the organ.
Overtvre, the opening of an oratorio of
other music by instruments; abeginning.
Omnes, all, tutti, chorus, all parts.
Oratorio, is a sort of spiritual opera or
drama, full of dialogues, recitatives, airs,
duettos, trios, ritornellos, choruses,
symphonies, &c. The subject thereof
is usual'v taken from the scriptures, or
is the life and actions of some saint, &c.
The music for the oratorio should be in
the finest taste, and most chos» n strains;
the words thereof are often in Latin,
sometimes in French and Italian, and in
English. Mr. G. F Handel was most
excellent in compositions of this kind;
several oratorios of his composing are
exhibited to a crowded audience on
Wednesday md Friday nights, during
Lent, at -he The-.itre Rn\al in Covent
Garden, London. His grand oratorio,
called the Messiah is generally exhib--
ited just before Easter.
^'loSudnifieS P'a"0, S°ft' aS F* does forte
^7lowl6' paSt0ral* in a tender style,rather
fause, a hold.
Z*er* by, during.
FCr^St' T Per -?rsis' !n beat!ng «"*
sign ftes during- the rise of the hand.
Per Tliesm, ov Per Th^s, in beating time
signifies the depression of the hand. A
song, counterpoint, or fugue, &c is said
to be pep thesin,when the notes descend
from acute to grave (from high to low)
and, per thesin, when the notes ascend
from grave to acute (from low to high )
Piano, or Pta, or P, soft.
Pianissimo, or Pianis, very- soft, the super,
lative or piano. r'
Piano-Forte, a kind of harpsichord.
Piano-Pian., P P. the same as pianissimo
very soft, and so ,s the sound may seem
ata great distance, and almost lost in
Pin, more.
Pin Plane, more soft, P. p
Plaintive, mournful, tender, soft.
Ure°' plea3ure; "sadplacito, at pleas.
^lupous" ' SPandand ***** ^
Prelude, an extempore air played either
be ore „r ln the middle of I piece of
music and sometimes at the end : prop.
^m^',ira1re80fhaCpfiSeitemPQ^i"-
A DICTIONARY OF MUSICAL TERMS.
Prestissimo, the most rapid time.the super
lative of presto. r
Prima P,„o, or into, the first melody or
leading part the air.
Psalmody, the art or knowledge of singine
psalms, and spiritual songs.
Psalm, a holy song, a sacred hymn.
Psaltry, a kind 01 harp or lyre.
Q
Quarta, four parts.
Quartette, music for four voices or instru-
oients.
Quaver, to shake the voice, a note of dura.
tion, marked thus*
Quavering, the art of trilling, shaking, or
running a division with the voice
Quintuple* mode of time containing five
crotchets in each measure. 8
Quire, a chorus of singers, a choir.
Qmnster, a leader, a chorister.
Qumque, five parts. rment?
Quintetto, music for five parts or instru-
R
tentative, j a kind Gf singing, or a sort of
Reeitanvo, > singingthat comes nearto the
plain pronunciation of the words, a mu-
sical recitation. After this manner the
dramatic poems are rehearsed on the
Reliearsal,m essay or experiment of some
composition in private practice
Remissio, ,s the act of the voice when it
descends from a high note or sound to a
InTemio "9 °" the C°ntraly " is caIled
Rhythm, the disposition of melody in res-
pect of time and measure
note of any discord falls to one of the
eoncording notes of the succeeding har-
Response, the answer made in the chants
by one side of the choir to the other, or
by the whole choir.-The Hebrew Inmns
were accompanied with music, and thev
were performed by choirs ot bands of
s tigers and musicians, who answered
alternately to each other. When, tor
instance, one band began the hymn thus;
I he Lord reigneth, let the earth re-
joice j the chorus or semichorus took
up the corresponding versicle : ' Let the
multitude of isles be glad thereof "-
Clouds and darkness are round about
him sung the one ; the other replied,
Judgment and righteousness are the
habitation of his throne :> and in this
manner, I heir poetry, when set to music
naturally divided itself into a succession
ot strophes and antistrophes correspon-
dent to each other; whence it is proba-
ble, /he Antiphone or Responsory of so
many christian churches had its origin
We are expressly told in the book of
Ezra (3, x, ) that the Levites sung alter-
nately or by course: and some of Da-
vpd s Psalms bear plain marks of their
KK1?1 to bp ,hus Performed.
I he 24th Psalm, in particular, which
is thought to, have been composed on
the great and solemn occasion of the
Ark ot the Covenant being brought
back to Mount Zion. must have had a
noble effect when performed in this
mannpr Tha ,,,1...| , i_
■ - •>..*... J/CI 1UI III
manner. The whole p™ple are sup
posed_to be amending the procession.—
<---- — *■"■*- «nu measure.
Resolution, that modulaiinn or chinire nf I 'iu , " '.~ """""".'S "» procession.—
1 harmony, by which the unaccprting ■ A*I^f±nd ""**? rtiv,c,e'1 in,»
uuntcoraing | their severs] ctwrses, and accompanied
with all their instruments of music, tj
the way. After the introduction to Ui '
Psalm, in the two first verses, when il
procession begins to ascend the sacrr.
mounl, the question is put as by a sem
chorus, • Who shall ascend into the hi
of the Lord, and who shall stand in hi
holy place ?' The response is made b.
the whole chorus with the greatest die
mty : ' He that hath clean hands and i
pure heart ; who hath not lifted up hii
soul to vanity, nor sworn deceitfully '-
As the procession approaches the doori
of the tabernacle, the chorus with al
their instruments of music join in thii
exclamation, 'Lift up your heads, O y<
gates and be ye lifted up, and the Kins'
of Glory shall come in!' Here the semi,
chorus plainly breaks in as with a lowei
voice, ' Who is the King of Glory >• and
at the moment the ark is introduced in.
to the tabernacle, the response is made
by the burst of the whole chorus; ' The'
Lord strong and mighty, the Lord migh.
tyin battle.' In the twenty.fifth chapter
of the first book of Chronicles, an ac-
count is given of David's institutions re-
lating to the sacred music and poetry ;
which were certainly more costly and
more splendid and magnificent than ev.
erattained in the publicreligiousservice
of any other nation. See also chap. 23
S. and 2d Chron. c. 5, 12— ]4.
Rest, silence, a cessation of sound.
Responsive, ) an answer corresponding to
Restjonsom/, 5 a invoilini. «noon™« 1—1
..vu/^w..«,/c, f an answer corresponding to
Respansory, 5 a preceding passage sung by
a part of a choir.
Resjjonce, thf name of a kind of anthem
sung in the Catholich Church before the
morning lesson*
A DICTIONARY OF MUSICAL TERMS.
j inforznndo, ^ denote a swell or diminish,
inf. or /if 5 m a small degree on an em-
"phat'ic note.
ipieno, full.
'Uornello, a short symphony or air.
•dea it, £ a composition generally con-
'ondo, 5 sisting" of three strains, the first
of which closes in the original key,
while each of the others are so con-
ijStructed in point of modulation as to
I re-conduct the ear in an easy and natu-
'[ ral manner to the first strain. Da Capo
I [is frequently added at the end of the
J second and third strains, to denote that
J the first strain is to be sung afte:1 each. •
il/t-ejca/rt, an extempore air, prelude, or
overture, the same as a voluntary.
oulade, a trilling or quavering.
adical, root, primitive, original.
adicid Base, fundamental base.
adical JVotet the bwest noteofthe triad,
the root of the triad, the fundamental
note of the triad.
oot, t he lowest note of a triad, the radical
note.
apsody, ? an irregular composition, be-
liapsodytym^ an unconnected effusion
of imagination, proceeding from a trans-
port of musical ecstacv.
mpsodist, a writer of rhapsodies ; a wri-
ter of unconnected melodies.
tythmical, harmonica!, melodious.
dotto, an entertainment of singing.
gadoont a French d-mce.
S
ckbiity a large trumpet.
cred Music, music properly adapted to
"eligious services.
olio, free, at liberty, &c.
"^tliree or more parrs in harmony ;
the original draft of the composition,
wherein the several parts are distinctly
marked, either by bars drawn through
them all, or by a brace at the beginning
of each set of stages at the beginning of
a tune, or at the margin of the leaf of
the book.
Second, 2d ^the second part, or a cor-
Secondo, 2do. ^responding melody to th«
air, at the distance, generally, of a third
or sixth from it.
Segno, the sign.
Semi, half
Semi-diapason, a defective octave, or an
octave diminished by a sen, hone.
Semi chorus half the voices of the choir.
Semitone, halftone.
Semiquaver, a note requiring half the quan-
tity of the qiu yer.
Senza, without.
Senza Organo, without an organ.
Senza Stromento, without instruments.
Serenade, } a concert of music performed
Serenata, $ in the midst of the night, or
morning early, in the open air, for the
entertainment of ladies.
Seujaialtera. a treble octave, or two and
twentieth ; a stop in an or_gan.
Sextujde, a binary triple.
Semper, \ always; as Piano Sempre, always
Setnpre, $ soft ; Porte Sempre, always loud.
Secundo volta For, second time over loud,
that is, perform the repetition loud
Second, an interval of two sounds, and is
major or minor : the minor second is a
distanceofone semitone, as from 11 to C;
the major-second is the distance of two
semitones, or a tone, as from C to D;
also, the snpertonic or second note
aboye the key note.
•K
Seventh, an interval of seven sounds.
Sforzato. } denote the emphasis, and some-
sfor •V' 5 times the accent. See Kinfor-
zando.
Scale, thegammut which consists of seven
degrees, and represented by the seven
first letter of the alphabet
Shake, r trill, or quavering the voice.
Siciliano, a slow and graceful movement in
compound time
Sici/iano Jidagio, slower than siciliano.
Siciliano Jlndante, not so slow as siciliano.
Sinfuvnia, a piece of music for a whole
baud
Solo, a composition for one single voice or
instrument; not one part on which many
may be employed
Solfeggio, the art of singing by syllables;
as faw, sol, law, me, &c
Sing, to form the voice to melody.
Singing Master, a teacher of vocal music.
Sixth, an interval of six sounds.
Slow, not swift, want of velocity, tardy,
tedious.
Soave, agreeable and pleasing.
Sonata a composition for instruments only.
S&fi Pia, each voice or instrument soft.
Sotto, middling strength.
Sotto voce, a middling strength of voice.
Sotto voce dolce, with a moderate strength
of voice and sweet.
Spirituoso, ~)
Spirito, C with spirit, with animation.
S/uritosot j
Soprano, the treble or higher voice part.
Staff, 2 five lineB on which musical char-
Stave, 5 acters are placed.
Stretto, shortened.
Steiitoropho?iir Tube, a speaking trumpet.
Stentalo, denotes that great is to be taken
in the performance.
S'.stenuto, to hold out or sustain the voicc^
Spiimet, a musical instrument p'a\ed on
after the manner of the harp.-ichord or
organ.
Staccato, a word signifying that the notes
of the passage over which it is written,
are to be performed in a short, pointed,
and distinct manner.
Strome?,to, with instruments.
Strain, this word implies a certain number
of measures, and is generally con -hided
by a cadence which is followed by a
double bar.
Sab. under, below.
Subito, quickly, hastily.
Subdominant, a fifih below the tonic note,
or the fourth above.
Submediunt, the third below the tonic note,
or the sixth above.
Snpertonic, the second note above the key
i"tra,l above. [note or tonic.
Siipernumary, parts added, added.
Signature, the number of flats and sharps
set at the clef to decide the tonic.
Sharp, a character used to raise the sound
of a semitone.
Swell, increase of sound from soft to loud,
thp same as crescendo.
Swell and diminish, an increase of sound
from soft to loud, and from loud to soft
again.
Symphony, harmony of mingled sounds ; a
concert of musical sounds; a passage
for instruments only.
Symphonious, harmonious.
T
Tacit, silent, to rest.
Tasto Solo3 or T, S, when the base is play-
A DICTIONARY OF MUSICAL TERMS.
ed without the thorough base.
1 1 abret, a drum, or timbrel.
Te-Deum, a hymn of the church to God.
Tenia, three.
Tempo, time ; as a Tempo, in true time.
7 heorist, a scientific musician.
Third, ah interval of three sounds.
Thorough Base, is the art by which harmo-
ny is superadded to any proposed base,
. and includes the fundamental rules of
composition.
Thesis, £ the fall of the hand in beating
Thesin, 5 time;
Timbrel, a musical instrument for marking
time, a drum.
Time, the measure of duration which is
given in musical performance to specify
and regulate the movements according
to certain marks or directive terms set
at the beginning of a piece.
Tone, one degree of the scale as from C to
D, &c. thedistance of two semitones.
Tonic, a note from which all other notes in
a melody are derived ; the key note.
Tonos, a tone, a sound.
Tempo di JMarcia, in martial time.
Tempo d* imbroglio, confused time.
Transition, a small note of embellishment.
Tremando, a general shake of the whole
chord in harmony.
Tremola, the reiteration of one note of the
chord, a harmonical grace.
Treble, upper part in musical proportion.
Trill, l quaver, a shake in music, and
Tnller, 5 marked thus, .fr*
Trio, music for three voices or instru-
ments.
Triad, three sounds in harmony at the dis-
tance of a third and fifth from the lowest
Triplet, three notes which are to be per-
formed in the usual time of two.
Troppo, too ; as Troppo Presto, too quick.
Trumpet, an instrument of martial music,
Trumpeter, one who sounds a trumpet.
Tutti, all, that is, that all the parts are to
sing or play together, or to make a full
concert after a solo, duetto, semiehorus,
&c. being much the same as chorus.
Tympanum, a timbrel, tabret, or drum.
Tye, two notes joined by a slur, which are
to he sounded the same as one, being
both on the same line or space.
Time, a piece of music.
Turn, a trill which employs the note above
and below the principal, to be struck
very quick.
Tymbal, a kind of kettle drum.
Tyro, one in his rudiments.
U
Unison, the same identical sound, a single
unvaried note ; this term is used when
all parts unite in one sound, or a succes
sion of sounds.
Uncommon Chord, is the inversion of the
triad, where the base note becomes the
third of the harmony instead of the root:
this term is only used in contradistinc-
tion to. the Common Chord.
Unaccented Note, a note which requires
but little stress of so'und.
Unvoocal, having the voices all of one pitch
and tone.
Unmusical, not harmonious, jarring.
Unharmonious, harsh, unmusical.
Untunable, without tune, unmusical.
V
Vcloce, implies that the movement to
which it is prefixed is to be sung rapidly.
Verse, one voice to a part.
Vigoroso, implies that the movement be-
fore which it is placed, is to be per-
formed in a bold and energetic style.
Vigor osomente, signifies a vigorous, strong
and firm performance,
Vistamente, ? • , -,■ x , .
Visto, \ quick, without delay, briskly.
Vite, a lively and spirited style of perform-
ance.
Vivace, implies that the movement to
which it is prefixed, is to be sung in a
brisk and animated style.
Vivace e pia, lively and soft.
VivncL'ssimo, in a most animating style, b
ing a degree or two quicker than viva*.
being much the same as allegro.
VioLa stringed instrument.
Violin, a small viol, a fiddle.
Violoncello, a base violin.
Vocal, uttered by the voice.
Vocal Jlfusic, music for the voice.
Void, turn over.
Volti Snbito, turn over quick.
Voce, voice.
Voluntary, an extempore air or prelude i
the organ immediately after the readin
of psalms, without singing.
Vox, the voice.
Vox Jfumana, the human voice, also a stn
in an organ of metal pipes, which vei
much resemble, when played wil
judgment, a human voice.
W
Walts, music in triple time.
JVarble, to quaver a sound, trill.
Warbler, a singer, a songster.
Zusammenschlag, a small note of embe'
lishment.
SCALE.
Major Mode or Key Ascending. Descending.
SCALE.
Minor Mode or Key Ascending.
Descending.
75
z^dzt
2 3
A B
d u
i-^liiiiiiffpliissiiiiliiii
4 5 6 78 or 11 or 8765 43
CDEF G G FEDCB
du.du dudu dudud
1
G
do
1
E
du
2
F G
d u
4 5
A B
d
6 7 8 or 1 1 or 8 7
C D E ED
dudu d u d
H-
5 4 3 2 1
B A G F E
dudu du
EM
IE
=-$■
-a- v ■ — - v .=_
N B. The Slurs point to the notes which are only a semitone apart ; the figures show the distance from the Key Note in the ascending scales : the capital letters stand
against the degrees of the G and F clef staves ; the singer should practice music both by figure and letter; the small letter d shows the falling motion of the hand; the u
the rising motion.— The following lessons will be given in a manner somewhat similar to the above : the black notes arc supernumerary to the time, and may 'be omitted
at the performer's pleasure.
_Key of G Major. INTERVALS.
13 1 4 1-51 61 71 8 or 11 or 868 58
G
d u
B G
d
C G
d
11 G
d u
E G
d u
IL—
ISSSSS^
F G
d
E G
d u
SZ!
r»
lii
5
D G
d u
5=K
iiii
INTERVALS.
4 8
C G
d ii
Rising Thirds.
iigligipiiisiigii^^iigiiigggggiiii
B G
d u
2 8
A G
d
1
G
du
3 2
B A
d
4
C B
tl
5 4
I) C
d
P^i^ii^^glg^^iiiiiiiiSiiii^i
5
E D
d u
7. 6
F E
d
5 or 1
G
du
76
Falling Thirds.
I 8 or 167 56 4534'
II , G B F D B C D B C
Key of C.
2
A
d
Ilil£
i
G
Kt
FOURTHS.
urg!
3 8orl 4
E C F
dud
5
G
m
4 8 or 1
F C
iltmilSiiHHilllii
■tcm
A'/7f G Major.
COMMON CHORD.
Jirv B Minor.
XT
SIliSiiHIllSili
5
I! I)
d u
>rl: lor 8 5 3 1
G G U B G
d u d u d u d u
i
Kith
lltE:
B
5 8 or 1: lor8 5 3 T
B E K B G E
u dn d ii d u d u
- -a- -a-
It youM not be difficult to multiply lesson's for cultivating the voice- yet i nr,
turned that tlie lew preceding may suffice if they are properiv alteuded to : from tl.es,
He student may proceed on toihe practice of easy pieces Will, the inmost propriety
cite attention should alu ays be paid to the semitones, whether natural or artificial '
GENERAL OBSERVATIONS.
I ann-'Yl,'!.0 f°llowinB; work> <j!e air °^ principal melody is universally placed at the t«
and e other par s according to their natural order. Such ol the 'music as conta,
| only three parts, the two upper parts should always be sung by female voices abe
equally divided ; that ,s, about one half of the women singers should sing the air
t n b£d,v'cled '" thef me mr",er °" bDtl) Ineairandsecond.otherwisethe harmo,
lea t t^.l^H6 nr11' °r " 'T* " Wi" "0t "aVe its inten<lea ana Pr°P"- efl'ect.
least t^0 thirds of the men ought to sing the bas.e, because it is the ground work
shouT? , TnJ:' " nle ei"a es s!ng but one Part and the men ">e other, the femal I
should almost universally sing the air.
Singers should also be informed, that where a piece of music is set for one, ti
or three voices and contains such directions, only the number of voices prescribe
should be employed in the performance. Such directions are generally misunde
S ">>') ""lead ot one person only on each part, all the singers on the parts mei
tioned unite, winch is altogether wrong in practice, and should be corrected.
When three voices, for instance, are directed to perform a niece (that is a trio
three persons are intended, and not three parts ; one person 'only on each part '
meant A ter such directions, they will generally find the word "Tutti, or Choru
used, which indicates that the whole choir is again to unite. And generally whet
I ulti or Chorus occurs, n is understood that the previous strain should be pe'rlbrme
by one voice on each part, whether such directions are expressly given or not. TM
rule however is not absolute, but is generally proper.
When the term Men is set over any passage, it is expected that only the voices II
men will be heard in the a,r and second : but when the "term Women or Wo. is s<|
over it, then the voices of women only should be heard on those parts : in such case
he words I utti and Chorus are afterwards properly employed that both tenor anr
treble voices may join in toll.
In the solfeggio of this volume of sacred music, the me is not always pointed ou
agreeably to the signatures at the clefs, particularly in cases of moderately extensivi
modulations ot the key or tome from one letter to another ; and what will appear mor
■imprising may be in interwoven passages to hear one part c f a choir singing to ill,'
key of one letter, while another part of it sh'a be singing to the key of another ; l.cnc,
He notation in such instances will appear like confusion and mistake to many such a
■ire unacquainted with the nature of modulation, the ancient signatures, and 'of mlcr
woven music. Instead of having inserted the signatures at such changes, the pawairl
are left to the ancient signatures and to the patent notes for decision ; and in coilse
quence of tins, sharps and naturals are found before the me, and flats and natura!
OLD HUNDRED. L. M.
Ante*. ^"" "■""' "•<*»* a™"y ,<V late, oris. & T. Ps. 100. ^ ]
.. With one consent let tillih. ..^h 15- #i_i .t_- -e ...... f~ r- 1—1—
1. With one consent let all the earth,
2. Convinced that he is God a- lone]
M. Luihc
T7
4r
, , ,_ '_ j" ""'" °0"' WC a"U "" Pr0°eed ■■ We wllom he cl— » h'S own, The Hock ,hat he ^uchL.es t'o feed.
3. O enterthenhis temnle rate. Thnvpin h;.^„.t.j. .1 . . .... .... -
3. O enter then his temple gate,
4. For he's the Lord su- premely good
-^hrr^*E^^
-^--r^ ■-,_-_____ ■ ; H1B trulnwhlc» "'ways firm'y stood, To en,
s^ElgliliiiiiillliiiiSii^ii
PRAISE. L. M. Dr. Rippo,,, By. 1. By Dr. Slennett.
r^3
Ely.
3. Here the hrigh, sun that rules the day, As U,* the sky he makes i^^^l^^trS'6 '^bS^^^S?
4. When from his cnnrta ihe <snn rpiM.*.o in,i.,.:ii.»i,..K..i.: • . _ _. „.. . ^^ *" *"" ' ' — ■-»_
3E
4. When from his courts the sun retires. And with the day.his voice expires, The moon and stars adopt the son?
fi . i "'n£r, ear'' '-I m"?',C hca'S' Tl1' h;»'m™i°"S music of the spheres; And an . ibes he ,C rer"cS
6, Bui man, endow'd w.th nobler pow'rs, His God in nobler strains adores : m is thegif, To know he Song '
Ami tlm>' the night the praise proton
1 hat God is wise, ami Rooil, aTttl irr(-a
As well as sing with tuneful tongue
_„. ™ u^uu „oo,cr po^rs, H,s God. ,„ nob.e^strains adores: His is thegifi ,0 know the Song, " T/weiTa* sm$ l*h »".£,£
iliiiiiiglgllilliilllllliMllifllllll
i
78
KENT. L. M. Dr. W.atts' Ps. 132. vrs. 1 & S.
Br. Orecn.
4r 4r *>
Where shall we go to seek and find An habit- a- tion for our God, A dwelling for lh' eternal mind, Among- the sons of fl- sh and blood.
i^i^iliiiiPJ^iiPiliiiililliliilii
^^^SiiMi^igiigili^iSiMl
#4-
MAGDALEN. L. M. Dr. Watts' Hy. 122. vrs. 1 &4. B. n.
Dr. Tnllis.
!iilli!!iiSiliiliiiieSiiSiigliilgiil^
My God permit me not to be A stranger to myself and thee ;
Amidst a thousand tho'ts I rove, Forget- ful of my highest love.
IliiggiSigil^iiillliii'iliiSMiiiiiia
U^fe3
Aniluntinn e Sjiiritoso.
lliiiiilglEgSISliiii^giiiiiiii
TRURO. L. M. Dr. Watts' Hy. 47, vrs. 1 &6. B. it.
Szx:
G. F. Handel.
Mow to the Lord a noble song! Awake my soul, awake my tongue; Hosan- na to th'e- ter- nal name, And all his boundless love proclaim.
feiiliiiiigliSiiiiSii^iillliiilii
Adagio eAffettuoso. ^
SACRAMENT. L. M. Dr. W. Hy. 1, B. m.
Ely. 79
iiiiiSiilMiiiSggii^iiiiiii^iiisigii^
'Twason that dark ami doleful night, WIkmidowY, of earth and hell a- rose, Against the Son or God's delight, And friends be- tvay'd him to his foes.
piiiiliiiiSaSiiiSiiiillglil^liii|g;5i
!isggiggii^giiil^iia^iigiiiiaf
Who,froro the shades of gloomy night, When the lastteorof hope is shed, Can bid the soul return to light, Ami bmik the slumbers of the dead
Adagio e Aflett. A?
ARMLEY. L. M. Dr. W. Hy. 67. vrs. 1, B. i.
T. William's Coll.
4v *r for
mmmmmmmmmmmmmmmmi®
j Thoo whom my soul ad- mires a- boyo All earthly joy, and earthly love, Tell me dear Shepherd let me known, Where doth tby sweetest'' patlures grow.
ao
CASTLE-STREET. L. M. Dr. W. Ps. 92.
Br. Madam,.
*SE"ri"I ~~F*T lT-r"3 ^--r»r r It— — _Z^ <r' •_, [V ' ~"^ *'■ Women. ^ v . tr.
Sweet is theivovkm„ r.„j ,„„ ,.-:.._ ... . ..._,._., . . . . ' •=•- ta»r->~l— ■■ImM J -W L-V3—
thenovkmy God, my King, To praisethyiiamc give thanks and sing, To show thy love hy morning light, And
talk of all thy truth at night.
ii^m
n— -*
iffiS^IISggiifilSiilfeilfe^^ii
tf
-His^J:
jrStlSESEEE;
And.intitio e Animate.'
\ llllgliilffi
a Ami talk of all thy truth at night
tiiiiiHiBz ami
lr. tr.
PALMIS. L. M. Dr. R. Hy. 30. Bj Dr. Doddridge.
SiilSililtSilliiill'
1. Me sons of men with joy re- cord The various wonders of the Lord; And let his
2. Let the high heav'ns your songs invite, Those spacious fields of brilliant light, Where sun and ■
rp:
jjii^ippppi;
pczz:
"-P=F
It
tr. Women.
mmmmmmES^
| pow'r and goodness sound, Thro' all your tribes the earth around. Thro' all your tribes,
f. in™ and planets roll, And stars that glow from pole to pole. And stars that glow from pole to pole.
siii^Siii^iiiiiaii^piiiiM
3. But Ob ! that brighter world above,
Where lives and reigns incarnate love !
God*s only Son, in flesh array'd.
For man a bleeding victim made.
4. Thiiher, my soul, with rapture soar !
There in the land of praise, adore ;
The theme demands an angel's lay — ■
■Demands an everlasting day.
GREENSBURG. L. M. Dr. R. Hv. 404. Bv Dr. Steele.
Ely. 81
[ lhewond'naBmtiimhavejH-l,el.l Jlhi^ socre£ proplu- cy ^fuieuMj __And _ J"'Bfl»_ Inril'd the gbrioni morn That show'd the great Mes- *i ah bom
PORTUGAL. L. M. Dr. R. Hv. 343. ► 77wl
How lovely, how d£ y,„e.|y SWeet, o Lord thy Ba- civil ^ court, appear! Fain would my longing parous inert The- glories of thy presence there
_= CY'(iBF,IJNE._L. M. Dr. W. Ps. 69. Dr Arne
Deepui our hearts let us reconl.The deeper sorrows or our LoiiliBe- hold the ri- sing billows roll, To ~^ yer- whelmhis hiJTf ly ^ ~
SEAMAN'S SONG. L. M. Dr. W. Ps. 107.
Spirito.
7'. Williams' Coll.
Women.
SW
rs
Would jou be- he'd the whs of Soil, His wonders. in the world a. broad. With the bold mar- i- r.cr sur- ycy The unknots n
.plillllilfeiiiiiiiiiiiliiiiiiSi^Eiil
* * . -a- ' «i ,■ — -s, _ SALEM. L. ft). Dr. W. Hy. 40. B. i. El
re- gions of the sea, The unknown ■ re- m gions of the sea.
— HH- — •~f ~5~HZli— — X J— -
UPS *
What happy
an- gels ib.'se,
For. -JV
1 1 That all Ihcit robes am spot. less white? Whence did this g!o. rions troop, a- rive at the pure realms of heav'nly bliss.
Iliillfciii^lpeiiill-iilliil^iiliiii
BATH. L. M. Dr. W. Hy. 29, B. n:.
A. Williams' CM.
83
-i-zrqr33- ,- :§BErrai^rtrS
zziizzzu-gsz:; Dz~4zz:;zi:zzf -iz—i-: .pj"cr~i=:zziz:zpz~i:izzr3r33r ,- yszzar-zrq:
j i. Shall man, o
mis
1. Glory to God the Trinity, Whose came lias mysteries unknown; In essence One, In person three; A social nature yet a- lone.
r-n S — t T n B i 1 B- m -d--»-c T B 1 □ — i 5-
|gz rjr_j.ziz.q4 zzp] girar^io- p-izz - j §iPi:BZKp iiz ra nz ~ j Ez pi D:zgrrzgZgg - p4 e]j7
2. Wh n ail our noblest pow'i-s are join 'd The honors of thy name to raise, Thy glories o- vcromteh'd oui mind, And ajigels faint bt-neath the praise.
jj^lgdEzi—SzzzztzzH^
In death's oh-
KINGSBI.1BGE. L. M. Dr. Dwight, Bs. 88.
_Mzz3ziEEi__l
zz.__:cizn=tz_
Dr. Ripp. Coll.
fiiiii^iiliiliiisl=sSiisiEigiPfi!liii;ill
the graw? Canst thou fnr-
Thy prop'- isc
thy pow'r lo save.
^^^m^^Msmmm^Mmm
i:i_zi
oh- liv- ious
:spizBz:=:
truths are taught nor
s shown; No
warn. Uie
-B-
sung, thy grate unknown.
4.
5.
6
7.
8.
9.
•10.
mmmmmtmmmmmmm
zzeziiozf
m
Mo 1 ps proclaim redeeming love, M tth praise and transpoit in the sound; 1 lie gospel's ({lory rever shims, And hope and pe.ceare never found.
But in those silent realms of night, Shall peace and hope no more arise? No future morning light 'he tomb, Nor day -star gild the skies?
Shall spring the faded world revive, Shall waning moons their light return? Again shall «ettmg suns ascend, And the last day anew be born?
Shall life revisit dying worms, And spread Ihe joyful insects wing? And oh ! shall man no more aw ke To see thy lace, thy name to sing? ' [sang.
Cease, cease, ye vain desponding Icars ; When Christ, our Lord, fmrn arkness spra: g. llea'h, the la t foe, was capt ve led, And heaven with praise and wonder
Him, (he first fruils, his chosen sons Shall follow from the vanquish'd grave; He mounts bis thto. e, Ihe King of Kings, His church lo qtt t kt n and to save.
F.'ith sees the bright eternal doors Unfold to make his childn n way; They shall be cloth'd with endless life, And shine in everlasting day. [King
The trump shall sound : the dust awake ; From the cold tomb the slumb'rcrs spring ; Thro' heav'n w ith joy their myriads rise, And hail their saviour ard their
-
84
rf=
Adagio.
ISLINGTON. L. M.
A. Williams- Cull.
This life'sa dream, an empty show, But the brightworld to which I go. Hath joys sub- stantial and sincere; When shall 1 wake, when shall I wake .and find methere.
zpzpzzpz
■'iiiilii
EE5
iiiiiiiiiigiiigiiiiigiiiig]!
DODDRIDGE. L. M.
Wo.
Dr. Arnold.
Tutti. ,
iiies'lifgglmlSSiSlliiigilig'gi^lI
When life's Inst conflict here is o'er. My s|iii- it cbain'd to flesh
-#-ZS~— T i-^-B-r |-T-H-~|— '—i "I t— t-l h-i-B^^'— ■— «— ^~r-:^-P-
■mm^mmm^m^mm=m^
•e, With wliat giad ac- cents will I rise, And join the
mm
liil
-fcr-
il
Andante Maestoso.
CONNECTICUT. L. M. Dr. Ripp. Hy. 20. By D
liffgigiiigs
r. Ripp. Hy. 20. By Dr. Watts. Ely.
ri^iilifeflge
mu* *ic of the skies.
iSiS
iiliSiSiiiliiiii^aii m
What is our God or what his name, Nor men can learn, nor angels teach; He dwells coneeal'd in radiant tiame. Where neither eyes nor tho'ts can reach. Where neither, &c.
r'"'!P"S'nrc — ~~~ T~^l ^ — 3— h !"T —
&l?iiili!liiSIii
r— .-
yiiMiil^^li
£-5
s=ttS
ill;
-a
SiisSiililii!
Trfcto
Andante Soavc
MILBANK. L. M. Dr. Marian's Coll. P. 45.
Pia. For. pia.
-fin T . -, . P ~. tr-^-r^-m—i
Dr. C. Burney. 86
Of him who did sal- vn- tion bri up,-. Lord may wc
E6
lliink and sing: Arise, ye guilty, he'll furgive, Arise ye needy he'll relii?
liiSSi^iiiiiiiiliiililiiiiiiiiiigiiii
HALIFAX. L. M. Meth. By. 1. B. n.
Dr. Madan.
Andante. tbts~ V * Ar
Ho! ev'ry One that thirsts draw nigh; fTis God in- tit J the fal- len race;) Mercy and free 1a - va- tion buy; Buy wine, and milk, and gospel grace
[iiiiimiilliPlliiilil^iPiliiiilig^iiil
PALERMO. L. M. Dr. W. Ps. 62.
Ely.
SiEglllliiSliliiiiiisiliiiiiiiisgiis
w$
My spirit looks to God alone; My rock and refuge is his throne; In all my fear-, in all my straits. My soul on his sal- va- tion waits.
IE~
TI^S
liPiiigillilllillliillliliiiiiiS
86 ZEALAND. L. M. Dr. Ripp. Hy. 4.84. By Bedome,
Andante AfletL ^ ffi fr fo Women.
Ely.
JU-cr-juTiiiti. :-,•
sizixzi qip^jri-irsz^a ra ^.qir^grnir^nrqi je; »_.-zj =3z--j z,.z ' rca ~:z- zi z-zj~:z^"iz^- d 1 L ; ' z. 4 zz-
F'—r-r— ^ — 1^-1
^
-- — H 1 * UfW— r— r— Lb&l -SL-J I — J ki»rH L ■*»— I a H 1 ■ B — ' l' 1 M 1 L— ! I *-l l ~t | • | |— ' ^£ ^j_ |_| I \ 2-
o fair a face be- dew'd with tears! What biauty e'en: in giuf appears! Hewept,jie.iied,Ue di'd fur you; What n.ore \e saints could Je- sus do. I
t z3S£i=Ezf=E:E=!!::i^±^ Iz^iM
CARMEL. L. M. Dr. Ripp. Hy. 352.
/•^ Women, ^ \
— T-- -r — ,«,,
Handel.
i^si|s;iilliiiilliiiiEiiiii§iiigi:ggpi
Tliinc earthiy Sabbaths, Lord, we love, But there's a nobler rest above; To that our Ij.LVing souls aspire With ardent Jiangs of strong desire.
_,. &..
■6r
^iiiiiigiiggii^iiiEBiiiJiigiiiiiiiiiiig
MUNICH. L. M. Dr. Ripp. Hy. 72. By Dr. Stcnnett.
AfTett. Men. S~-* f?\ Wo. '""^ /7\ Tutti. /~* /^ /—n <h'
Gem
'Tis finish'd! :lj: :jj: so the saviour ery'd, And meekly bow 'd his heed and di'd; 'Tis finish'd, yes th* race is run, 1 he buttle fought the vict'ry woo.
Adagio c Affetti;
ROME. L. M. Dr. W. Hy. 10, B. tfa CorrellL 87
lliiiEliligyiiiiliS^ipSHJiiiiigiliEii;^
At thy c (jmnidnd, our dearest Lord, Here wc alt 11 1 thy dyinjj (Vast; Thy blood like wine a- donis thy board, Ami thine own flesh feeds ev- ry guest.
i £ii3— lif^-l-^P—T---^
i— ^a=:
NEWTON. L. M. Moth. Hy. 5. B.
/7\ It *T* lr , Women.
r. Clarke.
piitiiiiiigiil^iiisiiiiiitaisiis
Sinners o- bey the gospel worflf Haste to the sup- per yfourLo'I; Bewisc toknow your gracious dav, All things are ready come awaT, All tfiingsare ready come away.
Tempo di Marcia.
VICTORY. L. M. Dr. Ripp, Hy. 422.
Pin.
Ely.
• Jesus! tbou shalt reign Till all thy haughty foes submit; Till hell and all her t trembling train Become like dim -beneath thy feet. Become like dust beneath thy feet.
rrrt c t P 'P p ~~tic — t"~; — v nrFM^l'iFrh" — cni^rar — 7sr~-r*c — t c"C"'iFc"L7^"E—^iisirvTi'*'
IfeilfeliiaiIiiiii^I|gilifeiiiiNlSf
gjigE
38
Andante.
if:£§37rp
COSTELLOW. L. M. Dr. Ripp. Hy. 490. By. Dr. Davies.
Costellow.
liiiiiliaiiiiii§i§iii6lilliiliiiliiJiiffl
piiillgiglisgilliiyiililiiipglil
!■»
Lord, am I thine, en- tire- ly thine? PurchasM and sav'd by blood divine? With full consent, thine I would be; And
^ — Lv=
thy sovereign Tight in me.
^51liilligiliiPMSIillilIliiiSil=SSii
Moderate
*r fl>
LORN. L. M. Dr. Ripp. Hy. 371.
Pleytl.
■4-
iiilliiEiSllilii^Sliiiiiiilifgigil
Bf-ft-#
Look down, O Lord, with pity'ng eye; Sec Adam'srace in ruin lie; Sin spreads its trophies oYr the ground, And scatters slaughtered heaps around.
if-,
WILTON. L. M. Dr. W. Hy. 146. B. i.
krfa Women. ^ Pia.
Cuzens.
Repeat Tutri.
Co worship at Im- man- ueTsfeet, See in his face what wont^s .meet; Earth is loo narrow .to cjcpress His worth his glory, or his grace. His worth, his glory or his grace.
wm^^mwmm^mg^^^m
STONEFJELD. L. M. Dr. W. Hy. 70. B. ir.
— I-JT lT~h1~ I
Stanley, £!'
— i— tj-
^-^--'-V:
PJpiillglllgiiSSgiiilssgiliiiii^s
ir
v^, — I-
God of the seas, thy thiimrringvofce Makes all Hie iGaring waves rt-joici! ' And one Boft word of thy command Cimsmk them silent in tlie sand.
PRESBURG. L. M. Dr. W. B=. 34
At- I'ia. /C\ F
Tucker.
Lord, I will Mess thee n!l my days, '1'hy pridse shall dwell upon my tongue; Mj suuUhnll glory in tfiygrace, While saints rcjoieetD hear the song. While saints rcjoicf, Sec.
iilSiiliilllliSIPlgllllS^lillilgiilPl
Dr. nipp. cm
ir _: -h-
NEW SABBATH. L. M. Dr. Ripp. Hy. 318. By. Dr. Stenpett.
An- oth- es six days work is done, An- other Sabbttth
begun i Return my aoul, en- joy thy vest, Improve thu day thy God hath bless'd.
^SililiiiSilligiliilllilillllllliPi
CALVARY. L. M
Dr. Rip. Hy. 13G.
'tr +r
Ely.
Ado. e Dolorosa. — ^ *r « Z^_i}' ^»-— t — — ^ 1 rH 1 |— |-=T~'T'^=i_ZIZd_"C^"»?Z5IlCZl!_I]_^-IjI fil
— — -— —!-«.■-»— I H 1 l-< ._ , 7, , „, ThP L!lmb of God. for ' Bio- ners skin! Weeping to Calra- ry pursue.
1. Ye that pass by behold the man! The man of gnrf, condemnd foryou!^ The Lamb of God, ^ ^ ^ J^ , _J,. ;> ,0
1. Ye that pass Dy ocnuiu. uk «.«.. -" — o— * ^_^^ - ^ 4r ^ '^ 1T "^ ™ __
--^---P ±P-2— =S* I-----l-rtT' , .hewto- Bis sTcrcd limbs-expo,* and bale, Or on- lycov- efd with bis blood.
„ .,:. '-....j n„i.. .i,»„ ,t,»trl,_ thev tear. W th nails they fasten to the wood, fits sacrco. iuiius t ^
2. His sacred lmibs they stretch, they tear, With nails they fasten
the wood;
His sacred
\ lSiiliiiiiiii:^Slii
, , . .i_ .i ti:„ KUa'lintr Vivm-ls #»-vl-pr.r,Pfl Wlflft. HlS
liiliiiiiiiliiii
S" xieSs^^^ EpSi %. rend, wit, th/espifing; breath. The ha^er n, ., ,„ „,
GERMAN.
L. M. Dr. Marian's Coll. p.
42.
Dr. Madan's Coll.
fiiififeiiirsfiiiiiiiiiiiSiii
8, Tr ""~— : _■__.._ ,.._•_ Jv_. „i : — »,i,„wi. r^vonstnlcninvthv love, then pai
cleansing blood ; Give us to know Uiy
•mm
death
■ ' rT 3. O come, thou wounded Lamb of God! Come wash us in my Ci«u»i«B uunm, «»„ - ~- , ^_^ ^__- ^ ^^.^
;'iiiiiii^ifcii|i}iiSirtisipi|^iiiii3iggi
!l ^"^Tak7otroo^a,,s,and letthen, bo "Forever clos'd to all but tb=e; Seal tnou our breast,, and let us wear That pledge of love^fo, ev^ or there.
Ylgoroso.
THE SUN. L. M. Dr. Ripp. Hy. 199. By Dr. Stennctt.
Pergolesi. 9 1
is^^^iiiiiisiiiiiiilliiiigiiiip
1. Great God amid the dark- some night, Thy glories dart upon my sight, While wrapt in wonder
ift
I behold, The silver moon and, stars of gold.
^Bg^iiiiSig'li^SPig^SliilS
2. But when I see the
rise, And pour his glories
"While wrapt, &.c.
o'er the skies. In morestu- pendous forms I view. Thy greatness and thy glory too.
.iiiisiiiipiiisgiiiiiiiii^iiiiigiiiii^
Thou Sun of sins, whose dnzzling.light, Tries and confounds an angels sight ! How shall I glance an eve at thee, In all thy vast immensity.
4. Yet I maybe allow'd to trace The distant shadows of thy face; As in the pale and sickly moon, We trace the image of the sun.
W. In every work thy hands have tmde, Thy pow'r and wisdom are display'd : But O ! what glories all divine, In my incarnate Saviour Shine !
6. He is my Sun : beneath his wings My soul securely sits and sings ; And there enjoys, like those above, The balmy influence of thy love.
7. Oh, may the vital strength and heat, His cheering beams communicate ; Enable me my course to run, With the same vigour as the sun.
4*
Tempo di Mareisi.
YORKSHIRE. L. M. Dr. Ripp. Hy. 199. .
/7\ Pin. . Cres.
HandcL
1. Great God amid the darksome night, Thy glories dart upon my sight, Thy glories dart'Sic. While, wrapt in wonder, I behold, The silver moon and stars of gold. The silver moon, &e.
2. But when I see the sun arise, And pour his glories o'er the skies, And pour his glories, &e. In morestupendous forms I view, Thy greatness and thy goodness too. Thy greatness, &e.
=tt3»t±EE*:|=HBEE^
OSNABURGIT. L. M. Dr. W. Ps. 45.
rt\ Pia.
Handel.
^i^giiilliiliiiliilpip^te?1^
W t_t 1 P-P-f-^^-b— „,.-_Sa„w ^ii .be Lord,howheav'n.y fair Hirform! hew bright h,s »*.- .-.are.
heart inspir'i] to sing; The glories
~of"„,y Saviour ic\,g, Jesu, "the " Lord, how heav'nly fair His- form ! how bright hUtaifo- .its . are.
" How be my heart inspir'd to sing me gioi.es , - -™ _>&.:£._ _ • «,* t C
P-U-E-* 1 h-i-^U ,~b,„„,1,7,AT1..„ T. M n,. w. PB. or , Ely. _
INCARNATION. L. M. Dr. W. Ps. 97
-6r — l-l-r- f-1"";
LNCAKINA1 lUiN. ii.JVi.ur. >'•'»• =» ._» — _
"he decree; the h.aVns prodaim His birth: .he nations learn Ins name. An un- known ^_i2r_^d,- ^-—-^ -rffifc.-.
Ill
:nrf
Lord iseome;.he beaVns proclaim Hi, birth: the nations learn Ins name. ™ TIT~i ^~» ►Vrf-ir^H^-fc
"' ' ^ ' . . * t*„™ „.,Q K"<c r>niirt<:rilQ and unknown :
: \
to their God.
l.-E
5"*TL__.. *Lgj_i.5m. -^
~, All ye bright armies of the sVr
Go worship where yo* Saviour lies ;
Angels ami kings before him bow,
Those gods on high and gods below.
3. Let idols totter to the ground,
And their own worshipers confound ;
But Zion shall bis glories sing,
And earth confess hersov'reign King.
4. He reigns, the Lord the Saviour reigns,
Praise him in evangelic strains :
Let the whole earth in songs rejoice,
And distant islands join their voice.
5. Deep are his counsels and unknown ;
Hilt grace and truth support his throne:
TW gloomv clouds bis way surround,
Justice is their eternal ground.
G. In robes of judgment lo ! he comes,
SUalces the wide earth and cleaves the tombs ;
Before him hums devouring fire,
The mountains melt, the seas retire.
7. His enemies with sore dismay.
Fly from his sight and shun the day ;
. Then lift your heads, ye saints, on high,
■ And sing, for your redemption's nigh.
THE SECOND ADVENT. L. M. Dr. Madan's Coll. p. 9. Meth. Hy. 251. B. t.
Dr. Madan. 93
t7\ For.
^IliriUS IHH iiiilliiiiiiliilii^l
szb~2:
1. He corneal he comes! the judge se- vere! The seventh trumpet speaks him near! His lightnings Bash, his thunders roll! He's welcome to the faithful soul! Welcome, :|[:
iigiiiiiiiigiisgiiiiisiiiEiiiiiiiEiiii
Alllmat0. MANSFIELD. L. M.
sliilMiiiiii!
:||: :||: welcome to the faithful soul.
iHiliiigi-gi!
2. From heav'n angelic voices sound ;
See th' almighty Jesus crown'd !
Girt with omnipotence and grace ;
And glory decks the Saviour's face !
Glory, glory, glory, glory,
Glory decks the Saviour's face.
3,Drscending from his azure throne,
lie claims the kingdoms as his own ;
The kingdoms all obey his word,
And hail him their triumphant Lord.
Hail him, hail him, had him, bail him,
Hail him their triumphant Lord.
Awake our souls, (a- way our feara. Let
ev'ry trembling thought he gone,) Awake and run the Uenv'nly race, And put a cheerful courage on. And put a cheerful courage on.
94
if:
HARWINTON. L. M. Dr. Ripp. Hy. 564.
Womei-
Ely.
t"g„7„7 loTe ,*!il™ indulgl The "no.tguaMhc heaving: sigh, When rightet,OIWr,onB fall aroond, When tender Mended kindred die. When tenuc, ft™*, ,&c. __ 1
ineuuuw iuvc »in ou»c ii.-u>&^ ■"— -■-■ — e ^ — ^~. ml — — — - — ft- __— — — — -. — /7\ — ~m
WELLS. L. M. Dr. W. Ps. 51
Holdrctijd.
LEFTH. L. M.
r T ! — -^ — , — I— it— i--i — n- — =r- — i^t- -T-1-i-il-|:-|~1TZI=|--lz:S Slfc » T-ir^ST \ SfsP'-Wt^-^f^r^
t? stoUl T£o7d, o LoriTorgi^ Let a "repenting : "reUl EreT-Are not 3vy mc^ i4%dft«? May not a riniev trust in tlieej ^ Come Jinnee.
^ — r— r-r r-i Rr ■ jfT-T-i— It— r:£i£:r£ricic:aa.E::fejE.:.3t:j-Jd *?w--^4lS J—T^It ' J5I*S— :f— -z — r— -f fcE:S:
U
lien.
:gls§©
J&b&t
po-jjiel f.nst; Let
ry soul be Jesus guest; Ye need not one
3— ©-?*— T®7»
left be- hind; For God lath Hidden a'L^ mankind.
l!^^E=EFF^3ERtpsB^
Vigoroso.
horsley: l. m. d.-. w. ps. 19.
Tucker.
For.
9;,
Tht: Leav 'us liuciait tilyglo- vy
Lord, In
l?siii_'illiiis
IS
illgipgiigiigiiiisliili
rytar thy goodness .limes; Sutwte,, our eyes behold thy word,, Wereadthj ■ «orJ m fairer iSes. We read thy « ord in
liiiilllllllliiilliEilliiliB
2. The rolling sun, the changing light,
And nights and days, thy pow'r confess j
But the blest volume of thy word
Recalslhy justice and thy grace.
3. Sun, moon and stars convey thy praise
Round the whole earth and never stand ;
So when thy truth began its race,
It louch'J and glanc'd on every land.
4. Nor shall the spreading gospel rest,
Till through the world thy truth has run;
Till Christ has all the nations blest,
That see the light, or feel the sun.
w Tutti.
CARTHAGE.
Affeltttoso.
*M£
L. M. Dr. W. Hy. 124. B. i.
D< timer.
rt\ Women.
Great God! vfe
,_ , ^1 fr> "umtn.
i^liisiiigpppl
1, Deep™ thediist, before tlie throne, Our guilt and our disgrace we own ■ C
iiSisi^iii:iiiimsiiiilai
own tV unlmppy name, Whence sprung our nature and our shame. Great God ! we own th' unhappy name, Whence sprung our nature and our shame.
iliiillpiiiiiiilgliiilllilii
2. Adam, the sinner : at his fall
Death, like a conqu'ror seiz'd us all ;
A thousand new-born babes are dead,
By fatal union with iheiv head.
3. But whilst our spirits, flrd with awe,
Behold the terrors of thy law,
We sing the honour, of thy gracp,
That sent to save our ruin'd race. _>
4. We sing thine everlasting Son,
Who join'd his nature to our own :
Adam, the second, from the dust,
liaises the ruins of the first.
CHINA. L. M.
Men.
Ciizens*
^r/TN Tutti*
— t- ■ — r* ~"
9ii m™. -t— n:B-S-Pl-^i-^'hPFrST:P^P-fc'
! V 1. "Comehito all ye vveary »uk, lc Heavy ^
come; I'll give you X«st irau. «" J -> =• _m . ^ p
U — ©^-^---rii^ti-U-P-1---1--^--1" ' — ^
I — m — t~±-t±x:_c:— t_pp-x-f— t-t»u- •— i — i— ,
I bju».i to- "=™ j„.u,™,i-vim tomyhcav
from
ttr-l
all your
^S^*7^^'**^ CmetoJeso.,^.
/j^ AVomen.
iCKOr.VS. Women. Tulti. — — — — _tt" I P ilea.'!"!]!— =
I 3? ^-f-U-ll l-Jto-to-k*-to to to to come, Come l0 Jesus, Come a)
2" " They shall find rest that learn of me,
I'm of a meek and lowly mind j
liut passion rapes like the sea, ■
And pride is restless as the wind. Come to Jesus, &c.
3 " Blest is the man whose shoulders take
My yoke, and bear it with delight ;
^^slanSn1ake^"wen,iEh;."C0metoJesus
A. .Tesus we come at thy command ;
With faith, and hope, and humble zeal ;
ltes'nrn our spirits to thy hand, J\ ■
To mould and guide us at thy will. Come to Jesus, &c.
1 Corae anil « olcraiie, Miilier, 1
Amlaiite AfFttt
BRENTFORD.
if.
L. M. Dr. Rip. Hy. 139.
St-michortis.
Ely. 97
1. See Lord thy willing subjects bow, Adoring * low before thy throi.e! Aeeeot our humble cheerful xnw ; Thn,. *« ™, „„w™ ^ ' J «
willing subjects bow
Irt
cheerful vow; Thou art our sov'reign thou
3Efflffi^
alone. Thou art our
/t\— ft
2^3
1
2. Bene th thy soul-reviving; ray,
E'en cold affliction's wintry gloom
Shall brighten into vernal duv.
And hopes and joys immortal bloom.
3. Smile on our souls, and bid us sing
In concert with the choirs above,
The glories of our Saviour King,
The condescension of his love.
4. Amazing love ! that stoop'd so low,
To view with pity's melting eye,
Vile men deserving endless woe :
Am: zing love ! — did Jesus die.
ft ft <* T.itti.
EATON. L. M. Dr. W. Ps, 84.
WyviU.
Women.
[i^slEiaillfeiiliiiiiliPii^iiillijpiii
mmm
sov 'reign thou alone.
HiilSli
iS^lf^ifllllgliig
1. Great God attend while Zion sings. The joy that from thy presence springs; To sptnd ouc
/?1
^siiisSliiPiiil^
iiiSiiEiiilliiSi
day with ;hee on earth Exceeds a thousand days of mirth. To spend one day with thee on earl!
iMiiHiHifilliiiiliiilil
Exceeds a thousand days of mirth.
ft
irilfiiHigilipil
{— -
m
2. Might I enjoy the meanest place
VB ithin thy house, O God of grace,
Not tents of ease, nor thrones of pow'r,
Should tempt my feet to leave thy door.
3. God is our Sun, he makes our day ;
God is our shield, he guards our way
From all th* assaults of hell and sin.
From foes without, and foes within.
4. All needful grace will God bestow,
And crown that grace with glory too !
He gives us all tilings, and withholds
No real good from upright souls'.
98
DA CAPO TUNES.
DRESDEN. L. M. Dr. W. Lyrics. Dr. Ripp. HJ-^£j-
Dr. Rippon's Coll.
tv Da Capo.
*-■ — ' — — " ~ . . . . i ,.;*.= r tIib tiHintrq strike a doleful soi iiid ; ") _ ,,.___ „„ ..,„„ r»n tliP rfi-nr Vincnm of our God : !
"afefisajss ^^j^^lJ^S^ •.**--« .-_ «. «-. «■_ -*-^_^_jssv?-a
^m
— I — — ■■" "~K~ .. . .i J^«.i i/ rii»lier Mood. _ , i , t^—M
"fcr " you7 A thousand drops <t_^^_ W™i_
f Heshed a thousand drops lor I™._J\ u,.-™ -"i^™ _.___ «,-______
■^ " _ _ . . , <*\. i'j nr-i,^ t ™A nfn-lnrv dies for men? >
-kr-fc-lt
~E
fiiillillip
, Here's love and grief beyond ^^"'^J'^^^^^/^inT "^ ? } 4. The rising God forsakes the tomb, In vain the tomb forbids his rise j
But lo ! what sudden joys we see ! Jesus the dead revives ag«" . 3 &
Cherubic legions guard him home, And shout him welcome to the sk,es,
KIRKLAND. L. M. B. & T. Hy. 15. By Addison.
i[f Finis.
Handel.
1t d.c.
IT Finis. __ „_____—.__(■?■»■* ^==^— ig-. — j---
tt ■■£'- —- "-.-=— -^r---*- ,„t t the- riaT ski, 2.Th'un,veariedsun, ton, day to day, Dochiscre- a- tor's pow r dtsplay,
or'a pow'r display,
S '*'" A„d7uWish,» t7 ev'r, land Tho work of an almigh- ty hand. v _ ^ _
Confirm the tidings as they roll, And spread the truth from pole to pole.
* Forever singing as they shine, " The hand that made us is divine."
THE RANSOM. L. M.
Dr. Ripp. Hy. 243.
Finis.
Ely. 99
Tempo di Marcia. __ tp .__ tT Finis- -a
1. "I come*,1' the great Redeemer cries, "A year of freedom To declare, A year of freedom
*' From debts and bondage to discharge ; And Jews and Greeks the grace shall share. :fl:
to declare; |
<h*
vengeance I proclaim, But not on
:liiiii^iSigifgiiiggllliii|g;i^i
" On me its thunder's shall descend, My strength my love sustain them all."
S^igii^^^iiiiiiiia^^^^^i
Da Capo.
iHiSSfflpp
man the storm shall full .
iiiiiiiiippi
iiSiiliiiiiSi
3. Stupendous favour ! matchless grace !
Jesus has dy'd that we might live :
Not worlds below nor worlds above,
Could so divine a ransome give.
4. To him who lov'dour ruin'd race,
And tor our lives laid down his own,
Let songs of joyful praise arise,
Sublime, eternal as his throne.
LORRAIN
Animato.
L. M. Dr. VV. Ps. 85.
Animato. ^™-v ^|^"» ^*
1. Sal-
And
By
va- tion
grace de-
for ev- er nigh
scending from on high*
bedience so com- pltte.
tiilllliiliigiilg
:ii;iiliiigp!
The souls that finr and trust the Lord,
Fresh hopes of glo- ry shall afford.
Justice is pleas'd and peace is given.
2. Mercy and truth on earth are met, Since Christ the Lord came down from hea\'n.
^giiiiiiismiiiiiiiiliiiii!
3. Nor truth and honour shall abound.
Religion dwells on earth again,
And heav'nly influence bless the ground
In our Redeemer's gentler reign.
4. Flis righteousness is gone before,
To give us free access to Cod ;
Our wand'ring fettsh;dl stray no more,
Bnt mark his steps, and keep the road.
100
IRS
MUSIC. L. M. Dr. Ripp. Hy. 137. By. Steele.
.Dr-. ^nic.
Cres.
1. Stretch'd on the cross the Saviour dies. Hark! his ex- pi- vine groans arise! |
See from his hands his feet, his side, Runs down die sa- ered crimson tide! |
2. But iife attends the deathful sound, And flows from ev'ry
iip^i^iiii-a-^isaiiiisgpriii":SSsi
tal stream, how free it flows To save and cleanse his
3. To suffer in the traitor's place, To die for man, surprising grace ! ? * , . .... . J
Yet pass rebelious angels by, O why for man, dear Saviour why > 5 4. And didst thou bleed ? for sinners bleed ? And could the sun behold the deed ,
Nohe withdrew his sick'ning ray, And darkness veil'd the mourning day.
. Can I survey, this scene of woe. Where miiig'ling grief arid wonder flow ; ?
PLYMOUTH. L. M. B. & T. Hy. 10,
And yet my'heart unmov'd remain, Insensibk- to'love or pain > $ 6. Come dearest Lord! thy love impart To warm this cold, this stupid heart
Till all its pow'rs and passions move In melting grief and ardent love.
From Venlo. D. c.
D. C.
1r
bleeding1 wound.
s
<r.
y\—
mm
^iSigaaSliiiiliiiiiiiiigiiifei
t^S^I^T^d1SlS^teffl^^i«SS*l I 2.Hail,sacred feast, which Jesus makes! Rich han,„et of hi, flesh and Wood.
iiiiigiiisiiiiiasipsiisiiiliii i
Thrice happy he who here paitakes That sacred stream, that heav'nty food,
gilglglilKiiiilli^lPiiiiiii
Alleew ma nbn ti-oppo.
Woini-
Tunes in which the First Strain is Repeated.
HAVERHILL. L. M. B. & T. Ps. 40.
Repeat Tutti.
101
Dr. Arnold.
^mmsmmmmmm^mB
3.1 waited meekly for the Lord, Till he vouehsaf 'd a kind re- ply; I
Who did his gracious ear af- ford, And heard from heav'n my liumble cry. | 2. He took me from the dismal pit, When founder'd deep in miry clay, On solid ground he
piiiigaiiiSiiiiiasSiiii^giiil
m,
ililSliiiigiiiliillilliiiiiiili
BIS
PU-,—" f
=R
ISLINGTON. L. M. Dr. Madan's Coll.
Lockhdtt.
ptacM ray feet, And sufl'er'd not my feet to stray.
_ '< pEpliigiiiiiiiiiiiilisi
Blest be the
Aivers of
Father and his love, To whose ce- lestiat source we owe
endless joys • a- bove, And rills of comfort litre be- low;
SSHiiiii? uilillPH^iilaiii!
tr Pia
Glory to thee, great son of God! Forth from tliy wounded body rolls, A precious stream of vi- tal blood, Pardon and life for d>ing souls.
102
ifSffiF
fy J* SSR^^SSStk' JT> wXjng, -oFE* WS,%?0X.oE*n. | UM for our d„.Us or d«er«s, Hut of his own a bounding gn,
OPORTO. L. M. Dr. Ripp. Hy. 594. By Dr. Doddridge. £M
OPORTO. L. M. Dr. Ripp. Hy. 594. By Dr. Doddridge.^ EM
■ — ha~ia-ln b. km-Lb.-lm la to >- — f- r- , "£7 ®-,,mileoii thevmreof lite I stand, And view tliesceneon either hand, I
I HeworkSsalvaUonmou,hea,1s,Andformsa,.eople for l,i, praise. ! Mv soirit struggles with my clay, And longs to wing its flight a- way.] > to .1
fij _«• «■-«■_».-•»-, -at k»-- — > ' :■-.__:■» 1 —
He works salvation in our hearts, And forms a people for his praise. My spirit. smigg.eg w»ui ag«»»«w «wy j«j
lliiiSSillilli l^isiillSlii
iiiiliiltiiiili' liSiiSiUliSiilsiili
, * . . . -»• .-»- <rro __ __ __*!!_ '1. ,•,-.»-►- — « — t — r--r— T--V--I
f=£?PF
mild boT And faints my much lov'd lord to see; Earth twine no more a- bout my heart, For_ lis ™_„___ 1,-- 1 T4* .J
I ~oul w~d~e; And faint, my much lov'd lord to see; Earth twine no more a- bout my heart, *or_ u. ™_J^ _ "_+_ ',*_ --,,)
I * /* _ ^.^"*_ , E-r-^P >--r-:-J
, -^ ^ ^ . . „ ITALY- L- M- Dr- H3- 66- B. I. Sacehini. 10b
gisiigisSgiiifeiSiffiiiiiiig^iiiiiig
1. Let him embrace my soul and prove Mine int'rest in his heav'nty love: I
The voice that tell, me" thou an mine," Ex- oeeds the blessing. of the viae. | fcOn fl.ee tbWinting Spirit came, And spread tuesaron- of thvname; Thatoil of gladness
iiigiiiiii^fflBiiiSigiiiiiiigiisii
liHiiiiiiii^iiiPiiiffiiiir^iiiiiiiiiLii
liisiisiiiliiii '
§:drtrr| ~I=TS~ KENSINGTGN. L. M. Dr. W. Hy. 65. B. r.
rrBrrtti "i — rr — r*Ti — lira PjgHI „r-f»» *r «
anil of grace, Draws virgin souls to meet thy face. Draws virgin souls to meet thy face. 1 y^-f^^P^-F-tPh+m^W Hp-TfT— H-^~— M-~4 — R— H — r-rt— I *■ II
E-Tri-T r — n-l T. II' it I- ' t" 1 1 Uffeir II P-^-SS ^"S-i^iSiia^l^iaJ
1. Let tbf sev'nth am*e] sound on hipl.. Lei shoots be heard thro' all the skj ;
Kingssf the. earth, with glad accord, Give up the kingdom* to the Lord.
Puree 11.
J* _ 3. The angry natrons fret and rear,
i slay the saints no more ;
(vengeance flies our tiod,
2.Alnughty God thypow'r assume, Who wasted art, and art to come : Jesus the Lamb.who once was slain, Forever live, forever reign. 1 0 pay the long arrears of blood.
4. How must the rising- dead appear;
2.Almighty God thypow'r assume, Who wasted an, and art to come : Jesus the Lamb, who once was slain, Forever live, forever reign. Topaytheloi
* -|k- ^ lr 4. How must t
cisive sentence hear;
ear martyrs of the Lord
nfinite reward.
.
.104 Tunes zoith C68as*
BIRMINGHAM. L. M. Dr. Ripp. Hy. 307. By. Dr. Stennett. Ely.
1. Great Gad! what hosts of angels stand, In shining ranks, at thy right hand, A rray'd in
2.1in- mortal fires! se- raphic name. 1 Who can recount their va- rious names ? In strength and
j 3. How eager- ly t!>ey wish to know The -duties he would have them do, What joy
[ 4. Hith- er, at his command, they fly To guard the beds on which we lie; To shield
' iiiiiiEgiigiiiiillPii
robes of
beau- ty
daz* zling light, With pinions
. they ex- eel ; For near the
-
pffglStei
their
our
ive
I01U
ac- tive spir-
per- sons night
its feel To ex- e-
and day, And scatter ,
_□
lUfHHi
5. Send, O my God3 some angel down, (Tho* to a mortal
eye unknown) To guide and
guard my
— i-
way Up to the
HiS^fiP
stretch'd ibr
tlirone of
distant flijrht.
God they dwell.
fir
-^-t^KJz-Tj-p^i—HEJj
Imo. CODA.
;*zs— .-
mo. CODA. -T" _ '7- . .-»- T
Halle- lnjali, Halle- lujah,
euto their
all our
sov' reign's will,
fears away.
iiiifiiii
Tenor. T" ": _ T
*-^ Halle- lujah, :||: :||: :||: :||: * =11= Amen. J
Ba,». jL.fifi-jk.-o . T . -Mfefc .•«-.."fcfi*J£: -.•
realms of end- less day.
1 J3y the term Coda is to be understood an additional Strain, not absolutely necessary to thepiece or tune, Out which may be sunr> or omited ut pleasure.
CHRISTIAN WARFARE. L. M. Dr. Ripp. H;
303.
Ha
Se
• £>. , ' m n /-} n k — 5: ~2" —"«■"- "■ B"" "•)• armour on, And till each trembling
8,HopcumyMmet;filitli in) • shield i Thy won! my God, tile .word I wield, Thy word my God Uie sword I .MuT-Sia 1 , K M 1 r- J p- h-
4.Thusarm<dIyemureon the light ; Resolv'd lo put my foes to flight, BeimVd to put my foe, t„ f Mrf.i n! '?" cred ™,h my °«" "e Jrrrt, And ho- ly zeal i,~
<" — ' ' JSi. ^'AWiilele- suskind- 1) deigns to spread Hu conquering banner
iipgiiSfiSiillfiiPliiiiSilii-ipPiPi
gliiiPi
] rT\ Adagio.
nr to die! 'T„
fear be- gone, And bid each
ft
conquer or to die! " To arms ! to arms!" I hear him cry, tv To arms ' to anns >>' I t,^r l.im ..,-,. Hnx ~'km~ — ' h — ' ,~T. ~
trembling far begone. "Toarmsl" &c™ ci | ? ' ar lum *■»■ "'" Jours to conquer or to die!"
1~=^ h-rT-P-l-lT-P-P-Tfe-fcTr-l-M-l— I— A (K-»-l-|-r-|-r«-rP— trVrt--P-*-- L ' ^ ' » ^ O
SgiElil^iiilillliiilliiililliiiiii^i^^^
spires my heart, And ho- 1y zeal inspire? my heart. " To arms!" &c.
oer my head, HLt conqu'ring banner o'er my head. "To aims !" &c.
II
I /7\ fy
106
ABBAS COMB. L. M.
Dyer's Coll.
1i'
Andantmo. riy -> ■--,■— r sk-i — F1""*"l rx-P^^-s — r-f^-», , —
(J mJ ■" - - -_ _: . > _:..» 5 1VK>. ^n _ _ _ _ n»« cnnm ii_ mi- +&.A «:.•!
, u'l ,-tli ■'■■• har- mo- nioiu lays ! Why do om- sons. u- ni- ted raise? Why do
2! The great Ae! dm" S of_ ma»k,ifd, Com- toanj- ed us to own In, sway, Command-
ohv songs u- ni- ted raise/
ed us to own his sway:,
*Tis heav'n born
And yield to
ehar-
thee the
ty we praise, The source of all our earthly joys. The
wH- ling miad; Let fill the kind bo hest o- bey, Let
source of all
all the kind
earthly joys.
be- hest 0- oey.
1- And yield to thee the w*- ling minti; J^et nn tnejnna ne- uesi o- uej,**» -" — Jk._k. ic>
.ifiiiypiiPiliiiiilifliiliiiiiiPiil
f|il^iiiSiiiigiiifii:iiteiliililii
Hail, chari- fj I what heart but glows with thee. Bright emanation.
a- nation of the Be- i- ty. Bright eni-
d.i iiun of the De-
iiuii.Lumi- f) . "•»•* " a t — □ ., -B • ■ B M n '
i^^iii^ifeililil^llISi
Hail, charity! what heart but glows with thee - - Bright
a- nation of the Deity, Bright
a- nation of the IX-
7 ' *»-<•-*•»• u «- <*> mo t- g^^, tmanatiom of bnEht emanation of the Dc- f <y.
Afltltuoso. |
Tunes of two Verses.
FAREWELL. L. M. Dr. Watt's Lyrics.
107
Ely.
'~EJE--'\
tiiiglliJlfiiggilsiiiis
I. Hark! :](: ehebids all her friendi adieu ; Some angel bids her to the spheres; Oureyesthe ra- dient saint pursn% Through liquid teles- copes of tears.
3. There, :|j; glory sits oq ev'ry face; There friendship smiles in ev'ry eye ; There shall our tongues re- late the grace That leads us homeward thro' the skv.
Si^^_iSP§lliliigiiiiiliiSSSiii?giii
5-Come! :||: sov'reign Lord, dear sov'reign come, Remove these aepa- ra- ting days ; Send thy bright wheels to fitch its nome;That golden hour how long itstays!
7. Soul ! Sweet soul, we leave thee to thy rest, Enjoy thy Jesus and thy God ; 'Till we from bands of clay re- leas'd, Spring out and climb the heav'nly road.
ISiiliigiSilliiiiii&^liiliPliiiii^ii!
=?:="Rf§-*
ii^ii^SiiiiiiSfeSligrii^giSf
2. Farewell, bright soul, a short farewell, Till we shall meet again above. In the sweet groves where pleasures dwell, And trees of life biar fruits of love.
4. O'er all the names of Christ our King, Shall our harmonious voices rove; Our harps shall sound from ev'ry string, The wonders of re- deem- ing love.
MmmMfmmMmmmmMmimfmwsimmi
6, How long must we lie ling'ring here. While saints around us take their flight ? Smiling they quit this dusky sphere. And mount the hills of
8. While the detu- dust she leaves belmid, Slcepsin thy bosom sacred tomb J Soft DC her bed her slumbers kind, And all her dreams of
henv'n- ly lie;ht.
joy to come, j
L^iiSiillifcliiieiiiliiliiililiii^
Me.
108
Tempo tU Marcia.
-tan
KETTERING. L. M. Dr. W. Hy. 128. B.
Handel.
litli the Lord, " Bid the whole earl
1. " Go preach my gospel," saitli the Lord, " Bid the whole earUi my grace receive ; He shall be sav'd that trusts my word ; He shall bo daiun'd that won't believe. 2. I'll make your great eoi
533:
igragggsggi
3.«Go heal tlie sick, goraise the dead.Gocast out devils in my name ; Nor let iny prophets be afraid, Though Greeks reproach and Jews blaspheme. 4. Teach all the I
mw-
%,—-,
i — j<-
=ff
ItiSli^^liilllliliSliip
■r=3S
p^&Sc^SeS^SMgsgi
sion known, and ye shall prove my gospel true, By -all the works that I have done, By all the won- dert ye shall do, By all the wonders yc shall do.
if « it
iigi^^iri^i^S^iiii^giii^^l
my command: I'm with you till the world shall end : All pow'ris trusted in my hands, I can destroy and can defend, I can destroy and can de- fend.
iliiliiiiiiiaiiiiiiiiiiliiliigii
17s
=££=
5. Comt hither all ye weary souls, Ye heavy laden sinners come, I'll give you rest From all your toils, And raise you to mv heav'nly home.
v. i ley shall hurt rest that learn oFme, I'm of a meek and lowly mind ; Hut passion rages like the sea, And pride is restless as the wind.
/ . mess .1 is the man whose shoulders take My yoke, and bear it with delight ! Mv yoke is easy to his neck, My grace shall make the burden light."
e. Jesus we came at thy command, \\ ith faith, and hope, and humble zeal, Resign our spirits to thy hand, To mould and guide us at thy will.
Adagio.
fe#&
iil
Graun* 10D
SI en.
PRUSSIA. L. M. Dr. Ripp. Hy. 429. By. Beddome.
ifeiiiigiiiiiiigiiiiliiiliii
^"^IlLi™' dM!S?t land^"s triuraPh, 'J™*"1 i An<> '"yen f««l r'»m endl«i paitrs.Owr. Lira their Saviour and their head. 2. Hi.,ons and dourttm
=P:
IS@iiii§feiiliil^isiis!iiiiii?;gii
ate, arme ;, Hj* jwii jmd dainjhjer. from afar Daily at Sioif. . gate. ar- rive. Those who were dead in
from afar Daily at Sion's gates arrive; His
"l-l-
Those who were dead in s'm before.
3il
'By, &e.
^M^S^i^a^^^gi^^^
W^mmg^wmMmmmmi'::i
sin before,
by sovereign grace are made
re dead in sin be. fure, bysov'reign grace are made alive
' his conquest still increase,
every foe his pow'r subdue ;
While angels celebrate his praise,
pies show.
^^i^^fev^^^^^ai^ari:;:
m
iiH^liiEiiiin ::
From all below and all above ;
lofly songs exalt his name,
songs as lasting as his love,
110
Andantino e Graziozo.
UNION. L. M. Dr. Ripp. Hy. 587. By. Steele.
Ely.
gi^l-SiiligSpSiilPffliis
I.O for a sweet inspiring ray, To an- iniate our feeble strains, From the bright realms of endless day; The blissful realm where Jesus reigns.' 2. There, low
liigiiggaii^iliiiiSglg^i^liliaiiiii
m
mmwmmmmmwmmmmmmmm
be- fore bis glorious throne, A- do- ring saints and angels fall j There low before his glorious throne, A- do- ring saints and
§iiii^liill!gggiig^igiiiiiipi^iii|ggi
lililiiililiiiili^liiiiliiii^iii^i^1
3J
| j angels fall ; And with de- light- ful worship own His smile their bliss, their heav'n their all, His smile their bliss, their heav'n their nil.
jgiBg
heir heav'n tlieir nil.
i^iSliliriiiiriiiiliSiiiPi^iilPiii
DENBIGH. L. M. Dr. W. Ps. 117.
Dr. Miiian. 1 1 1
*^ 1. From all that dwell be- low the skies, Let the Cre- a- tor's praise a- rise, Let the Re- dieraer's name be sung* s-Thru'tv- *ry laud ^
*' -fir" » <" * — ' w -~-s w ^^-j ^ev'ryland
si
±\
zgzzpfrdjz
JzaSzSnSzS
by "■" cv'ry tongue. 2. E- ternal are thy mercies Lord; E- tcm.il truth attend lliy word : Thy praise s!iiill sound from ihore to shore, Till suns sha'l
ii^iiiiiiiiiiiiiEiiEjiiil
tr T\ For
Cv Pi:i. Dim.
c_ 4&£
IggggBE^E^SS^E^^^iSEDra^iS
rise and
■et no more, Till sunsV- shall rise and set no more, Till suns shull rise and set do more.
^i^g^iiiiiiigiiiiiiiiiiipijiiEiii
112
Adagio.
READING. L. M. Dr. Madan's Coll. p. 61.
ffera^
Dr. Heighington.
my Saviour, in thy face The essence lives of
y grace ; All things beside which charm the sight Are shadows lint with
iiliglligiiiiliiiiliigiigiglilii^ii
&i^iiliiiliiii|liigiiligsgii|liii
Jgww-- worm light, Are shadows tjpt with glow-worm light.
Thy beauty Lord, th' enraptur'd
eye which ful-
agilgiPiiiigiiSg^igiEgigpipgiiii^
i^^p^^^iM^^^^fe^
If:
ISlgilllEiiiiiiiiiliiigiliiii^i
LCSt must die! Then lpt mp rflc ^,t.„^,i..,.,i. ,„ i — ... rrv„i. ; x t, :_ ii-:_ t_i_ ... J^ _ "~- —
first must die! Then let me die, through death to know That joy I seek in vaift
below, That j
seek in vain below
pacj^jgiiiaiipggigSg^Bgi
n=E£S!
ipiiHiiSE^iiiii^iiigliS
LONDON. L. M. Dr. Watts' Lyric?, p. 67. Dr. Rip. Hy.
Handel. 1 10
3§E
^-t=fe=I-r5i-==j»la
llpggglgiP
pii^iigiii§IISiii^ggg|i|
.]»Mk»;andlo! all nature rfmkcs.HravV.everiasung pillars hmv ; He !DMk. • nnH 1„ . -n . t, ^ ^^^ M/-UJ. . 1 1 — It 1 1 CTp_CrCXI
™" tIlrouS'1- AuJ .hoof hi. fi. rr „„„„, ,hroush>
ligi
3. Well let the nations start and fly
At the blue lightning's horrid glare ;
Ath'ists and emp'rors shrink and die,
When flame and noise torment the air.
4. Let noise and flame confound the sfcies,
And drown the spacious plain below.
Yet will we sing the thundVers praise,
And send our loud hosanna's through.
P
5. Celestial King*, thy blazing powV,
Kindles our hearts to flaming" joys ;
We shout to hear thy thunders roar,
And echo to our Father's voice.
6. Thus shaM the God our Saviour come,
And lightnings round his chariot play;
Ye lightnings fly to make him repm ;
Ye glorious storms prepare his wa_
114
SET PIECES.
HARLAEM. L. M. Dr. Ripp. Hy.J>64.
Women.
Ilnnrhl,
Tutri,
* ' — rJrX ! — xm1- 1— H —&~~J~. ... t„„:„„.i„i, «\~ ^.k.„...„»r,m, fall around.-When tender rriends and kind
,f love will.ure indulge The flowing tear the heaving sigh,
kindred die. When righteous
•_ -^u w.nn rliAtenniTiprMma fall around,— When tenderfriemlsi
1. We God of love will.ure indulge The flowing L^_*i_i^"J«'^JII!^^T-^T^=a=a=n31irtl &S?S »J,g ! - Pr-=Pr<-
±j a
S.^Yct not one anxious rourro'ring tluA^
t' Should with our mourning passions Mei.d ; Nor would our bleeding
j ^personsM. 'Sund.-Wl.en tender friends and Jindred die. S. Ye. *otone anjtou, ™- ™B ™^~T^-~ -~~^ .. ^ ., >.^ , -
r~r — *~1 — •- •' — l~ "~~ " ^ N , s ^ Pia. . n _^rB°^.- _,._ Ctr-"i — *
Urrprl:
.t®3±3$=i:±^^±.§^?=r T_T__I^-TI:P-- ^-■'-D^-l- -±7,^ ev- er livmgfrieS7 W almighty ever- living fnend,
hearts forget TV almighty
ever- living friend, Nor would our bleeding heart forget Th' almighty
iRiiLis »urgci »« jiiiiifjiij "«■ ....p.f, ...-...., — — - w - , ■ i i t *~~ — i — nrt»" r
.ilfiiilifci^B^^^&SfeiSiSl
LUBEC. L. M. B.&T. Hy. 10. Handel. 115
Andante s"*~*>~ <^* y*"™*x /""s ^>^v, y""\ ^
1. My God and is thy table spread? And doth tliy cup with love nVrflow ? Thither be all thy children led, And let them ail thy sweetness
:5jEp
'5iipigiippifiiiiiiigis^iii:iip#fp
know 1 2. Hail sacred feast, winch Jesus makes. ♦- Rich banquet of his flesh and blood; ^ Thrice happy he who here partakes That
^lii^iliii^illiiEliiiiii^i^i^l^i
^EgpiiiiisipiEiiiii
■acred stream, that
SliHSiii-1
lieav'nly food! Thrico happy he who here par- takes That tacred ttivam, that heav*nly food.
^ii^^Iiliiiii^iiiilfJiiiaii^iilili
K- &>-Vl
iiiiilli:iiiiigi^sgip=jiiiiiii^iij
3H
IIS
HANDEL'S 148th. L. M. Dr. W. Ps. 148. via. 1-
S-piritoi*:
NandtL
w&isSgifflSiSSgiliiiiiiJiPsfeli?!
1. Loud ha lie- liijah'8
lo the Lord, From distant worlds where crea- tures dwell; Let heav'n begin the olemn word, And sound it dreadful i
•= »i*i
£IF
iiilliiiiill
Vivace e vigoroso.
fM§raiffl»SSffl^SWg
-?
down to hell. Let lieav'n be- gin the solemn word, And sound it dread- ful down to hell. 2. The Lord how absolute he reigns ! let ev'ry angel
=i§n=i
bend the knee; Suigofhis lpve in heav'nly strains, And speak how fierce his terrors be. 3. High oft a throne hisgloritt dwell, An awful throne of
I _ _ _ ^33"Ci33 _*** ^ _
Continued.
Continued. HOWLSTON. L. M. 117
fcliiniiic bliss Flv thro' trip urnrld rit ...» i -,..,1 .„n ur„... ,i„.i. .u„ i.„_ ,. ._ . ■ . t^ ■■•
shininu bliss Fly Oiro' the world, O! sun! and tell How dark thy beami compai'd to his.
W^tl
--
iliiili^iiiiPIiiiElia!
My passions rise and soar above
igSliiigiSSii"iiliiril|iiiiiiiiiiiiii
d with MU.,»iuI6x'dwitli love; Fain would I reach etcr- nal thinp, And lean, the note, which Gabriel >b(i. Soon the kind minutes will .ppcar, When we .hull leave these bodies here.
iSrMil
iiiiiii^iiilii^iiliiliii
:-~T"*"
■talof. to world. on high, To join the song „. boTe ,he sky; And utount aloft to world, on l„B„, To jo,n the ,onES a- bove the sky.
_ __ - ° — — J » "•"* ■»«"*■* "■»■>. w nmiua wii »i);n, id join ine sonijs a- Dove toe sky.
mmm
mmmmmmwmmimBM
He
Expressive.
ASCENSION. L. M. Br. W. Ps. vrs. 6— 7.
My.
Rejoice yeshi.ung worlds onhigli, Behold the King -of glo- -( ry nigh! Whocan this King of glory he? The mighty Lord, the Saviour's he. ;
It tr mt
|l Ye lu-av'nly .gates pom- leaves dis- play, To make the Lord tie Saviour way: Laden with spoils from earth and hell. The conqu'ror come* with God to dwell j
Tutti. -p- /?> *r tt
Rais'dfram the dead in awful state Ke opens heav'm e- ter- nal gat.', e- ternal gate ; To give his saint* * blest ahode. Near their Redeemer and their God.
He opens, &c
.« ter- nal gate. .
in. IJ|II.I,1, nv. , C- Vtl- 11.11 J..C" • « __
UOULSEV. L. M. Dr. Ripn. Hy. 472. By. Dr. W.
Musica Sacra. 119
Ir
piiiiii^sirgggii'iiigii;jr^ii^pi
1. WliaiJheav'nly man os lovely God, Conies matching downward from the sk iea, Arraj'd in ga.miiiw roll'd in blood, "Withjoyand
in his syes ? 2. The Lord the
Saviour! Yss/tis he, I know him by the smiles he wean; Dear glorious man that dj'd for me, Dearglorious man that dy'd for me, Drench'd deep in in ag- onies and tears
:d*
m
Si^ifc^s^^iiiliiiii^ifea
tfrft
ISiiigfSiiliiiiiiigl
rftt
For.
^ rfr T_]_| -t | | I,—
Sessil
.Lo he reveals his shi* ning breast ; J own these wounds and 1 adore r Lo he prepares a royal (Vast, Lo, he prepares a roj - al ft nst. Sweet frui t of Hie sharp pangs he bore.
illilligllillM
Miglgllfiiigll
1*0
AVON. L. M. Dr. Ripp. Hy. 212,
Banister.
AffLttuos*. "*■> s—~^tr ~~* P™3 <~~ ~ ~\ ' "7 ->. TT Fin.
At anehor laid, remote from home, Toiling, I cry, *' Sweet Spirit come !" Toiling, I cry, " Sweet S}irit come Cek-slial breeze, ho longer slay, But swell my sails
.^lliiiiSiiiiiiiS^liliiiiiiili^l
i®S^piigjSi=ii?Siiili
Cres. ror. . » y^^vTir int^. v»o. i um. ^ -* v .. — w>o* r~ ium>
and speed my way ! But swell jny sails and speed my way! Fain would bn£a! I mount, fain would I glow, Fain would I mount, fain would I glow, And loose my cable, And loose my
ills!
And lo
Hi
___ ;«
tt^ifdit
illililfi
cable from below; But lean only spread my sail; Thou, thou must breathe th' auspicious gale! But lean only swell mvsail; Thou, thou must breath
fit ._ s~~^ _ *r
gi^i^^i^^SiiligSigligligiilL-:
K33
i^i^^iiliii&ii^l
Continued.
■SHEFFIELD. L. M. Dr. Ripp. Hy. 581. Breillat. \ 21
ft
tll'auspieions gale, Thou, thou must breathe, :,: tirauspicious gale. Sinner, 0»hy so thought- less givx.il? Why in such dreadful haste to die ?
liiiiSieplri^iBsissil
Tli'ausprcious gale.
iSIISiiSiil§iilliiiiiS§^lpisli§ip
Daring to leap tt worlds unknown, Heedless against thyGod to fly: Wilt thou despise e- ternal fate, Urg'd on by sins fan. tas- tiodreainsf Madly attompt th' infernal gate.
BESSHpr::
3sBra
Q
122
i
SHEFFIELD, Continued.
t^m^sH
& — I*-
Wm^
p"^
Iiii|gi:ii
And forae thy passage to
thenames. Stay, Stay, Say sineer.tay, Slay sinneron the gospel plain.; Behold, :|: the God of love unfold The glories of hi, dying painsj.
t
I
:SSi|5
fS^
S
HSiSiiSiiilHiPiE
«\Ado.
:tc:
Forever telling yet tratoWo For- ever,
telling:, *▼« telling: yet untold,
I
.33
Fur- evir telling' ever telling: yet irat»l<L '
m
m
w0M5mm
ORPHAN'S HVMN. L. M.
Cortellow. 1 23
1. Attune the sonff to mournful strains; Of wrongiand woes theiong complains; Ac Oi-phan'i voice (ssays to swell. The not. • that tear* by turns rent 1, -II-
2. Left oji this world's wide bleak lor.om, In ain renew'd, in sorrow bora ; No guide the devious mane to mad, Above no friendly shelter sprvad. -fl*
3- Alone, amidst ■unwinding- strife, And naked to the ilorms of lift. ; Despair looks round witbaching eyes. An -1 sinking nature groans and dies. -JJ- -
_ *r /""n Ado.Aff.t m ifr
A Tempo,
4.Fuendsof tkeratherlcuand saint, Where shall I laigv,ay deep complaint? Where, but with thee whoseopendoor Invite the nelpiess.ud the poor. Invites the h. p- lesi and the poor.
>_._eortho I am despn d forgot Vet God, mj God, for- gvuioenot; And he is safe and roost succeed. For whom the Lord vouchsafes to plead For whom the Lord voochsafes to plead.
124
if;
RUSSIA. L. M. Dr. IV. Ps. $1.
-■ — •^J—-™ »"r IP-^,^ _ _, .. ,.„:_.. y„, .1,= wi,oIp earth in
^i;
as±
IE
l'-fr#
, , , ej.c .trains = Let .lie whole ear,h in song, rejoice.And distant Islandsjoin their ;
1. He reign, the J;ord the Sav,our mgns, Frmsejnn^ m e- van _Ba ^ ^_ ^ W-T"
4±-
SBP
-lansi
2. t)eep ate hie counsels,
MiSIBliiiSlSsBfiSli
_3 iJJ- > M_,JJ— ■■ "-J-© -«-l»W k. I I- . r_„ tr_, "%. „.„„ R,r The mountains melt, the seas retire. 4.Hisene-
m
3. In robes of judgment, lo ! he comes; Shakes the wide earth and cleaves the tombs
Before him bums devouring fire, The mountains melt, the seas
«r:
-P--'SL-3-l"-PIf~!: S— M U-^UU— Lr~ U-l- >—■- --"*•* ^^ Tlienim your heads, ye saints on high, And singfor your redenvptum's nigh.
mU»i vTthsore dismay, PI, from his sight, :|: And shun the day, Fly from In, •W^0- ™_i *„.»>_£— ■■ T-rH»-fc-BrT-rM|
iliilii^iiiii^siiii^iiPiiiiiiii^i
Spiritose.
HABAKKUK. L. M. 1M Ripp. Hy. 285;
br.Ame. 125
My Saviour doth not yet appear; He hides the Brightness of hii fa* : ' $ :. But shall I therefore let him go, And basely to the tempter yield ! No, in the strengthof
Pia. 1t
:£Eu
iiliiiSiiigilEgE
Pia. <tr
iil give ap my shield. '•-Altho' the vine its fraits deny, TUtho' the olive yield no oil, The with'rine; fig-tree droop and die, The field il-
+r . __ HH
Jetus no ! I
__ _ „ . _ Dm' P'O' Crei. For. Fortis. -B- ** —
lude the tiller's toil— 3.The empty stall no herd afford— And perish all the Meaning race ; Yet I will triumph in the Lord !— The God of my salvation praise.
126
Gtocoato.
PHILADELPHIA. Li M. Dr. Ripp. Hy. 422
>— ftr"j _4.1p:».il ! 11' J- 1"1" ' ■"" JX 3. And whenftro' brilliant gala of.
3L[
I \ I 1 -1— -U*! m 1 — ' i 1 ' «■ , . ,.,,„ _.„„■„„<, deeds and daring name.
I Lur We-Upr0c1.im,We.l<P™!Wm,Th=Saviuu,„,.no„,s,reT.procl»inliW,ilabeWs,n,„!p1,rled *»4 «— — «»#—**. . _
|jg^l^^lj^^lllii:iigiiliiil|ill
Con Spintoso,
DARTMOUTH. _L. BL B. %T. Ps. 18. vrs. 9, 11, 12 & 15.
Dr. Callcolt. 127
«^^S§gBgfflB^3SM§iB§g
He left ilie
beauteous realms of light. Whilst heav'n bow'd down ils a*- ful head;
Beneath bis feet substantial night Was like a sable carpet spread.
&§iiS:g:^iiii-iiipiigiii§iliL8iiiiiii
black wat'ry mists and clouds conspir'd "Willi thickest shades,
his face to veil ; . but, at his brightness soon retired, but at his brightness
soon retir'd, And fell in ibow'rxof fire and hail. The deep its secret store»idi»closM ; The world's foundations naked lay, The worlds foundation's naked
gigiiiS^ipfgSiil^liliiiiiSllli
HM^iii^i^iSiS^ii^liliiiliJilil
DARTMOUTH, Continued,
~ "i- ' " *«^* , , ,, . . ... _ . ., — „,„-j -«n.;<.h 0-i>,-[\ mfi-VI that drend-
nakcd lay,
by his a- venging wrath ex-
port, ex- port by his a- fofnguij* wrath ex- pos'd, Which fiercely rag'd that dread-
iH
§111
if^iiggiiiii^pi^igiiiiy guy i
1=
Which ra-
i\y Spiiitoso.
fii^iliillil^iiriiiiiii^i&«|
j ■ ful "H 'Which' fiercely rag'd that t!rau!ful dreadful dar. Which Bircely rag'd, Stc.
I
Exalt- ed high at
yyiucu nerceiy ™s« ""*»' —3*^ ""TvT .-' " — J ° ' _£, i _ 1 c\ Jt.., i__ ■»■ — - — ■
S||gliS;gt^ggigiiIi^illiiSIiiiiiii
- - g'd • - ■ Which ra- ------ B'd
it
EXALTATION. L. M.
Breillat.
m^M^^m^^
God's right hand. Nearer the throne than cherubs stand, With glory crown'd, in white array
i^Mi^SIS
ring soul says who are they ? "Who are they ? My
My wond'-
n=
|^^fe^^^^^^3i^l§r^P
asa_-»i-P!
^^Uliil
EXALTATION, Continued.
Duetto.
123
pSSIl^iplliilS^pgiiiriliiiiigii
n'tli'ing soul »ays ivhu ate ihey ! There are thesamts bdov'd of God; Wajh'd are their robes in Jesm blood, More i|»ll«i than the purest
^li^ipis^iiimi^i^
== 3F
■fegtiiilllliiljglggp^llilillgiiglili
<^c^3i^p^gSimgHg^ig
white, More spotless than the purest whip;. They shine in un- cj-ea- ted light. They shine in uncre- sited light.
Amen they
=lliilill§§illgg
yjM^i^^p^^ap^ppai
Itl_. EliiC
=£SiSliB=
P^S
'^gml^m^^^^^mm$g^£
cry to him alone. Who dares to fill his Father's th
They give Iiiiu glory, They give him glory and again Repeat his praist
SB^iBil^^l^^^Sl.^i^igli^
R
130
EXALTATION, Continued.
-iT
^affi^^s^nsis^
Thcygivehim glory,
They gir.-him Blow
ilE€iSigis^SiSSililSfelil|il^i
— &--
i
niiiiiiiiiiiiiiiiii
:_a
JUBILEE. L. M. Dr. Ripp. Hv. 58. By Dr. Doddridge. HunM.
"ftV hJl A-°' IT -ft- "="«=»■ 0 o Q~ Q.. ' ■> O
peat his praise, Repeat his praise, and say Amen.
1. Loud let the gospel trumpet sound, And spread the joyful tidings round; J 2. Ye debtors whom lie
Let eVry soul with transport hear, And hail the Lord's accept- ed year. | When humble nt ~ his
igglllilitliil i^pBTOpIWi
iiis^iiteiiiiiiligiaisiiii
mm
ffitEEE
gives to know That you ten thousand talents owe, That you ten thousand talents owe,
leetyou full, Your gracious God forgives them all, Your gracious God forgives them all.
SHI
3. Slaves that liave home the heavy chain Of sin and hell's ty- rannic
To libtr- ty aa- sert your claim And urge the great Re- doer.ier's
iiffliiirilgiiliiiiiiiig
JUBILEE, Continued.
nam"' | "'The '""''' "" he" imU:e °f bea"'", Your joy J'"""- boast i. freely giv'n; fair"- Salem your a.- «V" ni wail., Wit* golden mn~m£T '^pSrly '
iliilliiiiiSiliiSii^g^iiiiii^iiiiii
IE**
gates. 5. Her blttt
No debt
' £u h'nV I™ ;™ J"ltt V° "",re %?d!*p "nJ.P0Ter- ty deplore; | 6.0 happy soul, that know the sound Ce-
' ■*^t ™t wve im- mettle- ly glial; Theujoy still ri- les »ith thifdebL |
=fii=lif
giiiiii^liiligiiiiiipeaiigiiiiiiij
lesltal light their st*p« .urrouiid, And .hew that jubi. lee begun, that jubilee begun, That jubi- lee begun, Which through c- ter- rial years .hall
I I I 1 /T\
132
HANOVER. L. M. R & T. Ps. 150.
r &. T_p=._
Dr. Arnold.
Z±X
f ° J31"*' -------___ jSCj o praise the Lord in that bit st place, From which his goodness largely flows, largely flows.
pillpiilii^ii^piiiiSglliiiiiei
!lliil^Pi^iisp£^^yiii|li%ii|i|^gil|g|l
J Pi-aiiehmmlirav'ii,«here he his face UnveilM in perfect glory shiiwj. Praise him for all Wsmisbty aols^mjeiihein our ljebalf lias done; Pmheliimforall his mighty acts Whichhein out behalf.&c. His
■ | I *^_«n_ i,_j i
tf=*
3C
--frr-i—l
«l — 0
=££©
iiiSiiiiigi^Iigiii
|| Ifindluss this leluni exacts, With which ourpraiseshculileo.ual run, With which our praise should equal run
~|:
:=lii^iigiS
ii
([illlllSiilSliiii^lliii^PliiSiiil
Continued.
€-
1=1
tT Finii.
133
gigl^iiiiiiiliigi^
- our praise should e- qual nin.
Let thesknll trumpet'* warlike noise, Let trie shrill
I
iffSLfrp
PUSi^ii^iiiigiil
iiS^Sl^teiiiiiiiiiiS
p=^j=igcrj==
liiilitemB^iiiiigiigs^^i^liiilil
trumpets warlike noise Make the rocks and hills his praise rebound,
^lisgilii^i^iilllslgi
Praise him with harps rae- lo- diou*
noise, me- lodious noise
A#ifcgfcigi|ii
SggE^igflg:
iMH^giiii
ifcbftdfcS
\nd gentle psaltry's silver sound, And gentle psaltry's silver sound, And gentle psaltr) 's silver sound,
§lMi=i§l=i§f=i
HANOVER, -Continued
§i!lf!!lli!igi
Instrumental Base
jzj
iiisi
^.j^^_jlmtoj.^^Miftt, To _cy^b^ct tl,™- sonp »f_ pra^ijym^ baj. of tonunor. size,n,,d dm That loudly sound"™ .oleum days.
'-■■' °" "■" vi»l fr/eathen- joy, The breath ho d oe, to thrai «f- fold, In just returjl. of praise employ.?3 'let ev'ry creature praise the lord.
R. L. M. Dr. Rippi Uy. 474. By Dr. Watts. Br.Madan.
Andante Affi-tt
EASTER.
||. He <,,es Uie «™lof /inner. dies! Lo, Salem's daughters tveep . around! A solenui dattaea. veil, the skies, A* "sudden Irombling
<C\ Pin.
EASTER, Continued.
.i,„rs j rtwi He«-. l0ve * Brier t y^ 4?- Et^ ^t^e^SyK^F^
IT T\ ^ — -^ ,. — .. ° h1"/ «'".m 101 men. But lo, vhat sudden
|iiipiiigiaii^siggi^lig^igg
liiypsiiiiiiiiilliiiiliil^jll^illl
joys we lie! « jrau, tllc 7ra(i rc.. ~J *■"■ I- I ■ I ■<■>--— -| k 1-| ~-^-^T i--ZJ~-.U~-^1^1XXZ^:
— *. ... '_" * Su,iu T he miner Gin f..i-Lnt,.e ,i„. „.„,i, t„ -„:.« .i.„ . l »_„ .TT .. TT=-^ ^~
The rising God forsakes the tomb, In rain the tomb for- bills li
la me :
— _■ __ fc y. ^ "■ - — * c "
i^ili.ii=iy^ii^liitr^l|iiiiiEiii|
EASTER, Continued.
Vivace. Pia.
|| and trong to safe', ^~ Then ask the monster, "Where's thystinff? and where'a thy victory boasting grave, AnJwherc's thv victory boastiiig gvavt
^iliHiilfciil^iigli^lliEiiiiil^llp
i
NEW-YORK. L. M. Dr. Ripp. Hj. 587. By Steele
ligHis^!
1 -ft
love ana joy and, tri- on,,.!. ,pre„d Thro. „„ lVa
P^^^iPSi^^^fcisifcilf
NEW- YORK, Continued.
sembhes of ihe skies. He smiles and seraphs tune then- songs To boundless rapture while they gaze: Tf-o iJionsand, thousand joyful tongues -]j-
iiiigSSiiiililiil^iiiiiiiiii^igiiiiii
^^^ffi|^ife^|i:lil^ii^iiiii^s
There all the fuv'rites of the Lamb Shall join at last the heav'nly choir; O may the joy inspiring throne Awak« our faitli and
Resound his ever- lasting praise.
$3 3SS=t£nfeWfa£=
^liE^SSSilglisiillEiJEiEl
»-»-•»
sm
m
l|lil!iiliil^Ssil||,illisill^^i^§g
Dear Saviour! let thy spirit seat Our rntYest in tliat blissful plncc;-^-Till death remove this mortal veil, And we behold thy lovely faecv
™ ™ /T\ ,jk_ i, — , .
strong desire!
liiiiifillliililiipigiPlliiiiliPl
rgiiaiiiiggi^ipiiiiii^iE^iPi^iiiOi
Diielto. AiTcttuoso. .
CRUCIFIXION. Dr. W. Hy. 7. B. m.
Leach. 139
When I survey the wond'rous cross, On which the Prince of glory, the Prince of glory, of glo- ry dy'd ; My richest gain I count
Tia. Crcs. For.
siifgigiisii
=• — i — ™»Ni
fff-rr
3S3
pour eon- u rapt on all my pride, And pour con- tempt on
liiiiililMiiiiipliilii^aiiiiiiiii
but loss, And pom' eon- n m;>i. on nil my pride, And pour con- tempt on all my pride. Forbid it Lord,
that I, thai I should boast
<rr >7\ Cres.
I should in .1 ■■ , :|:
fr/5> Cics.
Save in the death of Christ myGod; All the vain things that charm me most, Iia- --------
I sa- cri- lice, I sn-
. _ ni ^™ ~» ^ "• ™ ^^™ ~ ■""■ -
j sacn- nee them to thy blood. SecJ See irom liis head, liis hands, bi3 feet, See i See from bis head, hia hands, his fret) Sorrow and love, flow mingled down, Sot-
^lillliiil^^illliiiiilliiigi^iillEiiHill
ri- ficc,
/7\
cri- fice,
Volti Subitci
140
ifi
CRUCIFIXION, Continued.
Ka. For. ph^ ^rxuoiriAlUiN, Continued.
II
_„.|@
mr«W, J°™,__Sor-_- - row_ _am' T- -•- loTe ^7?*.
^=j~ a^=^=T-r— TT-— »*^--H-W^_-— __-, fr <* « Fo"°W ""-^".'"'■^d, mingled d.wn. •" '^-^ tar-^f^-X^
)w meet. Or ti.«™„ iSI **"** "
I cro»iTor.to!, .a- -mpo?e ^-VrS^-^^-^Flrg^-^rb^^BrferB^^F-FTL , - ,_ -
I »-«rO T_. , '"e« .uolitoeor '"-row meet, Or thorns com- pST so ' 'Lr -^J-'«***U HEEL.1 L.J—
a preswit Car too small. ™ ■**» "•*
present far too small.
CRUCIFIXION; Continued. u
■Were the whole realms of nature mine, They were a present far, far ~ innauY Lore IE T mEmtTw' ^ji^SdSmmy so- " — *»&«»»* ~
:||: ^ of nature minei
:||: . of natureminei jTJ
Ili'l--- - a present far no smII. -^"---h. tar—r- r- U.
liHH
— P — £ demands ray soul, my
iSEEElE^
-4— Z^L— ^„«« h a present far too small. ~* *"■■— S h» «W . — J-
ayall. Love in amazing, ,), .„ diTine. Love »7,na- zlnT'T T^ne? ~ L™ s~\^~n ~tiZ,Zo7e~Z~Z
e so amazing :J: so divine. Love so aina- zing so divine, Love so 'amazing so divine Love"
rrr±M-hw
S3
inef T>
ne, Demandsmy sou], roy lifeT »y all, Demands my soul, mv lileT lnvalLDemindiiuv s.ul. mv life. ,S .11. rC„.„.i, „„ 'Z.., „„i:i-„ J.. „„ —
mazing .0 divine, Demands my soul, my &~ my all, DemaSoTTny ..ml, my tleT^TyaTuDTmS, niys.nl, "nTTlifeTnTy 0™ fcmani7nij ~», I iVy life","„ry all.
ii
14'2
if
I
Duetto Afilltuoso.
mm
BALTIMORE. L. M. Dr. Ripp. Hy. 504.
_ . ks_ to rxV—N -L-
n GodofLove,iu»re i-^™.-**,:^.-^.^
indulge. The flewinsr tear, the he&vinir siri.. «>,.. .*-*. ' ' ... ^ J-j_ -+- 1— J H LA.-J.4
£££
friends and kindred die.
dzj
m
H-iM — Ht — ^^-r— I -r- —__ _ „a "i""- Alfett. ' /— s _ c,m
Koi'twould, &c.
-I '-^J
Nor ,onMour bleeding mr bleedin,, ^ . n~ " + TZI^'T^FT -^-^-^-t^^-^^fcrCltt-ti^^S-^iS.
—,„— . __, T. ^ -S-q ■'■ haSt"'. E« -The _AU mieh- ty, The. Al- -ferni^ . «-> - k7 tag Fr«l. 1^
our bleediug: hunts forget. *«=.—-■' ™ f- ^" '~l -L.1-! — &-*— *— — — r— — "■-«*
Ifri
— ^-+3=r5:iq,-qxrr-i^---i--jT-i--tr — t---t — t S*.___» p _, a?™- ™ <*w<*. Pi„. ^ ^
Continued. ,
rtUS. Allegro, lilt '~s o » » -B S-
iiigiiirfiiiisiiiiiiliiiiEiigirii^E
Parent and busband^guard and gu,dc,.ThoU art each tender name in one ; On Ulee ,vc cast our ev'rj- care, And ooinforf seek f.om thee a- lone. "ctoFath"
/>-,/-i»-s/-, ,-■»•-,« — ^ «-. -S- .-, „ _ _ _ _=_= * ♦ — -tt
'ry care, And comfort' seek from thee a- lone.
-fVfte
l biDtianu. ^iiard&iid guiatvluouartcacl. bmtkr narno m une ; On iliee we cast our ev'ry care
Parent ami husband, guard and guide, Thou art each tender name in one; On thee we cast our cv'ry care, Aim comfort seek from thee a- |lonc. Our Fall,-"
Our Fath-
Parent and husband, guard and guide, Thou art each tender name in one; On thee we cattour cv.ry ^ a^,,^,,,, ,„.k rrom thee "a. " u"om. OurFo'h
er Gml, to ihee wc IoLk,. OurHovk,ourPttrfiun1Dnt1 ourFrieud, Arduntliy cov'iiiintlove. :H« irn'mintlAvp -ii- Br.A , ,i i • i , .. •„
' J ' •»• c*" 'lantlo^c, :||: and [nidi.oursinkiTipsoulssl.allatilldepend
piiiPiggililpiiiiiSiiiilgiiiir -■ * *
er God, to thee we Itok, Our Rock, our Portloivand our Friend/ And un thy covenant love, :H, co
MS
e^isiliiIpillliiSiiillgiiiiiii§i^
nw l.ok, Our Rock, our Portioned our Friend, And on ,h, covenant love, :», ct. 'nan. love, and truth, 0,,r sinking souls shall sull depend.
>' Lis fold again. | ^ — ' ^ "
stray'd He brought ..
•""•", ' Almighty
to .Jus fold aBaint He bro>t "™J
ma- ker to thy name, Almigh- ty
ir
Lis fold again,
ker i to thy name
i^gi^fil^iiii
Continued.
Pis,
U5
___»oi- ci's raiie; And amh, and tarth with htr _ ten thousand thousand
„ „ , . —JdtonguB, SUI M4OTJ2* sounding praise, Shall CM thy cum „,th sounding praiK, si,,,,
i§g|lp|iipii^iigiiSiiiilil
p£
___ * ' lunuit, jt-urs Biiaii ctase to nio\c, when rol- \aig years shall cense fomovp.
146
Spiritoso.
fl§iiii§li
•p
Dr. Arnold,
fc_2. _
P-
CHESHUNT. L. M. Dr. Ripp. Uy. us.
The Lord is risen from the dead, Our Jesus^ bene ^up ^high; The powj^of^hell are cap- ,ive led, DraggM to the portals tf the sfe, The pot^"~„f'
i-^PiSi|iiiii^SiiSgl^S§liHiii^:
^nailsriiilPiiigiiisli
Oiagg'd to the portals of the sky. TberT3 his triumphal chariot waits. And ai.wla fen.
i - v / — N ,* — ^ -- — *- j^ ™^, J--i -«««= »"3 U1UUJUI4I vuuriui wans, Jina angels chant
^iissiiiiiiiiiii^iiiiiiiigsiijiii^i
filSiiSiiiiiiiPiigl^
il.e sok-mn lav: I.lfr un Tnur li-i,!* ,... i '-I- .... T?. . 7*~ —- 1—
k-mu lay; Lift up your heads, ye heav'nly gates, Ye
■:km.
MfV -ft-s
er- lasting doors giveaway. Lift up your heads ye heay'nly gates Ye ey- er- lasting; doors gWe.ayT
l!
£_"fc« ■-,— "-«-.,= ..e»,«,fsa«=j re ey. er- lasting doors give way. Lift up Tur heads yT Wily gates
IlilliiiiaSrtilfS^^i^iittilS,
-*. SOLD. One Tenor Voice.
CHESHUNT, Continued.
147
tifhf. A 11 r I nrinp im- tV.M ik' f. i ). I a»»no . Tin .-. i ■■ ; , , . >i.. . .. .............. n* ki. -■- ■ - - n ™r^ .* _ r-- n ^" . "T . r^ —
\mw
Loose your bat's of massy light, And wide
Instrumental Base. -p-
fold th' e- therial
scene ; He claims these mansions as his right; Receive the King of glory in! He claims
tzr^fc
Uramental Base. -P- J-. .^
One Treble Voice.
_* jk _k — k.*.««_ i reoie voice. * — v • — \ -^v ^ — ■*. — ^
i these mansions as his right ; Receive the King of GIo- ry in, Receive Uie Kingof Glo ry in. Loose your ban of massy light. And wide unfold Ui'e- iherialTceiuT
.^ — ' **■* *•"** •■*"•** "*• -"" "'"& "M «iv*j mi. '.<.ti«iu> uimv .jutuMims us nis ngm ; «.eoeive tnc King ot 1*1°-.^ ry in: Receive the King of do-— ry in.
afeligSiSiag@|giSiiiiliiiiiiilii
Tutti. Forte. -S- I ^J- * N
gj^^JgJiigigiiiigiiiiggggpBiiiiP
WhoistheKiog-ofGlory? who? who? who ,, the Kingof Glory? who? TheLordthat all hU foes overcame, The world, sin, deathTnd hihoVrihrewj And Jesus is the ConquWs
i urn. r one.
-*«=3,
IllSli^iiiigSi
^HSi^^fflfflira
— -I — l~«. — »_
148
CHESHUNT, Continued.
name, And Jesus is the Conqu'roi-'a name, And Jesus is the Conqueror's rame. Lo his triumphal chariot waits, And^ angels chant the solemn lay; Lift up your
name, And Jesus is tne (Jonqu'roifl name, Aim j«us u «nv««Hii™.ii«uw ~« — -*«■- -i ~. --■■•■ --g— - — -- -i_i. — --«■#-—
3JiiSiri§iisiiSiP^iiiiiii^l^aii
heads, ye fc«rrn)y gates, Ye eve- lasting doors give way! Lift up yonr hearts, ye bcav'nly gates ; Ye everlasting doors give »ay. Who is the Kingof Glory t-
"iMIliiSPJiiiliiiiLig^iliil^ii^isiM
who? who? v.boP'Whois the King of Glory Jsvho? The Lord of glorious pow'r possws'd, The King of saints and angels too; God over all, forever blest,
CHESHUNT, Continued.
UHkbHUJNT, Continued. }19
God over all for- ev- er bleat, God over all, ibr- ever blest, God over " all for- " "ef ble7Mor~eT eT \LZ
_ ___ - - , . «.-. «.. »U1- u.- ci. uiesr, lor- ei- er bk-sc
RESURRECTION. Dr. W. Hy. 102. B. n. n,,
„ Andante. Itt ..-0-. Dim. 4t- ^ a- ...... ^il'
-4:
RESURRECTION. Dr. W. Hy. 102. B. n.
k-p-v, _ Dim, tr _ 4t_
- I'll repuie at death no more, But with a cheerful gasp resign, To the cold dungeon of the eLve, These dying, with'nng limbs rf min*
'ring
° ' ™ —all my bones to dust; My Gad ihall raise my frame anew, At the r™ y. vul < "
vul of the just.
. tr
sigi^^fe^fiiiiii
150
I
RESURRECTION, Continued.
— — " "•*" — W _ ..... . .... ._.._!■_» J-.l .1 4C..1 J_.. J^,4f..l
, -k- break sacred morning -W= :]|: thro' the , skies, ^bmygjb_at delightful, dreadtul day, dresclui
" i:>~ *" *^ .. . .1 _ _!-•. I I .L.. Jni:~I.> A *\.t ,l,.uaJi"nl il.ir |4 iwailflll llm- il n'-SlH 111
break sacred morning, -g- -II- ,b™'tl": ekics brirg that delight-p-fuU dreadful day, dreadful day, d,
"feafce? raormng, " ^ :|: thro' the sides, bring that delightful ^ dreadful ■"^^ ^^
— — ~" I— — — -^- m tan *■<— i—*m t— w » ■■ .,..,..<(..., .,„., ,,«,i j™.^f„i rf.v. :l!: Cut
dreadful day, dreadful day,
break dreadful day,
\ day, DreBK saci'ea monnu^, nuu uic bivicb, wjii|i uwvuniBMi— p-- ^_^ -• .
-L| U-1*-1—- bn Jfe« -r^ J-l \m—*0 )m - — break, dreadful day ! J1 \ *..
\ . ' . . . . ._..-_ m. _ ... _ • __ ...t.—i. i I .i .-*„,- Tiaiu Innn- flipr sf*v. I ViK "^J • 1 _. - . _ i — I
short thehours dear Lord and come, Thy ling- ring wheels, how long: they stay, how long they stay,
r 1 — r 7iTT*"T"*1r' "
mmmmmmmmwmims
No ! no I
m&
=fl U— zftir:
— -I-S ■
-»
Instrumental Base.
-A
RESURRECTION, Continued.
151
No, I'll repine at death no more, I»o more at death, at death, no, no ! I'll repine at death no more, • but • v, ith a cheerful gasp re-
, sign, butwith a cheerful gasp resign, To the cold dungeon of tht graT^W—-^ Thesedying, withering, dying, „ wth'ring, dying-, withering
hut with a cheerful gasp resign, To the cold dungeon of the'gra^v-W—-*
f
^liiPi=i^pii^§iiiSISiiiiii^iil!lii
„ . _ ,. -•—■J- Letwormrdcvoitv, Let worms de- vour my wasting"
I nf iiMiif. Tn tni' f-dlrl ilnnmnn rff in.. ir»nm. TVus -J.:..~ ...:.(.'..:,.„ i: i. ..r : i i. i i i- .1 ; "i 1 .1. ,
limbs of mine, To the cold dungeon dfthe grave. These dying with 'ring limbs- of mine.
break sacred morn,
moraine; thro' tho.
IlSi^i^iS^SiiiiiimiiliiiliiiSi^i
I flesh, And crumble : all my bones to dust, .And crumble all my bones to dust; My God shall raise my frame a- new At the re- vi- val of the just.
■ skies, onngiuatdelight- fu|, dreadful day,. bring that delight- ful dreadful day; Cutshortthe hours, dear Lord, and come; Thy lingi-ing wheels how long they stny.
Mm^iiii^igiS^piiiriill^iiiiiJ
152
RESURRECTION, Continued.
ra^sp^ireipiiis
i
II -£12
Our weary spirits, Our weary spirits,
Our weary spirits faint to see The light of thy re- turning face, And hear the language of those lips, Where
^^^^^^m^^mm^^^mm
ISiiiiiiiiigirsgiiiiiliililiiilliiiiiil
«LzEII5:
* LVigovoso.
God hath -shed his richest grace. Haste then upon the wigs of love, Rouse all the pious sleeping clay. That wc may join in heav*nly joys, And sing the
iilflE^iSiii^glSilSI
m
&
^J=H
ItillSil^i^iiiiiiiiiiiiipiPliii^i
'^gUgg^gSSgH^ggli^iili
. _ *-m— i— H —
triumphs of the dsy, That we may join the heav'nly joys, And sing the triumphs of the day, And sing,
the i vmi in jiii of the day
^ggg^^^aspiPSipi^igKi
P Andsing the day, rjj'r And sing- the triumphs of the <Jov.
And sing- Uie triumphs, sing the triumphs,
of the day-
1
SE3
MONMOUTH. L. M. 6 Is. Dr. Ripp. Hy. 85. By Davies.
Dr. M. Luther. 152
CiVf'nl finii nf UTIllflpi^ ' fill thu IFQIra nVA mnlnl.l.Lr. .*.«■ '** * *' * »*__-. *■ J>> ■ . « . __ _.._
Great God of wooden ! all thy ways are matchless, god-like, and divine
ozE.
sinus
Butthe fair glories of thy grace, Moregodlike and unri- val'd shine; Who is a pard'ning God like
imsn
Sfi3i
mm&ms
~53 2 Crimes of such horror to forgive,
Such guilty sparing worms to spare ;
This is thy grand prerogative,
> or who ha. grate so rid, and free! „ And none shall in the honor share. Who is, &c.
J Angels and men resign their claim,
To pity, mercy, love, and grace,
J These glories crown Jehovah's name
V=*a — - -i. — ■-»_ With an incomparable blaze : Who is, Sic.
_^ iT^-ys T-fc — - t— •-,— * '" w°"t'er lost, with trembling joy,
1 " " ** We take the pardon of our God ;
Pardon for crimes of deepest dye,
A pardon seal'd with Jesus' blood : Who is,&c.
ALTHROP. L. M. 6 Is. Dr. Ripp. Hy. 178. By Wesley.
fWmmm '
muni
^m^m
*W*~i
m
1 Je- bus we claim thee for our own, Our kinsman near al- liM jn hlood.
tliliilii
4°
m
uj±a
Flesh of our flesh, bone of our bone, The Son of man, the
§
of Goili And lo! we lay us at thy feet, Our sentence from thy mouth to
^iiiiiiiigsissgiiilgi^igiigigiai
«ilt^^gilgiiiiS-iiii^^^iii|iiil
154
Spirit oso.
BROADMEAD. L. M. 6 Is. Meth. Hy. 131. B. t.
Shod.
&sSiPS^illS!iiSi
Shout in the midst
yfe
lite
e-g-tj..
t-m3-
US]
of us, O King Ofsaintsand let our' joys abound, Let us rejoice, give thanks and sing, And triumph in redemption found.
3*
:E£
iiiiiriillfciirii^siiiiliiiiii
iiiiiiiiEiiiiPiiii
PLYMOUTH-DOCK._L. M. Gjs.Dr. Ripp^Hy. 211. By_Dayies.
Vigoroso.
Tutti. -tV *~^ ^""N _. Vigoroso. N •' •- s < O- * ^ a_ C^ '
| "We ask in faith for ev'ry soul, O tet onr gloriouB joy be fulL | E" ter" nal Spirit! Sourceof light! EnT liv- *ning conse- crating
r*-| ^
^iiiggiiigiEniii
"=iiiii:iifiiPilIliEl.iSIliiiSlil^iilg
Dr. Ripp's. Coll.
E( tir(. Descend, and with ce- les- tial heat Our dull and frozen hearts in- -a pi re. Our souls re- fine, our dross consume! Come coude- sccnding Spirit! come.
^■^iiefes^si^isife^^^^i
CONGLETON. L. M. 6 Is
Dr. Ripp. Hy. 442.
Dr. Ante.
Tutti.--
155
In Jordan's tide the baptist stands, Immersing; the re- prntiiig Jewj ? ' ™~ *" ■*~ }r~** — Lr— r— UJ — ' — *—
TheSonofGod .he ritedetnaud, N-rdarcue holy man «o«,j Je,ulde. tCend. beneath thevave, Theemblen, of hi. future grave, Th. emblem of
.#_. f__l_i_l i ._. ., -..»»>:, tnecmuiem oi nil "Uturc grave, Th« emblem of
iWiEiigippSiggiBii|L§piiigg|g|ag|
2 Wonder ye Heav'ns ! your Maker lies In deeps conceal'd from human view 1 ~
3 £MSS^^?K^^ S^fe;i : ^ The MCred reC^' W "» «* C°'» W * <** the deed. Calls you, *=.
i Amaz d they see the pow'r divine Around the Saviour's temple shine. Around, Etc.
.„ .{lory spread!;
Dove-like th' eternal Spirit flies, And lights on the Redeemer's head ;
WURTEMBURG. L. M. 6 Is. Dr. Ripp. Hy. 192. By President Davies.
German.
liliiii iiiiiigiilliigiiisi^giii^iaiiiri
his future o-mvp 1, ' A*!". how P™0',™* ■■ <»y ■'•™ ! The greut Jehovah1! darling thou ! I " " "" ■" J "—
1 ^ " _ 1 "" """"n°'-"" "»'"e Wiu' »M« ■»«<-■«• »»«°"<' E'-v ! | Since anjel, love thee, I would love, And imi- tatethe blest above
2 My Prophet thou,my heav'nly guide, Tliy sweet instructions I will hear
The words that from thy lips proceed, O how di- vinely swiel they are!
v,
Thee, my great Prophet I would love. And in
tate the blest above.
3 Mv ^„.t 11^1, u..:.„ ...1 : u..j ™- j . * "™ ~— ~ '"" ~— M ~™ l^J-
3 My great High. Priest, whose precious blood, Did once atone upon the cross ■ 3
2.. ° :™W..dost i.nteFce:d.e wi'.h God' A?d Ple»? .the We^dless sinner's cause. $ In thee I trust , thee I would love. And imitate the blest above.
i My King supreme, to thee I bow, A willing subject at thy feet ; ?
All other Lards I disavow, And to thy government submit: f Mv
y Savionr King this heart would love, And imitate the blest above.
15S
EUTAW. L. M. 6 ls._Meth. Hy. 52. B.J.
•^ i3„.,r faUitS souls, and euide Of all .hat travel to thesky, Come,ar.d with us, e'en us abide, Wio would on tliee a-
fr
English.
Siisd:
PR
§^
Leader of faitlifHl souls, and guide Of all that trav
ft
t:d:
ky.
rpia::::
lone rely; On thee alone our <pir-
1t
^ffPM»
liigEgillii
>Fi*
Piiiiigli^illiiSiilisP
SINAI. L. M. 6 Is. Musica Sacra.
■a
.lEJgjpplplgl'
■fc- •■>- -
*fc=
i
§' _P_fl UJ- |_-L_-U— »• — I— ■ — -^t7Ti,l*,Sl,l TV l5a un- evei?*^ *^ Sweet as the shepherd's tuneful reed From Sinai's mount
its stav, While held in life's uu. even way, While j!5'iL^ m "" * even way. — i^ ^ /—t> ^^
Sweet as the shepherd's tuneful reed From Sinai's mount I heard
musing
> *bs» _"-^-i . — i ow ^, »»"T™"_ _J~ _5 *,.„ „,™j An.i .i-iofiHcnM nature smil'd around : '
the sound, Gay sprang; the
Srr7jrhr"^emlad,— AldTuuted ^.uie^'^undiT^voieeofpeaee^me. mine ea^Chrisf. love.y voice perfumes^nir.
E-P
^m
BRITANNIA. L. M. 6 Is. Meth. Hy. 103. B. i
English. 157
«
iiiiiiiB^gfeHl
:SS5Z5te
1 Jesus thy
2 O grant that
boundless love to me, . No thought can reach, no tongue declare : No thought can reach no tongue declare : O knit my
no- thing in my soul May dwell but thy pure lave a. lone! O may thy Iot© possess the wb»lc7 My joy, my
m
—■ -+■-•*
i
=3^.
^
sE=gEg@PJS
^Itettigi
«::=
^
j^aiiigilPPPfeiiS^i^
m
issm c
thankful heart to thee. And rejgn with- out a rival there ; Thine wholly, thine alone I am ; be thou a- lone my constast flame,
treasure and my crown: My joy my tneasure and my crown: Strong flames far from my heart re- move; my ev*ry thought and act be love.
mm
illigglitlllilil
ii
m
Andante. ir
pS$
. to
SM
HISM
MORNING-HYMN. L. M. 6 Is.
ifr" Sottovoce. «<"*>■
^
Cost el low.
Repeat For.
1 Soon as the mom salutes your eyes, And from tweet sleep refresh'd you rise,
Thmk on the author of the light; And praise him for that glorious sight ;
His mercy in- ti- nite a- dore; Hie goodness infi- uite implore.
nitani^^Mii
! At noon of what you then partake, An ofT'ring of thanksgiv- ing make; | And of the creatures for your use, be not lux- urious- ly profuse:
| For temp'ranee when with prudence join'd, brings health of body peace of mind.
EfeS
SZ'.'K.
K-*
ilffiiSPgiiliiSiiiiiiS?
5 Make nut at night the least repose, Ere you to ueav'n your souls disclose : > Consider how you've spent the day, And for divine protection pray :
5 For you no blessing can expect, If you to ask it should neglect.
158
LANCASTER. L. P. "M. Dr. W. Ps. 147
SiigiiSi^Jig^iiisagiiiiiiiili^
"O ' ~~ ' '" '"' ' ' — ■"' rr~' ' — ' ' — ' < — *~ "**' — f*-1"1 ' *-**■<— r—
1 I'll praise my maker with my breath And when ray voice is lost in death, Traise shall employ my nobler pow'rs: My days of praise shall ne'crbepast While lifeand tho'tand being
i_ i.j .. -— ■. >fc- Ci-_yy — ^. i _i_ . N K h.
km
mker with my breath And when ray voice is lost in death, rraise shall employ my nobler pow'rs: My days of praise shall ne'er be past While life and tho'tand being
iiiiiliSiillgpSiiiiiiiggigt^i
NEW-COURT. L. P. M. Dr. W. Ps. 147. Bond.
•* r. ' — s IT Z Why
last, Or iinmor- tal- 1- ty endures.
m
t_:TF;F|F3:|i:i
2 Why should I make a man my trust,
|^_ Princes must die and turn to duit ;
the help of flesh and blood ;
r breath departs, their pomp and pow'r
And tho'ts all vanish in an hour ;
Nor can they make their promise good.
Happy the man whose hopes rely
On Israel's God : he made the sky,
And earth, and seas, with all their train ;
His truth forever stands secure ;
He saves th' opprest, he feeds the poor,
And none shall find his promise vain.
if
M
HgHgiifiiggll
TheXord hath eyes to give the blind; The Lord supports the sinking mind; He '
SUS
' "'"""" ^TT
m
-:=Hs
1
• -t.T
, Repeat For.
sends the lab'nne; conscience peace ; Hehelps the stranger in disuess, The willow and the fa-. thei- leu, And (-rants the ptis'ner sweet release
iiipiiiSa§giip^iiiill!lilJiriilii
timiisaiiiiiiiiiirii^iiitftlisi
^ HUNDRED AND THIRTEENTH. L. P. M. Dr. W. Ps. 11;
Dr. Croft. 159
apSiiSliililigiilijiiiiiiiiii^ii^}!
-^""^ ~"\ •""" Women. ^— — N — ^ Tulti "— n •--"— ^ +*•
— P-±^ I
sine beams or ^"K^ ray, La land, ami sea, bil p^v_ _,„„,;.„, u., ,±mk a,„, S(,a," "",,;, ^r c„„nss.
Say should are search ihe (flobe around, Where can such happiness be
fc ' 7 ., k ^ ^\ ^ — ^ .. — ^ ■ *« — ' " ■*"■ »"«"-&'""=««"'"«, wncre can sucn Happiness be
\ \ , COLUMBIA. L. P. M. Dr. Rim> Hv <m *~ r '
«1 1 — rr — ; — 1 — 1 r-« i~r 1 _. _i n.ip|>. n>. a^'i. Jennings.
iipiPliiiilirgliiP^iiiiiiiEtiiiiiigf
=— «-P
l^i^g^iiigiiiiiiilliiiPiiiiiiiP
166
CINCINNATI. L. P. M. Dr. W. Ps. 112.
Handel.
fo Women.
Animate* /*" - B ^ ^ ^ — . . ■ . • ■ ■ . i .
I tT" That man is blest, who stands in awe of God.and kwes his sa- cred law; His Med on earth shall he tenown'd; His house the seat_ of wealth_ shall be, An in-
mmm^^^W^^BWmi^mm
ligiiifeiigiiigs^liiiiiiii§iig
'■X
QUIJSCY. L. P. M.
Dalmer.
v fr Tutti. s -n tr . _ Biciliano. m-r—
hausted trea*-j u- ry» And with sue- eessive
honours crown'd.
m&m^mmmm
n^i^^iiiiepiiii
Yet a few years, or days perlmps. Or moments, pass in si- lent
iili§ii§i!i!iii§i
lapse, And time to me shall be nomore: No more the sun these ejes shall view; Earth o'er these limbs her dust ahallstrcw, Iter dust shall strew, Andlife'sde- lusive dream be o"er.
PITTSBURGH. L. P. M. Dr. W. Ps. 9G
E/y. 1G[
Let all the earth their voices raise, To sing »he choicest song of praise; To sing and btess
§pillS!ilpgig|
e» Jt- h...air. name: I',. plory lit \hemj^ heathen kno«,Hi« wonden lo the
pi^gSSiSilliiiiJSigigiSiiliiii
3^:
^ll^^Bii^iliiiiilijIg^fa
0
:«*
fflSSl^lifi
OHIO. L. P. M. Dr. W. Ps. 88.
£/y.
nations show, And all his saving works procl&i
1r
IsSiigiSf^ggSi^Sli
Thy wraih lies heavy on my soul, And waves of sorow o'er me roll, While dnstand
iiewiffliiiiMaiii
silence spreadrtie gloom: My friends beloVd in happier days. The dear companions of my way*. Descend a- round me to the tomb?
SEE3E
162
HUNTINGDON. L. P. M.
Musica Saera.
urn ;. n>su. , ■ • m , & . _• _i
i=~zs:^i
tt
he.:
w
Bail: Jesus, hail! tliou great High Priest < Enter'd in- to thy glorious rest; That holy, blissful place above; The conquest thou hast more than gain'd, The hcav'nly
si^i^gliiiiiiil^islSg
sKfcsafcfcfcrsafc
-Pr— I — I— ■ —
^^&&^^^^m^mm^m
Andante Allegro.
fgf^gl^^|^lgiggE||igi
happi- »ess ootain'd, For all that trust thy dying love, Fob all that trust thy dying love.
I!
=*=j&z
iiiii^ii
Ye saints and servants of the Lord, The triumph*
isiliiiiiflll
i
feEE
?=**
SE
m
EXETER. L. P. M. B. T. & Ps. 113.
"3Z
iiiiBiiiiiigs^^n
Dr. Maiaris CM.
■frr-.-B ■—
his name re- cord, His sawed name forever bless; Where'er the circling sun displays His rising beams or setting rays, Due praise le his great name address,
Mi^liS^giii^ii^i^iiiiiiii
MARTIN'S LANE._ L. P. M. B. & T. Ps. 4G.
tr
English. 163
< God is our refuce distress, A^tesent-0-^ kelpvvhen "^S^ Jires., In Uim undaunt- ed we'll confide ; Tho'eorth werT from her centra tosi7_Aml
SSizlz«Jis±Il
w.
_^ ^^ DEVOTIOM. L. P. M. Dr. W. Ps. 19. Gi«.
_ttountimii in the ocom lost, Tom piecemeal by tk roaring tide, {» ** Great God, .he heaWi well order'd frame. Declares the glTrie. of ig lia*mf: There""
Great God, the lieavVs well order'd frame, Declares the glories of thy lianuT: There
-^^ -— ^ ^ ^»— ^ — ^ — ^ — _ — _^ — ^^ - • - ------- - »"— "*-t «*y"'W! (,»»■«.■ ui iuj raunu ; mere
TT "" N/" .—"" **N _ 4ir> VniMw. Tmi; — *...
!
^_thyrtcj> works_of wondeyhine; A thousand starry beautiM there, A thousand radiant mark, appear, Or boundless pow'r and skilUivi..-, Of roundks , Po» 'rand skill divine.
tilliiiiilllilia
1 Say to the Lord, ye
MI5AR
CM, Dr. W.'Ps. 9G.
:S-
"iCLt lands, Ye tribe, of ev'ry tongue; Hi, new discover* pace demand, anew and nobler .cog.
,U.-„,E-,-, 1- IT -.,-:
U1SU111L l.llltiJ. "■"■ — -■ 'f -— «•- ■
giiiliiHiiiiiiiiiiiii^ v
BANGOR. C. M. Dr. W. Ps. 90.
1T 1T
L_y_-^J-— J I r-H ii„„i™„«s0ii„*ti»v *Wld«n moura Our abwnce from thy iu*e»
1 Return, 0 God of love return ! Earth
tiresome i>lace ; How long shall we thy children mourn Our ahwoee from thy fate.
|SlSpii|iSel^ii^iS
*L L-l-J-l — BJ -1 _,!~""_J „ «, „ IT™ „_ ,o wwz;.
BEDFORD. C. M. B. if T. Ps. 19
I ^~ =-!—- ' ■iu <~ _ . _!~~~. :.-. .. .__„ „_r.„. ^.i..«_„.™„. „„J .if.™ omrcuTbeir ureal Cre. ator's skill. 3 Their
T^eTe^M.^tbysoodne.s^d^V.ncl.tbat.. lone can m, Tne firmament and. mr. exnre^irgrea. C»-rf. skill.
i2£_2S-_i— -PI— -pi— — — -*- •*> — I — *c=»* — r~ — ~ ""' ~-Q- ' --g- _ 4 Their doctrine do
Williams.
- 2 Say to the nations, Jesus reigns,
■ 1 God's own Almighty Son :
" His pow'r the sinking world sustains;
— And grace surrounds his throne.
_ 3 Let heav'n proclaim the joyful day ;
1_ Joy through the earth be seen ;
J Let cities shine in bright array,
l_ And fields in cheerful green.
4 The joyous earth, the bending skies,
Hip glorious train display ;
e- mountains sink, ye vallies rise,
Prepare the Lord his way.
Tansur.
2 Let heav'n succeed our painful years,
Let sin and sorrow cease,
And iji proportion tosur tears,
So make our joys increase.
3 Thy wonders to thy servants show,
Make thy own work complete ;
Then shall our souls thy glory know,
; And own thy love was great.
~ 4 Then shall we shine before thy throne
In all thy beauty, Lord j
And the poor service we have.done,
Meet a divine reward.
' 2 The dawn of each returning day
'rest beams of knowledge brings ;
..J from the dark returns of night,
Divine instruction springs.
3 Their pow'rful language to no realm,
r* Or region is confin'd ;
If 'Tis nature's voice, and understood
_J_ Alike by all mankind.
4 Their doctrine does its sacred sense,
>> »i — >„-,i.'s extent display ;
contentB the circling sun
' world convey.
m
ARLINGTON. C. M. Dr. W. Hv. 29. B. n.
ttr. Arne. 16r>
Adagio. s~~* _ fo
1 Jesus with all thy Mints above, My tongue would bear her part. Would sound aloud thy laving love, And sing thy bleeding heart.
■ 2 Blest be the Lamb, my dearest Lord,
* ' i btood,
ling sword
t_ . r — — T 1 — i — \T-i— *r — It— r P'-i— r-"l 1 r ►— ■» ^-rtV.-.- 3 T1,e L:"r',, that freed m>~ captive soul
4 All glory to the dyijig Lamb,
And never ceasing praise,
While angels live to know his name,
Or saints that feel his grace.
S^BgSESiEiEa^fep
^s
Hsr
*
:E£
f£Sg
WARWICK
C. M. Dr. W. Hy. 16G. vrs. 1 & 6. B. u
vrs. 1 & 6. B. ii. Stanlfij.
HSiiiiiSlirii
bode, Or ven- tui-e near his throne.
devouring flame.
i^ll^iiiifJigiilii
ST. STEPHENS. C. M. Dr. W. Ps. 23.
SliSlisil'IH
a My Seepherd will supply ray need, Je- 'hovah is his name; In pastures fresh he makes me feed. Beside the living stseam.
-¥Sp
Pigiiiiiiiiiisiiisii« -shs
Jones.
ngs my wand'ring spirit back,
en 1 forsake his ways,
leads me fur Ins mercy*s sake.
In paths of truth and grace.
When I walk thro' the shades of death,
sence is my stay ;
"thy supporting breath
rnv fears awav.
PLYMOUTH. C. M. Dr. W. Ps. 39. vrs. 1, 2, 4 & 6.
=51
Tansur.
:k-
Uligg^iiliiSS
< I. . , measure of rny days, Thou makei" of my frame; I would surrey, life's narrow space, And leam how frail I am. 3
A span is all that we can boast,
An inch or two of time ;
Man is but vanity and dust,
In all his flow'r and prime.
Some walk in honour's gaudy show.
Some dig for golden ore,
They toil for heirs, they know not who.
And straight are seen no more.
Now T forbid my carnal hope,
My fond desires recall ;
I give my mortal int'rest up,
And make my God my all.
CONNELLSVILLE. C. M. Dr. Ripp. Hy. 558. By Doddridge. Ely.
Gravcmante. ^^ —^ fir ^ ' — * *r IT v£__/r» £AJ=:ft* _ _1 —
) ^ l ye mourning saints whose streaming team Flow o'er your children dead, Say not in transports of despair, That all your hopes are fled. 3
§—i — |t Tp*-^*r=5Skr— 4r rrtv~'"lT ~l — ItH — h r~ — I T^ T^ 'OTr*1?^,'.
w^m^m
~Lzzz\izzBlz.pzB
ALZEY. CM. Dr. Ripp. Hy. 109.
Handel.
I l Sal- vaLJou through onv dying God Shall surely be complete; He paid what e'er his people ow'd, And cnnceLVt ali their debt.
piiiiiiiiSliisiiiliiiiiiiai
While cleaving to that darling dust,
In fond distress ye lie,
Rise and with joy and rev'rence view
A heav'nly Parent nigh.
Tho' your young branches torn away,
Like wither'd trunks ye'stand !
With fairer ve rdure shall ye bloom,
Touch'a by th' Almighty's hand.
We welcome, Lord, those rising tears.
Thro* which thy face we see,
And bless those wounds, which thro' our
Prepare a way for thee. [hearts,
He sends his spirit from above,
Our nature to renew ;
Displays his pow'r, reveals his love,
Gives life and comfort too.
He heals our wounds, subdues our foes,
And shows our sins forgiy'n ;
Conducts us thro' the wilderness,
And brings us safe to heav'n.
Salvation now shall be my stay :
" A sinner sav'd," I'll cry ;
Then gladly quit this mortal clay.
For better joys on high.
*:E±=BfcEI
1 l In." 6Srlu lor- eYPI ja iuc xjUIU s, v> ji.ii ituiiiu a nuii" iuus late f nc i :■ i.s u i
COVENTRY. C. M. Dr. W. Ps. 24.
iaicepiksir-
Cuze
167
SiiiflliiSBSiiii^
1 The eanh for- ever is the Lord's'With Adam's num'rous rate ; He rais'd its arches o'cr-fliefioods.And boili it on theseas "" * o
S:i
i^g^^
^isiiEiirtiiriii
But who among the sons of men
May visit thine abode ?
He that hath hands from mischief clean,
Whose heart is right with God.
Xow let our souls' immortal pow'rs
To meet the Lord prepare ;
Lift up their everlasting doors,
The King of glory's near.
• The King of glory ! who can tell
The wonders of his might ?
IJe rules the nations, but to dwell
With saints is his delight.
MELITELLO. C. M. Dr. Ripp. Hy. 537. vrs. 1, 5, 6 & 8. By Steele. Ely
Women. __ 1T_ Tutti. k ff
a-*. _ *^ fr, J, -^ _ Women. <h* Tutti. fr .
1 Tbou onlv centre of mvrest. Look down with nitv'mvpw uri,.t,- .vii1, >,,,,!,,. i,..i .,-,.,.,-,.,.-.,, * u_ u.i.n . i.„ „iB;»,:„n .--.i.
1 Tbou only centre of my rest, Look d^iwn with pity'ng eye, While with pratiacted painopprest I breathe Uie plaintive sigh.
CANTERBURY. C. M. Dr. W. H. B. it.
(ft
*b
m
tttpfes
:e:kih=;
Blanch.
liiflliiiiiliiliiiis
l Why do we rnpam departing friends ? Or shake at death's alarms ? 'Tisbut the voice that Jesus sends To call them to bis arms
r — a ■ 1 O --- • -.. — ..— »v ^j.. -.,, , Jiuuiu 1 A U UUI UIK IUI« l.i I, .11 iltlU] V MIL- 1 u KJiLl 111- III L.IJ II II U[ Ills.
iMIillllliliiliiiiiiiiiiliiiii!
! O Imn-py scenes of pure delight !
Where thy full beams impart
Unclouded beauty to the sight,
And rapture to the heart.
I Her part in those fair realms of blks,
My spirit longs to know ;
My wishes terminate in this,
Nor can they rest below.
i Soon shall nay cheerful spirit sing
The darksome hours away,
And rise on faith's expanded wing,
To everlasting day.
t Are we not tending upwards too,
As fast as time can move .'
Nor should we wish the hours more slow
To keep us from our love.
< Why should we tremble to convey
Their bodies to the tomb?
There the dear flesh of Jesus lay.
And left a long perfume.
1 Now let our lip. with holy fear, And mournful pleasure sing The .uffrinp rfonr great High Priest, The sorrows ol ourKmg.
sisisisrasras^
i
WANTAGE. C. M. Dr. W. Ps, 63. vrs. 1, 2, 4 & 6. A. Williams' Coll.
r '■,. . He '\watchta of the night, I tho't upon thy pW'r, I kept thy lovely face in sight, Amidst the darkest hour. 3
m^m^^mmmsm&
agpjippp^p^paj^f^ii
WALTHAM. C. M. Dr. W. Hy. 19. B. i.
Dr. Green.
iiSiteiii
1 Lord, at thy temple we appear, As happy Simeon came, And hope to meet our Saviour here ; O make our joys the same.
pgapiiHsip
\l
iHiiSiiSiiis9i
He sinks in floods of deep distress',
How high the waters rise !
While to his heav'nly Father's ear
He sends perpetual cries.
Hear me, O Lord, and save thy Son,
Nor hide thy shining face;
Why should thy fav'rile look like one
Forsaken of thy grace.
With rage they persecute the man
That groans beneath thy wound,
While for a sacrifice 1 pour
My life upon the ground.
My flesh lay resting on my bed,
My soul arose on high ;
" My God, my life, my hope," I said,
" Bring thy salvation nigh."
Thy mercy stretches o'er my head
The shadow of thy wings ;
My heart rejoices in thine aid.
My tongue awakes and sings.
Thy sword shall give my foes to death,
And send them down to dwell
In the dark ca-verns of the earth,
Or in the deeps of hell.
With what divine and vast delight
The good old man was fill'd,
When fondly in his wither'd arms,
He clasp'd the holy child.
! Jesus I the vision of thy face
Hath overpowering charms.
Scarce shall I feel death's cold embrace :
If Christ be in my arm#.
, Then whileye hear my heart-st rings bret i
How sweet the minutes roll !
A mortal paleness in my cheek,
And glory ia my soul.
If
riiiiisgissaiiiiiiiiiipiii
1 LelevVv mortal cm* niieml A«,ri ^«»™ i.™_ ..„:_:„. -,. _ . 1 •"" — ' ' — ■>(——**-
-ARUNDEL. C. M. Dr. W. Hy. 7. B
■> *p — ,, '.
» Letov^ rcorUd^ _earaUe,id)A,,d ~"ev.;7 h^_ ^T~S^r7"^3«S!wS "£ voici.
iiiiiiiSiimmiiliiill^siiif 3
ssiiiiiiiliiig§iiiiiiiiiigr
CHESHIRE. C. M. Dr. W. H. 6. B. i.
.?. William's Cull. 1C9
K.l ! all ye hun jjiy, starving- souls,
That feed upon the wind,
Ami vainly strive with earthly joys
To 1511 an empty mind.
Ho ! ye that pant for living streams,
And pine away and die ;
Here you may quench your raging thirst
With springs that never dry.
Ilivers of love and mercy here
In a rich ocean join ;
Salvation in abundance flows,
Like floods ot'miik and wine.
I lGu.atGo.11 owtuhy aenteneejust, And nature mu.t decay; I yield „,v !„.,„ .„ TT,.... *T . "7 ~
£/y.
^5i
ife^iiiSllililig^irsiiiii !
BURFORD. C. M. Dr. Ripp. Hy. 488. By Steele
Vet faith may triumph o'er the grave,
And trample on the tombs ;
My Jesus, my Redeemer, Jives,
My God, my Saviour comes.
Tho' greedy worms devour my skin,
And gnaw my wasting flesh,
When God shall build my bones again,
He'll clothe them all afresh.
Then shall I ?ee thy lovely face
With strong immortal eyes,
And feast upon thy unknown grace.
With pleasure and surprise.
rI5
Aiulante.
Purcell.
tTonur Redeemer's dorian. m™, Awl™ ,!,„ _JT 7Z .\„ .T. T" l->--r-«- "-^.(-.L—nEi—IJ-
1I'" ***"***««- «-A«*.tt. «^.„,,o ,„„y Ws ,„ve (,mmoml" i^k^t ,~7„7to„7Ue.
iiliiSiSglMililliillillia
2 His love ! what mortal thought can reach!
What mortal tongue display !
Imagination's utmost stretch,
In wonder dies away.
'• He left his radiant throne on high,
Left the bright realms of bliss,
And came to earth to bleed and die!
Was ever love like this ?
:"5iBr~i5:
ST. JAMES. C. M. Dr. Ripp. Hy. 2
Dr. Croft.
lDearLord,whyshouldIdoubttbyIove,OrdiS- believe thygrace? Sure thy eompassiom ne'er remove, At- tto' thou^ Indetbyiaoe.
piiiiiililliiiiigiliiWi^^
i2
Sliiigiiiiliiiiilliiiiiii^
Thy smileahave freed my heart from pa;
My drooping spirits cheet'd :
And wilt thou not appear again
Where thou hast once appear'd.
Hast thou not form'd my soul anew,
And told me, I am thine ?
And wilt thou now thy work undo,
Or break thy word divine?
Lord ! let not groundless fears destroy
The mercies now possess'd;
I'll praise for blessings I enjoy,
And trust for all the rest.
BLANFORD. C. M. Dr. Ripp. Hy. 501. By Gibbons. Ehglish.
a — i 5 — i 1 — - — £:£li£'Ed~1!f:*^XIIJ-'*r,T'r^
ifigiliif
iiigSllliilSPSiiiililii
The son, thy minister of love,
That from the naked grpund,
Calls forth the hidden seeds to birth,
, h „ j . __..... ,....• ......... ,_., — , _. And spreads their beauties round,
I The Spring, great God, at thy commaud, Leads forth the smiling year; Cay verdure, foliage, blooms and flov^s, T> adorn her reignappenr. ^ g At lfae dreaJ or(ler of his God,
— ^^^— .* — ._« u.t — ~ ■■-— ■— -- «- g— k — r-*-—— i-rtN— -l k r . \ Now darts destructive fires ;
Hills, plains, and vales are parch'd wil
And blooming life expires, [drougl,
Pity us Lord in our distress,
Nor with our land contend j
Bid the avenging skies relent,
And show'rs of mercy send.
s^isswiiii
ISLE OF WIGHT. C. M. Dr. W. Hy. 63. B. n.
English.
Grave. ^-v-—- /—> <h- a, r-s'~N • 1X , r_j£^-£_. T™fTH..-2
siiiiiSiiigiiSiEJiiiiiiisfeiiii
' Princes this clay must be your bed,
In spite of all your tow'rs ;
The tall, the wise, the rev'rend head,
^ _ Must lie as low as ours."
1 Hark' from the tombs a doleful sound, My ears attend theory: "Ye Imnjmen come view the ground Whereyoumustshortly lie. 3 Great God ! is this our certain doom ?
— ... _ _-^» 0_o-» — r — ffl-i /n-ri7\ — -r— -«—«--— —r4r-T-G<— .— And are we still secure >
Still walking downward to the tomb,
And yet prepare no more !
Grant us the pow'r of quick'ning gract
To fit our souls to fly s
Then when we drop this dying flesh,
We'll rise above the sky.
! from the tombs a doleful sound, My ears attena me cry; - le ii™r«~™=.^..».s.™. j , —
IsaiiisferS^grtirt
CHELSEA. C. M. Dr. W. Hy. 125. B. n.
r"*rVS\ — — +1 ^^-C— T0C— IT^ITT"! "C ~ +>"l
AdaglO. V,11D1.^I1. V^. ilJ. X/i. M, AiJ. *«,,. ^. II.
1 With joy we meditate the grace Of our'High Priest above ; His heart is made of tenderness, His bow- els melt with love.
fiSSiSiSiliglliiliS
«s^isiiiiiiiipiiiiiiiiiiii
vivace LYME. C. M. Dr. Ripp. Hy. 384. 2d p. Ely.
1 Ye saints of ev'ry rank, with joy To God your off'rings bring ; Let towns and cities, hills and vales, With loud ho- sonnas ring.
Moto-ato MAGDALEN. C. M. Dr. W. Hy. 36. B. n. T. Williams' Coll. ,
And like a vi'lent sea, They break our duty, Lord to thee, And hurry us away.
as
SKK^S^^W
W.Burney. 171
Touch'd with a sympathy within,
He knows our feeble frame !
He knows what sore temptations mean,
For he has felt the same.
He'll never quench the smoking flax,
But raise it to a flame ;
The bruised reed lie never breaks,
Nor scorns the meanest name.
Then let our humble faith address
His mercy and his power;
We shall obtain deliv'ring grace,
In the distressing hour.
Let him receive the glory due
To his exalted name;
With thankful tonguesand hearts inftamM
His wond'rous deeds proclaim.
■ Praise him in elevated strains,
And make the world to know,
How great the Master whom you serve,
And yet how gracious too.
i Forever his dear sacred name
Shall dwell upon our tongue,
And Jesus and salvation be,
The close of ev'ry song.
! The waves of trouble how they rise !
How loud the the tempests roar!
But death shall land our weary souls
Safe on the heav'nly shore.
1 There to fulfil his sweet commands,
Our speedy feet shall move ;
No sin shall clog our winged zeal,
Or cool our burning love,
t There shall we sit, and sing and tell
The wonders of his grace,
Till heav'nly raptures fire our hcavts>
And smile in ev'ry face.
Gvavfmentc.
Si
LUDLOW. C. M. Dr. Ripp. Hy. 257. By Dr. Dodtlridg
iSgasSiEriiSg^fiiiil
of mercies ! send thy grace All-pow'rful fro
To form in our
bedient souls, The image
i^i^jajgBs^ajg^^agpgli
of thy love,
^^s^i^sii
Soave.
cesses:
Ffl
MESSIAH. C. M. Dr. Ripp. Hy. 161. By Dr. Stennett.
u Dr. Rippon's Colt.
r~ 2 0 may our sympathizing" breast?,
i That generous pleasure know,
* Kindly to share in others joy,
And" weep for others woe.
3 So Jesus Jook'd on dying man,
I When thrpn'd above the skies ;
And 'midst th' embraces of his God
He felt compassion rise.
__ 4 On wings of love the Saviour flew,
i_ To ruis€ vis from the ground,
j And shed the richest of his blood,
E3=-*— A balm for ev'ry wound.
Handel,
5
gllSiiliaiSiSSiiiiif
1 To Christ, the Lord, let ev'ry tongue Its noblest tribute bring : When he's the subject of the song, Who can refuse
to sing.
IliglSIliiiiiiiiiiSiiili
^iiiiliiiiiiiiiSiriSSIiiilJi
DAYTON. C. M. Dr. W. Ps. 33. vrs. 1, 3, 4 & 6.
" 2 Survey the beauties of his race,
Ana on his glories dwell ;
Think of the wonders of his grace,
And all his triumphs tell.
2 Majestic sweetness sits enthroned
ItJpon his awful brow ;
His head with radiant glories crown 'd,
His lips with grace o'er flow.
_ 4 No mortal can with him compare,
j_ Among the sons of men: ,
I Fairer he is than all the fair
That fill the heav'nly train.
vigoroso. ±yn.i x wii . v,. in. ur. vv. rs. oj. vrs. l,J,4fi o. Ihfy.
Illliiipiiiiiiiiiiiillliiil
1 Rejoice ye righteous in the^-^l-Lord, This work belongs to you : Sing of his name, liis ways, his word How holy just and true.
?ig|gllSiiiggpigiiiiliiil
liiiilii^iiiiiigiiiiiigiisr II
2 His word, with energy divine,
Those heav'nly arches spread,
Bade starry hosts around them shine,
And light the heav'ns pervade.
3 He taught the raging waves to flow
To their appointed deep ;
Bade raging seas their limits know,
And still their station keep.
4 He scorns the angry nations' rage,
uks their vain designs ;
" stands thro* ev'ry Kge*
full glory shines,
ABRIDGE. CM. Dr. Ripp. Hy. 124. -
df uitT — Ti — I — t-^Itt— Tp 2
pSlIiiliiSlaiilliilii;i§Sg
1 And art thou with us, gracious Lord, To dissi- pate ourf-ars? Bostthon proclaim *li v.-« -IT our God, Our God for- ever near.
easiE
ssMiffliiffiteii
WORKSOP. C. M. Dr. Ripp. Hy. 546. By Steele.
IliiiiiHilSHlgHli
Dr. Rippon'e Coll.
1 How longshall earth's allu- aing lays Detain our hearts ond eyes, Hcgardless of immortal joys, And strangers to the skies.
"q O i# — j-j-j o~- —
.must
T&-
: ::azp: ;—
aaFPFRff^^
BARBY. C. M. Dr. W. Ps. 145.
'fSigp^fgpppiipi
Tansur.
1 Long at I live, I'll Kess thy name, My Kiin^uiy G*l of love; My work and joy shall be the same In the bright world above
SS^Iiii^SailiiiiliiiiiSIl!
IffiSi^a^gMI
Smiih. -173
Dost thou a Father's bowels feel
For all thy humble saints ?
And in such friendly accents speak,
To soothe their sad complaints ?
Why droop out* hearts? why flow our
While such a vvice we hear ? [eyes,
Why rise our sorrows, and our fears,
While sucli a friend is near r
To all thine other favours, add
A heart to trust thy word ;
And death itself shall hear us slug*
While resting on the Loid.
These transient scenes will soon decay :
They fade upon the sight ;
And quickly will their brightest day,
fie lost in endless night.
Their brightest day, aias, how vain !
With conscious sighs we own ;
While clouds of sorrow, care, and pain,
O'ershade the smiling noon,
Oh, could our thoughts and wishes fly
Above these gloomy shades,
To those bright worlds beyond the sky,
Which sorrow ne'er invades !
Great is the Lord, his povr'r unknown,
And lei his praise be cre;<t ;
I'll sing the honours of thy throne*
Thy works of grace repeat.
Thy grace shall dwell upon my tongue.
Artd, while my lips rejoice,
The men that hear my sacred song;
Shall join their cheerful voice.
Fathers to sons shall teach thy name, '
And children learn thy ways;
Ages to come thy truth proclaim,
And nations. sound thy praise.
174 „,„„„„. SOMERSET. C. M. Dr. W. Ps. G9. Ely.
1 Save me, O God, the swelling floods Break in upon ray,soul: I sink and sorrows o'er my head Like mighty ■ waters roll. o «( xhey Jl
«.!
sBSiiiigiiiii
fii
CLARENDON.
C. M. Dr. W. Hy. 4. B. m.
. ., till all my voice begone,
i teare 1 waste the day ;
" id behold my longing eyes,
,...d shorten the delay.
" They hate my soul without a cause,
And still their number grows ;
More than the hairs around my head,
Add mighty are my foes.
_ 4 •' 'Twas then I paid that dreadful debt,
..^Zll~i-ZI5: pEI~tSg3-|-l n~|-r Jh?'bat men could never pay,
a3aia5Eiz; zirHzraiifc Ji ™d save ,hal honour to thy i«w,
J fli ' I" I |~ InJ"_ Which sinners took away.
ilisissng^giii
HI ^ l How condescending and how kind "Was God'scter- nal Son! Our rois'ry reach'd hts hcav'nly niind,4Vntl pity bco't hi»" ^™-
liiillJiiSiiiltlliiPiiiiliii''
STEUBENVILLE. C. M. D- w "- cn R -
Animato. '"■"n >"""N For.
2 This was compassion like a God,
That when the Saviour knew
The price of psrdon was his blood,
His pity ne'er withdrew,
bro't him down. _ „ ■& -I , ,. i i •„,,
_ 3 Now, tho he reigns exalted higu,
jT His love is still as great j
I "Well he remembers Calvary,
— L_ . Nor lets his saints forget.
4 Here let our hearts begin to melt,
~ ' While we his death record.
And, with our joy for pardon'd guilt,
Mourn that we pierc'd the Lord.
Dr. W. Fly. 62. B r.
Women.
Ely.
1T
ESifcr
*-^ 1 Comelet us join our
cheerful songs With
gels round the throne ; Ten thousand thousand are their tongues, But ai] their joys are one,
^Hir^lH
sarfed
EilliSlil^iilill
Mras^^M^MigMiai
IRISH. C. W. Dr. W. Hv. 72. B. 11.
3ft. 175
K£
blest morning whose young dawning rays, be. held our ri- sing God;
That saw him
triumph o^r
the dust, And leave his dark abode.
tr
-4-
<iE5|:
igiliiiSIiiiillll^ipii^jleii
iiiiiipiiiiiiiiiii;iiiiiigiiiEii
li?
Hi
2 In the cold prison of a tomb The dear Redeemer lay, "Till the revolving skies Lad brought The third, th' appointed clay.
3 Hell and the grave unite their force To hold our Ciod in vain ; The sleeping Conqueror a-ose, And burst their feeble chain.
4 To thy great name, Almighty Lord, These sacred hours we pay, And loud Hosanna's shall proclaim The triumph of the day.
5 Salvation and immortal praise To our victorious King; Let heav'n and earth, and rocks, and seas, With glad Husannas ring.
^Wft.
ST. MARTINS. C. M. Dr. Ripp. Hy. 154. By Dr. Doddrigc.
llifiPJi^SigSii^I=iiiiPiiiJgiilie
1 Now let our cheerful eyes survey Our great High Priest above, And cele- lirate liis constant enve And sympa- thetic love.
iiSliifiill^iiiiiSiSiiiis
1 He's rais'd to
rior throne, Where an- gels bow around ; And bigh o'er
the shining train, With matchless honours crown'd.
lilllplii^ilillllillirsiiiiiiiiiPPiif
3 But no such sacrifice I plead
To expiate my guilt ;
No tears, but those which thou hast shed,-
No blood but thou hast spilt.
4 Think of thy sorrows dearest Lord,
And all my s'hjs forgive r
Justice will welj approve the word
That bids the sinner live.
176
DURHAM. - C. M. Dr. Ripp. Hy. 271. By Dr. Stennett.
Purcell.
I7\
^ IP,™- mt^U M at ftyfte. A «vlil* reW lie,; And.upwnrds^ to tlie^ nur. ^ seat .Pre- >« to lift te eyes.
ALBANY. C. M. Dr. Ripp. Hy. 279. By Green.
_ 1r
fr
,#SiigliiIiiiiiiitligiiiiiiiiiiil^iiiSa
' «7~ ■" ** ^* .. _ .'. ii I- ■_..- . -iim.~ i«n. nr. iin>1is_ TiiifpH viirlif Tii rrnvpvri mp otifl iTiiiip. Tn TOVfim me anil mine.
theLord-enthiWd in light, Whose claims are all divine; Who hasanundis- pitted right To govern me_ai,d mine. To govern me and mine.
*^ It is the Lord-should I distrust. Or contradict Ms mil, _ Who cannot do but what is j»t,Amlm« be ^guteous sWl, Andmusl be righteous .1,11.
" . „„„ ,, „» 4-* ,-.. tt_- .on to-. r\_ rv.jj.:j n.. D,- ™). /■<„)!
BRAINTREE, C. M. Dr. Ripp. Hy. 433. By Dr. Doddridge.
Dr. Ripporfs Coll.
Andantino.
:#<5 — 7-H-
Jesus my M how rich thy grace ! Thy bounties bow complete 1 How shall I count the matdhUs. sun, ? How jvay^ the ^mighty debt
, Affettuoao.
f Now letomrdrooping_hearti je-_ _vive, And er'
ft rTs
Dr. Arnold. 177
P^MPTON^C^M^Dr^Ripp. HyJSfie. ByDr. Doddridge.
rzl-:.
*5^^d^; Wby.bouia thcseeve. be drWd in grief. Which .in. Saviour nigh.
Hjg— ^fl ,-r- A ____j_j. ^ — "~ """"^ ■» '"^ .-— — ;-,_—-. ■..„...■_■. ,„ 5nu. >vmcn wn Saviour nigh.
^^^B^flB^^Hterj
Primo. Adagio.
= ^*XE
2do. 1,StoKto aeI^.y<:"™»'»lyho.t.jAnd.hotl,OeI.rthadorei Let dearh
^ PENROSE. C. M. Dr. W. Hy. 63. B. n.
and bell, thro' all their coaiu Sland trembling at his pow'r.
'snru&Mm
• — ■ vuo.u .....fi.i utmuiuig ui ins (ww r. aland
J^. »• B. .oundtng chanot .hake, the *v ; He mka ,h_, clouds ni) ^^ ^J £ £* j^r^^T:^?^ t-0^
Stana" . trrmbling at his pow'r.
kSE
±£•35
iHf
m
S. His nortrih breathe out fiery «iream>, And from his
geance darts them down.
m _ ~C3- _ -■ _ ** ° r --■- — -••■ »' -11- /,■ jutt tj.ii i^i iik-iii uuwn.
il tonrnje a aav^rtiwn vaSm ri>v:.ir.i inn fii.„... *«j .i ■„.. .i • S
s awful tongue A sovVeign voice «KviJ« ine flame., And thundei ««n along.
_Jlmn- der roars along.
-fi * ^ . ■■ . W'- — -•"- "■'"<- tier ruars a long.
Siigi^liiSiiliiiill^gii^ti^jgi
178
if
I
CARR-SLANE. CM. Dr. W. Hy. M. B. n.
Stanley-
IFirmasthe earthly gospel stands, My Lord, my hope^ my. rusf, K ^ am f"°nd ' _ ^ r___.2 q^^-j-,-
t4£H3EP==iBBt*£**^^ ^^mustfc, ev- er res,, They must *, ^ver M
2J»ordeath,n.rhell, shall e'er remove His fartite.. from ms bicast, In m^ '~«#.ri . -* 1- -H-r- I.
CROWN HIM. C. M. Dr. Ripp. Hy. 176.
Ely,
^ tr
crown him Lord of all.
|j -^-Tw~hoev7r"3- Whoev- "eomS he'll not east out. Although your lull, oe »»u. . «... ^ rt
Allegro Modenrto
MILES'SLANE. CM. Dr. Ripp. Hy. 177. Shrubsole. 179
Pia. /-\ Cres. k\ For. ,-\ *r
■P-O-
_-. 2_ ™°™'2_ _ Pia. ^ Cm. ^ For. A 4,.
l.Allhail thepow'r of Jesus' name! Let angel, prostrate fall : bring forth the royal di- a- dem, And crown him, crown him, crown him, crown him Lord of oU.
2. Crown him, ye martyrs of our God, who from liis altar call: F,x- ml the stpm nf .To..*'. mH »„.i ™.™i.:™ ... .«. ._,_.,.
z. crown him, ye martyrs of our God.uhofrom his altar call: Ex- to] the stem of Jesse's rod And crown him, if- :|a crown liirn Lord of all
.^ Vd ^nnCHn eanrl **p Tct.1 a1'.s tins* A A ... . .-»-. . w. .. I ..»*.« 1_ 1 ^il 1 YY'l t- ■ 1 __. 1 t • a • .. _ - -._-
o. Ye chosen seed of Israel's race, A remnant weak and small! Hail him who saves you by his grace. And crown him Lord ofal'.
4. Ye gentile sinners, ne'er forget The wormwood and the gall, Go spread your trophies at his feet, And crown him,&c.
5. Uabes, men, and sires, who know his love, Who feel your sin and thrall, Now join with all the hosts above, And crown him, &c.
PEMBROKE. C. M. Meth. Hy. 546. B. i. By Dr. Watts
Duhncrs.
tr
-— "-• — *»• »t;Ui.i.;.-».U.uu,i«,n«u, JJUlniCIS:
.__._._ »— «_ «• _ . _ . 11.SL. TutlJ- "* — > tr
^1. Praise ye the Lord, im. mor- tal choirs, Thatfill the realms above ; PmUe him who form'd you of his fires.
!d„. ~j- — "«•», "lainn tne realms above ; Praise him who rorm'd you of his fires, :J: And feeds you with his love.
% Shine to hupraiK-ye christal skies, The floor of hi, abode : Or veU in shades vour thousand eves. :»■ prf„„ , ,„.i„i„„ «...
renor P ' »*■«, The floor of his abode : Or veU in shades your thousand eyes, :J: Before your briehter God.
3. Thou restless globe of golden light, Whose beam, create our days. Join with the silver storofnieht. Ml: T...,_, h»™»M ™«.
&Thonrejtta. globe of golden light, Whosebeam. create our days, Join with the silver starof night,
.llLlJ- ° & • »v««™i« create our nays, Join with uie silver starol night, :]\: To own your borrow'd rays.
.liliiifiiifcgll^iE^lliglPiilliiiiPi
PICKERING. Cj M.
Wo.
T. Clark
IT
i a 7 ^■St^BBT^ « ... ...» j- LLAuJ. A .,.1 .1,.'.i-.-.l- 1..1I7 Via IVare.
How s.eet the name of J«"> "mo*. In
a be- liever'sear.; It .oothe, hi. sorrow, heal. hi, wounds, And drive, away his fear., Ann drives away hi. fears.
l
^lililiiiSSP
MS
A:
I
^
Tutti. ^. wm-m A" repel"'
iillli§iiS
ORFORD. C. M. Dr. Ripp. Hy. 228. By Dr. Watts.
Men. <fr Women.
1MM1. '||- k
Tempo di Marcta. _^_ TIT- 1 S r »*lCS— ff_ I- '"J— '
soldier of theeross, Afoll'wer of the Lamb? And .hall I fear to own hi. <mu.e, And shall
Ifeartoownhi.cau.e,-Or blush to speak his name.
^*J-— -— — Ll mfc- mh- t— „,..,-. ..». «,.—.,» .„™n *»,«> *»«»<>_ Am. mil'd throueh bloody seas.
61
SEHJ&-
2. Must I be carried to
3:
,be,kie,,On .Wry bed. of ea.e; While other, fought to win the prize, While other, fought to win the pffe, AndjanTd through bloody^ «
EESEfce
iiiiiiiifeili^isggii;^!
Lord i I'll bear the toil, endure the pain, I'll bear the toil endure the pain, Supported by thy word.
»_ ' „. .. . ■ L. r f__ Tl *1, ^ , ..:,■.„-. r. h R,r* \nr\ cp'i7P it" Wlill ItlPIT CVeS.
. Sure I must fight tf I would re.gn ; '"^^^.^'^X:,""'^-^:,,'^ T'see \£ triumph from afar, They see the triumph, &c. And seize it with their eyes.
Spiritoso
1. Hosanna to the Prince of Light, That cloth'd himself i„ clay;
DELACOURT. CM. Dr. W. Hy. 76. B. n
*■ fr — -^ J ' _
Steals. 181
1r
liHgH!
Enterjdto ^,n gate, of death, And tore the bar, away, And tort the bars away.
HHg
i H-, jZLmlJIl* «^_ CS 1 ZT /-r" P»« «»»"'. And tor.- the bar, away, And tore the bar, ttwajt
_ Andante.
K-PlVrriATT /-. a,. r^ t,. „ __ I~l >~t-L '-^SI—^JX.
I. In van, we plant without thine, aid, And water
KENDALL. C. M. Dr. Ripp. Hy. 372. vrs. 2 & 3
mis
/. Clark.
m vain; Lord of the ^bj™,, God tf grace, Send down thy hTaT'nly r
^-i2-=I-^-K-T--rrr©~ir»TI~-^-l'--<-r4r^__ £2EZ> fr ^"'* ^ ,5-^-, Send down thy heav'nly rain.
»»-«-««l« and tongue, .^^.S^S^S^^
divine; « Thou.LonN hajt^ g,V„ Uae rich^Jnerease, AnS be tf,c ""^ + tbine.
BUCKINGHAM. CM. Dr. W. Ps. 12.
3gc25»:
SifiSSS
Williams.
fr
^-Bt-B t-B-^-J^-H ' = _, "™ "" - le"Ce Pre,"',Aml ^ta" .*■ abound.
182
COLUMBUS. CM. Dr. Hipp. Hy. 92.
Ely.
i
■— ~— - 'tT iT. . r. ,eetthcs0„nd! How tender and how dear! J>ot •« ™» » »r*-T-t: C " "' ' ♦rr-imT
^ZZ^ P=HH^=«=tES^3^;A «c r M. nr.lWHv.I12. By Dr. Watts.
ir
SSHiu1SroNE."c:M: Drvfpp. Hy. 11^ By Dr^Watt, ^ ^g^j
» fe£5"3;HI3d~p£4p;:
j.^r ,. No„ „re •|UU Elories of the tab A- dorn ^^ ^L. rH-=---_1 -«*-+ -r--| 3ZZttljI>I
CHRISTMAS. CM. B. & T. Hy. 1.
HanikJ.
tr
CANAAN.
ppgggpjSiigi-iig
C. JVT. Dr. Ripp. Hy. 584. By Dr. Stennett.
1T
;li§^ill
1. On Jordan1!
stormy baaihs I aland, Anil' cast a wishful eye,
hap- py land,
pos- ses- sions lie.
£fc3EEE£
2. Oh the transport- ing rapt'reus scene That
igiiiiiiiiiigligli^gllfflf
ses to my sight! Sweet fields array'd
It—
rivers of delight.
msmmmmmmm
3. There gen'rous fruits, that never fail, On trees immortal grow : There rocks, and hills, and brooks, and vales, With milk and honey flow.
4. All o'er these wide extended' plains Shines one eternal day ; There God the Sun forever reigns, And scatters night away.
5. Nor chilling winds, nor pois'nous breath, Can reach that healthful shore ; Sickness and sorrow, pain and death, Are felt and feard no more
6. When shall I reach that happy place, And be forever blest ! When shall I see ray Father's face, And in his bos-om rest >
7. Fdl'd with delight, my raptur'd soul Can here no longer stay : Tho' Jordan's waves around me roll, Fearless I'd launch away.
R
RESURRECTION. C. M. Dr. Ripp. Hy. 14 4. By Dr. Doddridge
Cnllcotl.
- - v. «,». ^ . - ^*. . ... *. ........ ^- .. ...... . iy,. 1.[{)|IUI«
Andante. ■ Pia. For. ^
J. Ye humble souls that seek the Lord, Chase all yotir fears away; And bow with pleasure down to see The place where Jesus lay, The place whose Jesus Jay,
i^iiitiii-irg^SIiiiiyiiiiiigiiiiigi^l
2. Thus low the Lord of life was bro't; Such wonders love can do! Thus cold in death tttht
bosom lay, Which throb'd and bled foryo
.3igliiiiliiilPiiggiiiIgliliiiii^
, Wtiicb turob'd and tiled for you.
3. A moment give alnose%> grief, — Let grateful sorrows rise : And wash the bloody stains away With torrents from your eyes, With torrents, &c.
4. Then dry your tears, and tune your songs, 'I he Saviour lives again : Not all the bolts and bars of death The Conqu'ror could deuir, :||:
5. High o'er th' angelic bandstie rears His once dishonoured head ; And, thro' unnun.bei'd years, he reigns, Who dwelt among tile dead, :'|
6. With joy like his shall ev'ry saint His empty tomb survey ; Then rise, withjus ascending Lord, To realms of endless day, .:]
184
,4S^P^SS
3PEE
ROCKINGHAM. C. M. Dr. Madan's Coll. p. 23. By Dr. Watts. W. Burney.
He is a God of sov'reign love That promiaM heav'n to me, And taught my thoughts to soar above, Where happy, :||:
spirits be.
mw
" ~ lillSiiiiiliiiS
SI
mmm^msm
H— grE
^^ss
IRELAND. C. M. Dr. Ripp. Hy. 436.
Dr. Ante.
I \tf— Z'atL'^'itt eanno. te.wTth "SouS up TnstoTe; Treasures beyond the changing sky, brighter , tan got den ore, brighter 4*. golden ore.
sis
VINCENNES, C M. Dr. W. Ps. 145.
^ -Women.
Giardini.
Repeat Tutti.
fa *~*s "■%. /?> -Women. *" ^ ___ ^r_!^_— j- — T "1 1 lT""t*
I I ^=^ r— i r ^^- . . vni,nil. of p-tarv sintr.
. mem'ry of thygrace, My God, my heav'nly King ! Let age to age thy
righteous- ness in sounds of glo- rysbig, In sound, of glory sing.
.SiiliSli
KE&S
Mmmmmmmm.
Vigoroio. iff
EDGCOMB. C. M. Dr. W. Hy. 25. B. i
W. Barney. 185
"b"*^-"- II nr -v . r -% y ^ Pja - -| '» • -L* 1*1 lie (ft i^i#
^-_.T_-_'_L'fe_n_T;r. -"Ill' 'I^'r "»«""«»« *"' «*»■<>* <„ do,Ve, nothing-, talflo du„, y.,t nothing", ha.r., d„n.
;d
Grazioso. \y
E23
Hiill
ms
BERWICK. C. M. Dr. Ripp. Hy. 386. By Cennick.
^-feff
Dr. Madan.
Mou^arRedMner, d, tog Lan^ We .ove* *<* „f to;^^ Hke«hych.™i»gn.mc,So,talr.Nor half, .„ .JS, N„r half. Nor „,,f, ^L „„ he
Largo.
tr
VERNON. C. M. Dr. Ripp. Hy. 308. By Steele.
<?, Pia- For. ff V
Ilear, gracious God.ray humWeiflioJkTo^liee I hr«.fk« m„.:r.t« . mJ.ih.1.. -_.**?. . "•-_ v_^ ^ ^ '-' *■
I*»r,^gr»do„,Cod,,ny nutnMt^^el breathe ny .igh, : Whe^UHhe .arfbf«tK, be gone f"fe „ben my joy, ari^-And »hen n,y ^TS
^^__^ /Ti s — »— ■ "w (i-iivmnuBurji "<j j»i> muici rtnawnenmy joys arise.
186
SHELDON. C. M. Dr. Madan's Coll. p. 62.
Hfindel,
._^31C.{3a-^BJt.CEM:'-L-il- „„J,__w~,ailhand h„pesh»ll cease !'Ti. thissh.il stnke
»♦> — 1*1 — -
Sweet' is that grace
which lives and sings, Whenfaith and hopeshall
Sweet is uiai 6'»- r — , - ^ ^ ■ _p«n~w — fm
I the sweet
our joy- ful strings In Jhe sweet realms_of bliss.
PALMYRA. C. M.
^Si3==^~aEtEit_-lt-jt:tl£^^ ._«,„ dead, ^d.Hher, ^he, toys.
:issz:
«
onoeloVdform.nowco.d and dead, Each mournful thought emp.ojs^ ^ _™-^ CZZ--T T T~ tfi -t-RlE±=5J ^31
" CAROLINA. C. M^ Dr. W^Ps. 39.^ _^ ^
HUMP
i^gi^i^^
Coomis.
IgrgKrg^p
ScS
Lentemento.
G^" 'oV' ">, life, look J^«Iy' down.Behold^ thepain.
&m
I feel ; But
', am dumb before *hy ^ace^Nor ^dare dis. p.te tbywill.
I
V riod of m, life, look r,ly down.Behoh. T I-, 1 T-^^.-TSr^ZX=& — 3=*^
-^ V7I il/ IU3IJ.
w
TAMWORTH. C. M. Dr. W. P3. 142,
Wo. s-** Tutti.
Dr. Callcolt. 167
suns
L*5
3£SB
ftrtztd
ye that love the Lord, fejoice, And let your songs be new, And let your songs be new; A- nsidst the church with cheerful voice, Hia later ^andersshow.
iIglSilgliili;iiiiiSS^ii^g-gggSi
Biiiill^iiliiliii^iiiliiiiiii^iP^
DEVISES. C. M. Dr. W. Ps. 9.
Tucker.
Tutti.
With my whole heart I'll raue my song, Thy wonder. I'll proclaim, Thou lov'relgn judge of right and wrong. Wilt put my foe^ ^to_ihame.^Wdt put my foej^ to ihame.
m
**-*
ill
I
sxir
Spii-Hoto.
CAMBRIDGE. C. M. Dr. Ripp. Hy. 173. By Dr. Doddridge.
Men. a\ Wo.
Dr. Randal.
/e\ Tutti. fr
=*
gms
Jesus, X love thy charming name, 'Tis music- to my ear ; Fain would I sound it out so loud That heav'n and earth might hear,
ii^S^^Jigli^iiliSlI
¥
inns
BRAY. C. M. Dr. W. Hy. 20. B. i.
German-
.. Ammaio.
I
!
SESiiiaiiliHiiSiS^^Si
Awake my heart, a. riie ray tongue, Prepare a tuneful voice ; In God the life of all my joys, Aloud will I rejoice.
Aloud will I rejoice.
^HHIii^li-giSi^
€1
si
DUNKEN FIELD. C. M. Dr. W. Ps. 89.
Andante. /•— " ~'— \ s- -\ t
felggHSll
3=$
^HSii^ii^iis
Dr. Harrison.
■ tr
H=d: :digrd: Sp^^^jSp^;
With rev'ience let the saints appear; And bow before the Lord, His high command with rev'rencehear, And tremble
jte
3S=
liii
,§Z5P~ :i:
-$-L-p
at his word.
—a— sh— ■
^eOS
£2:
i
ti — P-
zaz:
b-y-fer
te
:ozd
gSiillllii
Stoccafo.
WASHINGTON. C. M. Dr. W. Hy. 52. B. ii.
Women.
fir
SeSS
: :?3:i=d:
S|g|:^iPilil|E^iiiiiigipi
He ia a Cod of sov'reign love that promis'd heav'n to me, And taught my tlio'ts to soar above, And taught my tlio'ts, &c.
/7\
Where happy spirits be.
^mm
■4-M
iilip^lt^iPliiPiii
-r— *-
Moderate
ST. JAGO. C. M. Dr. Ripp. Hy. 29. By Dr. Watts
fr fT\ Pia.
Swindells. 189
llliiiliMSiliSSi&llpSiiMiliiii^iiS
V.ri-'i-Tinl u'ud.im. thi-c wt> nraicfi I Thpf> thp r>». a. -.>,i, r'mrn I U'i.k . L. .. I„..ij I 1 -il_ i . j i • .._.-. , _ '
Eternal wisdom, thee we praise ! Thee the ere- a- tion s'mgi !
With thy lov*dname,rocks,ljills, and seas, And heav'ni h»ph palace rings,
ssKSmaffl^ffites
lliiiiii^lSl^i^ll^iiillllSgiiigiS
ir#£
PIETY. CM. Dr. W. Ps. 112.
Wo.
T. Clark.
mmmmmmmwmmMmmmmmm
Happy is he (hat fears_^ die LordAnd follows his command), Who lends the poor without reward, Who lends the poor without re- word. Or gives with lib'rol hand.
EEEEEEgss
1 iSE
P—rr-
*m
SWANWICK. C. M.
Women.
rts Tutti.
Lticas.
c...... „v„11 .1... _>1_.J : -ni-i ii »t ___■.. .._n. ....... .. ... . .' v. - ■
Soon shall tho glorious morning come, When all thy saints .hall rise, And cloth'd in their immor- tal bloom, Attend thee to the skies, Attend thee to theskies.
^iiiSi^lii^liSiPillipggiiiS
190
Brio.
HEIGH1NGTON. C. M. Dr. W. Hv. 88. B. n.
Wo. , s _ ft
Dr. Heighington.
Cnlvi. linnl tl it... ■«■.._ <•..! 1 I 1171.*? _l..~. *_ JltiR. . _ ©
?S3
fiiSflL 2— the J°y" f"' soundTWhat Pleasure to our -ears, A sov'reign balm for ev'ry wound, A
ms
-4-
ass
ft- Tutti.
TEMPEST. C. M
Vigoroao.
for_ our fears, A sovWeipi balm for ev'- ry wound, A cordial for our fears. 31 5*
J
Dr. Callcott.
mi
■ I i| _ _pai.t _^_j_j _i .. — _, . *■ <_. ^ 8 « ueicannsuuiatremuiingon ner nase, Ana clouds tfic lieav'nsi
HlH
£
e?
iiS=-l^liitigliiaig|li?ii
I lo,-m; _ blow, tflj^wind,, from ev'ry place, blow all ye wind, from ev'ry plIceT And nuhS? ~~to*~ .term, And rush the" TJi " «„7n..
I^Mi^iaEgiiggigiiiiip^iiipiiijpBi
T. Williams'' Coll. 191
fisPi
ROCKBRIDGE. C. M. Dr. Ripp. Hy. 169. By Cowper.
1. There is a fountain fill'd with blood, Drawn from Imraanuel's veins; And sinners plung'd beneath that flood, And sinners plung'd beneath that flood, Loose all their guil*
ipSiiii^iiiii^llliliiirsiiliiiSi
Isiiiiiiiiiig^iSliiiillJililSiiiAlg
f- — r^T£"~T~^~'gi*'"T~r~iT"~'~nT 2 The r,yins thief reJoicM ,o see
II — ^T^TP-p+_E_^CIS"Tr — IHr Tliat fi"""!lin i" his day s
II ~^^Tt:ptr:tr^.il=rdj:"^"JJ_ O may I there, tho' vile as he,
<y stains, Leose all th'ir guilty
niiiii
HARTFORD. C. M. Dr. Madan's Coll. p. 70. Heishington
ifJBFa
m
mi
Wash all my sins away.
3 Dear dying1 Lamb ! thy precious blood
I Shall never lose its pow'r,
Tit) all the ransom'd church of God
!— He savM to sin no more.
__4 E'er since by faith I saw the stream
Thy flowing wounds supply,
Redeeming love has been my theme,
And shall be till I die.
v The Lord &W supplies bis peo- pie's
JglH^lg
=^3q=:
ipisiggifipiii
.llititllliiiiil
iiSllteillE
pastures fresh he roakts me feed, be- ndje the
ing stream, be- side
^-gg^ggifggiiiS^lf^iii^i
in? stream.
us
n^iS:iPiiiPMS^iIiiS=mp^
192
lf:fl
PEBMARSH. CM.
Burkitt.
^? :-(->CBJ— U^-l-^-W UW 5?--T:.n:„^ fnA mnr„i, wJth hnlv rirau? on Supported hj i
My soul shall tri- uraphin the Lord, Shall tell its joys abroad,
And march with holy rigour
Supported b> its
:±3
SOUl sua" "»- U,UF" "* "■' ' -.— - -~ j- j . - -- «_. _f~ ■*, ^ «— ^T
i
If:
fllilililiiiil
T. Clark.
OVERTON. C. M~.
1t - Expvessivo. "N ~~^ ^~ ^ 1'Lj— fr— A4J 1 r rbrx' r — I
■"■r-— !■ "^j^^aH™* ■■ t™* ■""" I fr V ..... _. ._ .i v_n * t_ ,.^H 1.MIDI. Aniralc will hnvpr. A nrrolq will
word, Sup- port- ed by its word.
__i r-lMV* — T-j-fT-
^|p3lK353 Hi
Sweet to rejoice in' lively hope. That when my change shall come, Angels will hover, Angels will hover, AiujebwiH
ttfztJfzJJl
I ho^Tr roundmybed, And waft my sf.irit home, Angels will ho*er round my bed. And w*.
ft my spirit home.
; tasi,^^^^^!^!
Allcjjro ma non *i-oppo.
EUSTACT. C. M. Dr. Ripp. Hy. 508. By Dr. Watts.
iSmi
Ely. 191
1 Now let me rise, Now let
^smss
-fc-C
band, my ear, my tongue, My heart, my hand, my
Repeat Tntti.
my longm', Here's joyful »„rkf,
^^^S
8oaTC. KNARESBOROUGH. C. M. Lenrh
_ - - - »- • -« — i — j — o — i — ■ - - .j"j'ui wiuikiui you.
m\f^r-
Si
^^
voice, "Tin nature's cheerful voice. Bolt music bails the lovely
TT
mHHii
ig. And woods and fields rejoice. Soft music Sec. And woodi and fields
ng. And woods and fields rejoice. Soft music Sic.
iH— — . ►>*
If
And woodi and fields rejoice.
Soft music hails the lovely _ spring.
stea=ill
traiiHic bails the lovely spring,
^g«
A % ^
GROVEHOUSE. CM. lir. Yf^^^^^^^^a
«£= ^- C-l ^^^V __ ,„. .,„ „„„„ves. ^d K„d To«6.n a. v,ay. New, fromthe ,e-
— ZZt E— I "M "^^ , vmil.B.ara a. way. Kews from the
ir^**'*N* Shephe.,Srejo,ce, U* ^^^^^^iJlI^^-^trrt-
5 pons ^e/ thesKs, Salvation 's bora to- day
1 « Shepherds rejoice, onepirej... .m~-f - ____^__«R-, ■
_- l. -"I*" » _i — m — /r\ — ir-iBr
re- gions oi mesnies., «..a,.u.. . A
SS
Mn
"Jesus, the God whom angels fear,
Comes down to dwell with you ;
To-day he makes his entrance here,
But not as monarchs do.
5 Thus Gabriel sung, and straight around
The heavenly armies throng,
They tune their harps to lofty sound,
And thus conclude the song.
_» ruse, .pj-j — m- ■FH-1Mgri-|l_XlI io-ciay lie i."""-- '■'■—■ And thus concluue uie s.ouB.
H^Hdbtdtiii^^I3-"-- But not as monarchs do. . ' „ Gi0_r to God that reigns above,
tkJd^ra^^i^vSori^o^ 3 ■< No gold, nor purple, swaddhng bands, ™ff ^ (he
H^H7^-+T>tt^^3d5t=Tt No royal shining things; Mortals shall know their Master's love,
! .. - -I M -r I -Mr A manf/er for h!s cradle stands, M "t their Redeemer's birth."
C And holds the King of kings. -, „„i i Bnd shall angels have their songs.
4 « Go, shepherds, where the Infant has, 7 Lord and sn ^ ^ ^ ?
And see his humble throne: Eovd may we loose th" '
With tears ofjoy in all your eyes,
'-■-.sin
Salvation s doih ,u-....,. —..-^
SHI
Z3SM
Gq, shepherds, kiss the bon
When they forget to praise
Shepherds rejoice, lift
els have their songs, ^ [.- — ; y
to raise? ^SSitSjCS
hese useless tongues w ft^gp-|4_ ^Z.
to praise. <— <—
NATIVITY. C. M. Meth. Hy. 277. By Dr. Watts.
eye., Shephero.rejoiee, lift ..^LT^^^^fci'r-^^
eTe„ ^herd^r^U* -n^^o^n^
REVELATION. C. M. Dr. W. Hy. 18. B. i.
Stanley. 195
g^gg^^ga^
Ta^^Z^o,^ f- hea-v^oclairaTFor'aU the piom dead, For .11 the yi- ou. dead; Sweet u the, avoor of their imnes, And soft their sleeping bed, And soft, And
I llltr pi- OUS utaa i awuei ia uic uivuui ui ui-.ii iwiuui ..u- ™. ... — r-
3
saf-
. ■!»!■ t — U-«rl — «— ■ m
TRUMPET. C. M. Dr. W. Hy. 7. B.
Moderate.
T. Clark.
1 Let ev'ry mortal ear attend, And
'ry heart re- joiee. Arid ev-. 'ry heart vejwice.
^^^^^^^311
The trumpet
'omen. Men. Tutlti.
i _>-
ligli
of the gospel sounds
V, ■ biabUI — 1 — -M — - "— M — «nr«r w,^ invum.. voice.
WiUi an inviting voice.
5a
The trumpet of the
i: wunan -*- " ■— -~ Tf , ,
±«
gos- pel sounds
trumpet of the gospel
=S
3C
^
- With an in- viting voice.
sounds, of the gospel seuutft.
^^^S^^ffiSlp He^
:rz±»ttTC334^±ptC^ with s
;3Ho! all ye hungry starving souls.
That feed upon the wind,
And vainly strive with earthly toys
To fill an empty mind.
3 Eternal wisdom has prepar'd,
A soul reviving feast,
And bids your longing appetites.
The rich provision taste.
4 Ho ye that pant for living streams,
* id pine away and die ;
;you may quench your raging thirst,
'■'- springs that never dry!-
196
Andante. Senucltonia.
Tunes ofhxo Verses:
WARES AM. C. M. Dr. W. Hy. 61. B. a.
Repeat Tutti.
Dr. Arnold
Repeat Tutti.
indaate. Senucltonia. ^"* > '"""'* * Repent Tutti. Women. *"~-* ^-^*v ^"T^ _ **^ t .. .^""' *ep«>tTuiti.
, » i ~.™.>™.„i ;^ 10^ «>io dnv: And think how near it stnnds.") 2-Oh! could \ve die with tliose who file, And place us in their stead;
.,. ... .. 1 ■ , i., 1. tate the clay;- And think how near it stands,!
"When thou must quit this house of clay, And fly to unknown lands. 5
1. My soul come med
2. Oh! could we die with tliose who die, And place us in their stead;
Then would our spir- its learn td fly, And converse with the dead.
" "When thou must quit this house of clay, And fly to unknown lands. 5 Theu would our spir- its learn td fly, And converse with the dead. ]
3 Then we should see the saints above,
In their own glorious forms,
And wonder why our souls should love
To dwell1 with mortal worms.
4 We should almost forsake our clay
* Before the summons come,
And pray and wish our souls away
To their eternal home.
Andante
DORSET. C. M. Dr. W. Hy. 90. B. 11.
W. Burney.
1. How sad our state by natureis!^ Our am how deep it stains! 1 _ . j
"ve souls, Fast m his slavish chains. |2. Butthere's avoiceofsov'reign grace Sounds from Goo>»
And Satan hinds our captive souls, Fast
^L cred word; Ho! ve des- ^^AnT sinneri ™^T And trurt uu- on the Lord." We would believe tllV promise, L.
sa- cred word; Ho! ye des- pairing sinners come, And trust up- on the Lord.*™ "evi
'-*■> /■ Te:
m
m
We would believe thy promise, Lord,
) help our unbelief!
he blest fountain of thy blood,
Teach us, O Lord, to fly ;
There may we wash our spotted squ'ls
Fr.otn grimes of deepest dytc !
' _ Adagio.
XENIA. C. M. Dr. Watt's. Lyrics.
t)i: Callcoti. 197
1. Come lead me to some lofty shade, Where turtles moan t icir loves ; I - ™ — ™_i_-i.^_| — _
1. Come learl me to some lofty
Tall shadows were for lovers made, And i grief becomes tJuTfcvpC* | 2. <Tis no mean beauty of the ground", "fis no mean beauty of the ground, That has,
£fc
m
%i
m^^mmw^^m
-s — s
-»-
:s:=s:
iiiiiig^iiiiii§Sliilii^rg^iiiiii
m
slav'd my eyes; I_ faint be- neath a
X «laV'll TTIVPYM: I fnini- lu>. haiiIi n n„_ I.I. „. A m i v_i »\__ _.-_ ... ■ .' . . .I*
no- bier wound. Nor love below the skies,
Nor love below the skies.
1r
Higgg^feiiiig^j^iiiig
ill=^ig|Silliii
I. Jesus the Lord ascend thy throne
In Zion shall thy pow'r be known
m
ST. ASAPH'S. C. M. Dr. W. Ps. 110.
=i!IlS&lIi!i
— A — ^ - Women. ^^^ iff Tutti. iff iff
And nearthv Fnther lit: I r- •■ «■ r- ■» r- I- p-to I- _ - - (- ta-tar--l~ta-tai I— ta-ta -I r— «■ ■*- "* I — I — ""I — b>3 — »- 1 — ■-»-
An>l make ifiy foes submit. I 2. What wooden stall thy gospel do! Thy converts shall surpass Thenum'rous drops, imm'rous drops, :fl: of morning dew, And ownlby sorteign grace
iiigi^liriPJliiiiiaiieiilliSggi
:gi3±Sf
» «v^ ^ ^ fepiritoso
H
URBANNA. C. M. D^W-^s. 136.___
*%••
"l. Give thanks to God, the soV'reign Lord ; His mercies sull endure.
And he the King of kings odor'd,- His truth is ever ,_ sure
"' ."'"'Tore I 2.W„atwondershat„his wisdom done ■! How mighty is his hmdj_He«'na«h.n^e.JL_h6 1
iitifsiiii
tr j— >. "ft- - — »-t — —t. — ■-»— r-fl — tvt h_Ht""~~~:i_h.zszi tiri_j:
I %™r.f„,„^~HT„.viH^,l,kcrZo1a„d!Ho,w»Tdeis h~ command, * _ How wide is his command.
fvam'd alone; How wide is liis command ! How wide is his command, •!• """ *| 'tr
6lSiiiSiii§l^iigpi
ierai
' 1. The God of mercy be adorM, Wbo
Who saves by his re- deeming word, -»Aml^
„m*-£:-,t-=~t~
:^iiffl
DOXOLOGY. C. M. Dr. W. Hy. 30. B. in.
Pia. *<»
T. Williams.
tr
, fippiiiiifipii3iipi^ifeii^iiigiiiii|iis
I ^JF^ffi^E^ °nc' "■ Le,sa,,i,sa»dange.Bjmn.
S new ere- a- ting breath. _ ,— _, ^ k_ k_ fc_ L.---.»W-r-rf*~rIfc— k— IfT-lrrTfcnT"
1 i^telliiil^iliifsii3i§liliiiiiiiS&
m
sttittiirts^^sii&gii^i^
HERMON. C. M. Dr. W. Hv. 105. B. i.
Mason. 199
I 2. Pure are the joys a-
1. Nor eye hath M*V? nor ear hath heardsNor 9ense nor reason known, "Wnat joys the Father hath prepar'd For those that love his Son. | No wanton lips nor
iiiiSirisPiiiigiiiiiiiis^iiiiii
-**— ^-
1st time Base Instrumental.
igssisiriiiiii
Repeat Tutti,
VEN] CREATOR. C\_M. B. & T. Hy. G.
Steffani.
Iwve the skj, And nil the re- gion peaae. I ^
eW- viyun eye, Can see or taste the bliss. ; 1. Come, Ho- ly Ghost, Cre- a- lor, come, In- spire the souls of thine; Till
iiliiiiiiili!ip_i pgii^i^im^teg
lili;Siisiiiiiiiiili§iIlSiii
ll
I
if
iiiliiSI=:iiPiiiiiPlrgiiliiliiil^iIiiat
I 2. Thou art the com- fort- er, the gift Of God, and fire of love,
ev'ry heart which thou . hast made is fill'd with grace di- vine- | The ev- er- Jailing spruijr "f |oy, And unction— fn m a- bove.
piiiliiiiiiiSiS^l^i^iiliiiriiS
200
LINCOLN. C. M. Dr. W. Hy. 86. vrs. 1 & 6. B. u
Coombs.
Da Capo.
' 1 — ' ' !T\ .""' .T. ._: l. :« mi.nn^- I . . .... -*• .luim. c'.nc
l.Arise.my sou], my joy- fill pow'rs. And' triumph in ray God;
AwScmy »oii, and loud jn-otlaim His florious grac^ ahroad.
2. Arise, my jonl, a- wake my voice, And tunes of pleasure sin
V" t'LlHaJle. Sis shall address My Saviour and my King;. ^^ „ ^ j^ /—N _ +M
| ^_ *£oud Halle. iujahs shall "address My Saviour aud_ my King. _^ ^^ ^_ ^ . ^ ^ -*£:_____-_.
— - f— J-t r— -1- ri— f— L-T r *•»■+- "-"•• > ^ . _, „ _, „., ,„ COSUIIOW.
MILAN. CM. B. &T. Hy. 13.
Fine,
Costellozo.
D. C.
Igil*
And mercy may he sought.
T*e"sel' S'nfy Sa- .™,f« .1 6« ' O S shall I appear.' I S. If y«, *».» P™ ■»,- T15QUJ»__^,Ur
ABERDEEN. C. M.
Dr. Arnold.
T :gc~1
I afl- — — '**■ — — *r _ J- .■•__ _ •'*vw..u«,«'.i .in™ Tf in- nnrMice had wings* | _. , . «„.. iir,A a nenreful home.
^t^'i nSea tanf^ J^ML 'iff.' tSr^.^U^™" — » « to'« «**»* ^
Whereswrms of malice never. Wow, Tempta- tions never » .^_^T^-.«>-r-=-=-T-«-^-T§-C
peaceful home,
Vherestormsof "Sice „%*<£ itt. Tempi- . J^26I!i"^w^^rfVd-^^51S3r^^$=W==l=H=T===li;
Spiritoso.
TUMSS WITH CODAS.
SYDENHAM. C. M. Dr. W. Ps. ISO.
Women. Stnithm
201
^HS
3=CCfc
2 We to tlie Lord in humble pray'r,
„ Breath'd out our sad distress ;
C Tho' feeble, yet with contrite heart?
We begg'd return of peace. Halle..
3 With pity'ng eyes, the Prince of Grace,
Beheld our helpless grief;
C He saw, and (O amazing love !) /
He came to our relief. Halle.
4 Tlastonny winds did cease to blow,
The waves no more did roll j
And soon again, a placid sea
C Sppke comfort to each soul. Halle,
ASHLEY. C. M. Women,
20„ ASJtliiUl- ^' »
~_ ,, Andantino. .— . — a. m — , r
^ _ SSiorT"* GoTtheFathcKLa^ nama, Who from our sinful race,^
-r-r"*i — ' — Hi H I*
"chose out his fav'riles, to liro- claii
Repeat Tnltt.
Milgrove.
The honours of his grace. Glory, honour
t-' •Glory to GodtheFathci'slDtai narao, ™»» - .- , |~ l~l ■ -t~TlI~i~'hT^,;TT-T-r^T
£££
=^ff3H=li^J^=2iPp^S~i Sr^SKZr mjah, Halfe- lojah, Praise the lord.
prSseWpowerBcuntotheLambforever.JesusClmK.so^ . „ Ij-^lrj-rtv-r,-
Wteai&s
SE
1 Seraphs witli ele- vii
igSH
2 Jesus the Lord their hnrj
^s
NEW HAVEN. C. M. Dr. Ripp. Hy. 58S. vrs. 3 & 4. By Dr. Watts,
Ely.
^^g^^^SS
J- ErlMi/ Ml '-I ' ■-
Circle tie throne around; And more and charm the starry plain. With an int- mar-
tal sound. Halle- lujah, Halle- lujah, Halle- lujnb , Hallelujah, A- men.
sseisigi
employs, Je- sus, my love, they siDg
Jesus the life of both our joys,^ sound8 sweet from ev- ry string.
^m
ii=fc=
tas^iilii^i
BOSTON. C. M. Dr. Ripp. Hy. 586. By Dr. Doddridge.
203
*3t
1 Awake ye saints, and raise your eyes, And raise your voices high; A- wake and praise that sov'reign love, That shews sal- vation nigh. 2 On all the
pii^pggpgip^
hW1"
A
^^»
&m
?
-h-
P?
3 Not many years their round shall run, Nor many mornings rise, Ere all its glories rfland reveal'd To our
p^m^ispjg
miring eyes. 2 Ye wheels of
<**M*-r—
^
k
frn
^__
i
f
■~*1
1
-rr
i
"i"^
*-f~
_'_^, i — i
rt®-
=u
.c
M— i
^sa
-r*-5-
J#
flp^p
E^Sl
3$j£hE
wings of
f^ ■ .'"=*T 1 — (— t-fm- h — *"*H 1 — |"»j l— i — /g=~=r>- — [—-Terr^i-^ — . — r=>_ , A. fr ■. -,*=
^^i
time it flies, Each ihp- ment, moment brings it near; Thenweleome each de- dining* day Andeach,And eacli
volv- ing
■4r-
nature speed your course ! Ye mor- tal, mortal now'n decay! Fast as ye bring the night of death, Ye bring-, Ye bring e-
204
Mefrtj,
HALLELUJAH. CM. Dr. W. Ps. 117.
as
IJilEp^p^p
s
O all ye nations, praise the Lord, Each with a diff'rent tongue; In ev'ry language learn his word,
And let his name be sung, And let his
SliS^IPiiP^iiillig^i^iPg|S:
silii^^ig&fessitaig
— " _ . . • » . m m -£** ""^^ m >t^»> >""— "^ GOD A by Hande
mime be sung. Hal- le- lu jah, hal- le- Ju- jah, lial- le- lu- jab, hal- le- lu- jah, hal
liliii
le- lujah, hal-
le- lujah,
M
felsl^^^^^^sgip^te^^^
£#ss£
PH
i^^Sl^^fc
h«l. In. 1«_ »h S.=ll=_ l.._ -v k.i i„ ,. -_i ...... . . ^ ■* '• ■■ ^ ■■ ■» ' ' ■"■ — *~" m-M
hal- le- la- jah, halle- lu- jah, hal- le- lujah, hatle- lujah
^^S^S
halle- lujah,
halle- lujah, halle- lu- jah. Amen, A- men.
sniiiS^ii
iiilii^igE^^p^i^g^iiiSii^
I Ait
tab*-
ALBANY. C. M.
Ely. 205
:?:
&z&
*
He is b God
^msii^i^ii^^ii
of sov'reign lore, Thatpromis'd, that promis'd, that probiis'd, that promis'd heav'n to me, And taught my tho'ts to soar above, Where happy
^^isii^s^iiiS^i!iigSilS
P'»t ttnt ^mliimv ctcirBSlBiia^^ffiS
s
right band: Then come the joyful day. Come deoth, and come celestial bs
fcrra:
spirit* be, Prepare me, Prepare me, Lord, for thy right hand:
Come death, and come celestial band To
=iil§giiiiiPglii^igiig^^iiiPiii
it=±
^^^^^^^^^^B
isSi^ilfeiSiii^iii^
=EE"£:EEE:S
m
E3E
IS*
bear my rou] away, To bear roy soul away, To bear my soulaway. Halle* lujah, :[!:
♦t^.t-it; — r — i
|1: Praise the Lord.
m^sm^ffim^^^i^B&^s
BRATTLE-STREET. CM.
Pleyel.
f|3igiiSiSiii^iSiS^i#ii^i|j
While thee I seek, pro- tecling; powV, Be my vain wishes still'd, And may this ccsnse- crated hour With bet- Jer^ hopes he fm'd.
iiiiSiisi^lliiiliiiiiigiiiiii^i^^
m
-T.-?~
liilliiliiEiH'
< ^gife
tr '/?>
i^^SMS^i
Thy love the powY of thought bestow'd, To thee my tho'ts would soar; Thy mercy o'er my life has flow'd, That mercy
I a- ilorc.
^IliiliSiii^^ilPiiiiPi^iiiil!
i-i;,^ NAPLES. C. M. Dr. W. Hy. 9. B. ji. Ely.
Affettuoso.
5*te
£:
pz: ::
— ©— ^—
rtie=pn::
-$-©•
Si
ig^liiilSi^li^Sli
l. A- las,and did my Saviour bleed! And did my Sovereign, die! Would he devote that sacred head for such a worm as 1?
ifflKs^i.^^^i^s^i
iiiiiii^ii^ii^iigiiiiii^iisa
«l:z±fc£:
feracl
N APLES, Continued.
I.Was it for crimeathat I had done.He irroWd un- ™ thP ,™ > a„. Ij_ ' l~"l"_ +~" E—^=^- J-;^— |~L JJ„
— — — j— -— — w— jp — ° ' J ' 6""-= luiMiuwuiAna love beyond degree'
;H;_ _B_p3;_ jS-J
FLORENCE. C. M. Dr. Ripp. Hy. 569. By Dr. Watts.
Andante.
Jomelli,
1r
1 ' behold the scattei-M sKn*W_ ti.» -i«™i» .n , "~~ . . . . . "-■■■ r-*h- 1—— — <■! 1_— _^_| — i__ __* l-J^-JJ,
Lo I M.o.d ,*, _^««er.U slia^_T„e dawn .W.^M ,„„ blig)l« ^J ^^^^7 b^~ ~ ^V'
E=p
round the spheres.
iS^^^J^Hr^fe^^pg^^^
KINGSTON. CM. Dr. Madan's Coll. p. 76.
Dr. Modem*
S^in^^E^^'^torfliTradler'^pr.i.e.pSfe » thee; Supreme a»en. tial One, a. dorrt
~.HaiI, holy. holy, ho- ly Lord! Be endle»» rate, praise
,-M In co- e- ternal three. 2. Enlhron'd in ever-
t/ 1. Hail, holy. holy, no- ly "^- == t _ig-r->.r- — ,_; j- -* ■ r_C»g r
I ~*laT" ST MtT. Ere time its round be- gan.Who join'd m counsel <o |_B crane The d.g- ty ^ j£
ing suite, Ere time >u '"»" "- •— ■ -»*•--*• _ ■ m. — r\ I 1 I" 1 1 — IT"
FJ3D++. 4- ^PENNSYLVANIA. C. M. Dr. W. Hy. 12.5. B. .. . . — £^-
1 .jrf, - - -J- — — ■ — |— .. ■ . ,^,-m— t— hi — ip ww—SUj,, -Vh„a. w™ j>™*,«mn.dftof tenderness
I
r— — -M__— r tivsv
it!
Largo e piano.
, -v, .... ^ferr^U^C^^
i-^ssff: :
:^B5t
eSP^^Se!
g^^pgEgggggiiiiig
PENNSYLVANIA, Continued.
Women- „ Moderato: , — s Tuiti.
209
Andante.
BUCKMINSTER. C. M. Dr. Ripp. Hy. 524.
God, en- thron'd on high! Whom nnfjel hosts adore; Who yet to sup- pliant dust art nij*h, Thy presence I cmplore. 2.0!
, guide me down the steep of age, And keep my passion
Teach me to scan the
■acred pns^, And practice cv'- ry rule.
iig^Siiiiliiiiiiiiillilli^Siil?
' C c
210
FARR1NGDON. C. M. Dr. Ripp. Hy. 184.
A Tempo.
^asHi^^^ia^^
tr
3»T|r= — i
Wgvitl.
Women.
i.iS, sus,"commis- sioned from "alrove, Descends to men below, . Ami shows from whence the springs of lovejn endless current <bwi^ S-He whom the^
-- — I — ■ . rn r~i-it — s-t — *r — K l~K — - . T"F^n — Tt l~™H K""l ET- TTTtT" CTi— :KT™ I XI I IK^A
l.Jlr- * 5US) cuinmis- aiuiicu irom uuu>c, uuuuuo »" ....... u^.u.., . ........... ■ u ^ .
i^eiifflMi^^^
p " r — __b.._a._T_.
[ •"" . "•" .. ■ . U7HZ _j «fi.™ i_ i .„ „^r~ n„:+- *2a ™i-,h lnv tKn*» iJket'nl shniTO Am- bassn- dor Fur me, Ambas- sa- nor for me.
boundless heav'n adores, Whom angels long to see,
Quit- ted whh joy these blissful shores Am- bassa- dor Fur me, Ambas- sa- dor for^
jippsiiiiiilil^
m
PI
:iFFP
I
Spiritoso.
STRATHAM. C. M. Dr. W. Ps. 89.
Lockhart.
Blest Me the souls that hear and know, The gospels joy- fill sound, The gospelji joyful sound; Peace shall attend the paths they go,
ii^l^PJiigisfiiiliiiiiiiii^t&Ssig
mm^^Mwmm&Mmmmmmz
::=£r
$3
STRATHAM, Continued.
l=l
PUKCELL. C. M. Dr. W. Hy. 76. B. „. " b&*-L*-.
iiiiiiSilgliaiiiliipgiili
Zd_-td33!!"31I=v"-|T-1"m— (-It It*- -. m. , I' H«u»k "" '1™" '""B aw"5'' A,Ml sP"il',i <"" '*>• fehfoc
tiiiiiiillililiSiiiiiiiiSrtiliii^-
m
-I—&Z
212
PARMA. C. M. Dr. W. Hy. 1. vrs. 1, 2, 6 & 7.
Italian*
Pompilro-
fc*
rNoyTtoSrambS!«onc^^TSrBe e,,<l!e,» bj3 ng, paid ; Sal- wian.sloiy.joy te- main.. S_al-^ vation, glMy.Joy
For- ever on his head.
±±ttzt
7talonce wm slai~Be endless blessings paid ; Sal- nation, gloiy,]oy re- main. mi- """""' b""X,j»; . ___ , „■ ■
JTS^J^gj.^
S^i^
^feg^SiHiiEe
OCEAN. CM. Dr. W. Ps. 107.
"Vigoroso.
SB
-±
wm
4t=-k
SSl^igS
e
l Thy works of glory
3
igKiy Lord, Xhaivule ihe boist'rous sea.
The sons
of coinage shall rccovd. Who tempt thedang'rous »ay.
= =»_ r^=^' T'c^-^=Vr7-i T-
mm
8 Frighted to hehnhe tempest war, They pant with mut'iing breath
Fgq^gEM^1—-1^^ g±th7^^'spter^iUeE5n^i.. Andh.,>*.»o m**
ioLop .«, or1 RJbL.^dK-TSs^^
^^^^SUgiii
OCEAN Continued.
213
■—* — i 1 \\ii r Um Ld - "♦-^— -1 — ^-1 — f — ■ — *~r— H — bwM *-■—
And lays the floods to
And lays thetlouds to test.
is
:Ei
a
s
«s
I^SepI^I
3 Up to lu-r courts with joy un. Known, The holy trnVs repair ; The Sun of_ David holds his throne
.g^p^gp^^f^fpa
m
5*
Gn
; i :■!<-■ tliMic': adoin'd with grace, Stands like u palaue butit for God, To shew his milder fa
To keep the festal day! 2 I love Iter ' gutes, I love tin road ; The chiii'di adoin'd with grace, StamU like a palaue built tor God, To shew his milder face.
And sits 'in judgment there. 4 Peace be wttlrin this sacred place. And joy a constant guest , With holy gifts and heav'uly grace^Be her attendants blest.
ISMlgtefiiSiiiii^iili^i
CIRENCESTER. CM. Metb. Hy. 166, By Dr. Watts.
C. Burne.y.
_ „ Andante. ,^-v *^~~^ ', -^^ ' . i ,.t_.m«--^_,, — ..j-j—oi-b — m Wlt-fl-l-r:.-
P^ Jp "seethe Lord, y- immortal ehoir, That fill the realms above < Praise him who form'd you of his fires, And feeds JO^And fee* you
with his
filiiiiSiililSll
rHsasssats.
ii&sgggs
IotL 2~hine'to'hispm'ise ye crystal skies, The floor of his a- bode ; Or veil in shade your thousand eyes, Be- fore, Be-^ fore your brighter God.
ff&mmm&mmmg^^M^^mm
VERDEN. C. M. Dr. W. Pa. 65.
Dr. CaHcotl.
I^SiiliiSiPiliiiSlSiiriiilSiiliiii
'Tis by thy strength the mountains stand, God of e- ternal powV! Theseagiows calmatthy command, . :||: And tempests cease to
jppeigiigiissiifisig^^iiiii
Ely.
,16 MIDDLETOWN. CM. Dr. W. Ps. 97. vrs. 4, 5 & 6.
ngek. at his birth Make the Re- deemer known; Thus
shall he como to Judge the earth, And an-
gels guard his
— tr
1,-A- uonng «.■&*.» - ^ ^ ^ ^ ,. — —
^m^^W^Wm^m^m^
:a=p:.
r^SI^ISSiiilSlSiilllii^iSEii
Ami leavethe world on fire, And leave the world on fire.
' ' a rich. harvest bear.
HUSH
:fcfc =
■JM limn — — ■■" * " — — - ' ' , '. ._-„1J ™ (7-.J
^S^lliiiSS
And fcavfjAnd leave the world cm firel
Duetto,
Primo. Men.
WASHINGTON. C. M. Dr. W. Hy. 39. B. i.
tr
Efy. 217
*-^ J-l. Now shall my inward joys arise And burst in- to a song ; Almtgh- ty love in- spites my heart. And pleasure tune* my tongue.?
Secundo. 2. God on bis thirsty Sicn- hill. Some mercy drops has thrown. Ami solemn oatba have bound his love To sbow'r Salvation down. J AVhy do we then in-
/-\ /T\ /T\ ■■- Women.
iili^^liiiii^iii^iil^iilii'
dulge our fears, Sus- pi
and coin- plain!*?
he a Cod, and shall his grace Grow wea- ry of bis saints
se^igiira^i^iiffl
-t
mmm
and tender llio'ls, And 'raoncst a thousand ten- der tho'ts, Her suckling far remove?
C^S^Silpiiiiiiiiiiili^^E-iii
■ 'lep'o. _ _ Repent For.
salth the LoruV'should nature change, And mother monsters prove, Siyn still dwells upon the heart Of everlasting love, Sion still dwells upon the heart Of ev- erlasting love.
Chorus. Allegro.
l."Yet,"^7saith the Lord, "should nature change, And mother* monsters prove, Si on still dwells unon the heart ui everlasting love, Mon still dwells upon me neart ui ev- eriasnng love.
2." Deep in the palmBof both my hands I haveengravM her name; My hands shall raise her ruin'd walls And build her broken, frame, My hand shall raise her ruin'd walls And build her broken frame.
S«ii^EiiiiipSi^iiiSi^i@igiiSii?
Siiiiiigi^siiiQii^ii^iii^igigiis
Dp
213
DIALOGUE HYMN. C. M. Dr. Marian's Col), p. 70.
Dr. C. Burnet/.
We, call'd to leave this world below, Are seeking
l.Tell us, Tell usO women, we would know "Whither so last ye move? "We, call'd to leave this world below, Are s
fj I " 2. "Whence came, Whence came ye? say, say? what's the place That ye are That ye are trav'- ling -^f- from? From tribu- la- tion we thro' grace Are now, are
Instrumetal Ba*e. -H-i — kul -4- —4- -K- •»-
iT^i^rf'frPfrr^Tj'i^Tl 3' Is not' Is not your !
In now re- turning home.
tSEKEBfll
chorus. Allegro, sa-
native cou ntry here? |f"
is abode ?
We seek a better country far,
tV city, city built by Gotl.
4. Thither, thither we travel, nor intend
Short of that bliss to rest,
Nor we, till in the sinner!s Friend
Our weary, weary souls are blest.
iiifii®Hiill§H
5. Friends of the bridegroom we shall reiirn ; Saviour, Saviour wcask no more,
ifeitigifeiii^isPii
We ask no wore! Hail Lamb of God, fjr sin- ners slain, Whom heav'n and earth adore, Whom heav'n and eavth adore, Whom heav'n and earth adore.
l^iiiiiigili^^iSiiSPi^i^riii!
KETTERING. C. M. Dr. Madan's Coll. p. 190.
~~ 'rr^ . . y— s Pia.
Lockhart. 219
Mrn.
■ n Miestoso. /- ■s re " — ITT, , ,• — v Pia. ^— — -,, For. Mrn.
t.O let thy loVeouf hearts constrain, Jesus the cru- ci- fy'd; What hast thoiidoiH',ourliearts to gain! Languished, and groan'd, and ily'd, :|: 2 Us into
._ _ kT^ZI^ ' .£* _ ^Zi_ D 3. Who would not
__ , — . _. Women. ^"* Inst. Bhsc.
union draw. And in niii* in- wnrd rnrtu I.rt kini-ln* ■« lu-ssilv ui-Wi- ln-rl-iw Tst i. .■...-,,..,...■... ...l .-,.,.. i,. -_i . -. tt_ :—... _i » • ■
closest union draw, And
in- word parts Let kindness
^ n_... ,._j,. ,. mvn ui J. *i > ' i nvi ill UUL Lfi tXIHI J. ,11 !.-> I-.' L M1HJ1JIO .»*Yt^UY H
sweetly w rite her law; Let love command our hearts. 2. Us into closest union draw
— I — rf — M
nirsue theway^Where Jesus' footsteps shine? Who would not own the pleasinj*-^-^- sy. ay Of char- i- ty divine? 4.0 1etus find the "ancient' way
, ^*"^* """"""^i _ Q mM. '"" V ^ Pia.x^— ^ ** -s - > For. j£~ *■ Repeat Tutti.
■ —ni our inward parts B' Let kindness sweetly write her law; Lit love command our hearts, Lit love com- mand our heafis
j Our ■wond'ring ' fo«_^ to •move, And force the heathen world to ^y, "See how these christians love. See how these christians Jove
220
Tempo Ai martfia,
SPIRITUAL WARFARE. C. M. Dr. W. Ps. 144
Ely-
l.For- ev- er. blessed be the Lord, My Saviour and my
and my .Held. He sends his spirit with his word, To arm one for the field. S When .in and hell their
ue tut uui»i *■•/ <—.•—- — / - ^h_ _ 1 \ i
""• r~~immmr"m —— •_ ._ , :„ *,.„ l.™™)!,. fi.rf.t- Ami miarda me thro* the war.
his caret
*
S
foes u- nite, He makes my soul bis care, Instructs me in
the heavn'Iy light. And guard, me thro' the war. 3 A friend ana helper so
3*=SCH
gpp|#^iPi|gl
■T-r— *■! — — 1 — *■! — *r- - - . . _ „. *„,,, ,,.„ „*,ol| t,e g,e praise.
S§!S!^?iiilliiisi
di- vine, My fainting soul shall raise;
He makes the glorious victory mine. He ' makes the glorious vie- to- ry mme,
Praise ye the Lord.
iigliiili^il^^Siililli^^i^lg'
POLAND. CM. Hill. Hy. 7!.
Ilnsband. 221
igiiii^^^iiiiigiP^igiiigiii-igii
1 Bevond. beTond the Ijlic- ter- ing slarjy skies. Fat as th'e- ternal hills, Far as th'eter- nal hills; Therein the boundless realms of light, Our dear Redeemer
If^rSiPiiiiSiiSSifllig^g^^iiiS:
ii
dwell), Our dear Re- deemer dwells. 2.1m- mor- tal angels bright and fair. In countless
armies shine; In his right hand with go!- dea harps They
fa
i^lsaiigiil^iligigiii^iSPJl
Wm^m^^mmi^mm^mim^
of- fir . song-s di- vine, At
his right hand wit
gol- d*ju
haips They
of- fer notes di-
t-
^iig^iilliil^^iliiJliiiiiiiiiiS
Chorus. 5 pinto.
Theybro'this chariot from , above, Tobear him to t.i; throne; Clapp'd iheir triumphant, Clapp'd their triumphant wingsand cried* The glo- rious work is done.
p&lliiiSigSliliiiPPPJil§|lsi^illHi
2'22
MAJESTY. C. M. Dr; Ripp. Hv. 14. By Dr. W.
Handel.
liiiiiSig^lgiiiEpgilsiggSi^iiSi;
1. When the e- tcrnftl bows the skies, To -visit earthly things, With scorn divine he turns his eyes From tow'rs of haughty kings. 3. Why should the Lord that reigns a-
1-flTSrV- T-J1— **.•- -r- -r. lx^-S-.-1-r Ir^xa,-;*-;, T: x t«: T xtr- "
iliiiilgigiliiiiiSlilgiiiP^iiiiiii
I* 2. He hids his awful chariot roll far downward ihro' the skies, To visit ev'ry humble soul .With pleasure • in his eyes.
«l
KEkE;
^^gge^wiMM^
Jove Disdain so lofty kings? Say, Lord, and Why such looks of love up- on so worthless things. Just like hie nature,
is his grace, AH
Ire Ad Libitum.
jj sov'reign and all free; Great God how searelileM arc thy ways. How deep tljy counsels be! Halle- lujoh, lialle- lu- jail, lialle- Injali, Praiseyethe Lord.
FRIENDSHIP. C. M. Dr. Watts' Lyric?.
Ely. 223
gfS§|gl@li§§«iIgi
1 Friendship, thou charmer of the mind, Thou sweet deluding ill, The lightest minute mortals find, And sharpest hours we feel. 2 Pale has divided all our shares of pleasure
MJfelgSgM
im
M-^r-
m
s*
-Jh-
£=£
Wo. AflVtluoso.
and of pain; In love the comforts and uur cares Are mnFu and joinVl again. 3 Dm whilst in iloort-wjur snr- row rolls, And drops ol _ joy are_ lew, _Tlus
^ ,
~tfA •"""-■s Chorus. A Tempo.
r de- li- - ght of mingling souls Serves but to swell
4 Yet never let our hearts divide, Nor -t-tleath dis- solve the chain ; For love and
lPmr-. — TT-PT>»p-i
the finid pas- a sion cling AS0~B— t'ust, when
K§g3gi&i^«^iili^ig!gl
Vy joy is gone.
g^msiiigg
P-Urn-^
m
1
e;
224
If
iESUgMWp^gii
Adapo Maosto.0. CAMBRIDGE. CM. Dr. Ripp. Hy. 112. Giardhri.
joy were once al- HM, And must be joinM ugnin.
^^gipiis?
«l=
fe
*i
§H
giMPS
1 Father, Father, How widetliy glory shines. How high thy wondei-s rise! Known thro'thetanhby
^PT^i
-^-^
^^^^teS
i.^B^^ppPf^^^gffffS^^S
i
*tt — L_ ..
Pia.
^^ppfr??
Repeat For.
m
§♦—♦—♦
k-fe-&-.^
F=f
^•tiizi
tliousand signs, By thousands tlivo' the skies. 2 Those mighty orbs proclaim thy pow'r, Those motions speak thy skill ; And on the wings of ev'ry hour, We read thy patience still.
»■■ » m
E^ggsiii.iii^si^iSi
tas
^t^t
t1
-r-
QEZ^TSpaC*
3i
g^-rg-K
£t
Women. Grazioso.
4f_
ISi
zfcfi
33
«
»2?
..p |»|T«gE
' — - pi0' - '"^"■'i
3 But when we view thy greatde- sign To save rebellious worms, Where vengeance and compassion join, In theirdi- vinest forms; 4Herethe whole
id • _r
gfe^^^^^^^E^gp^^j
^i
M-
:2r
£>-*.
NV
^♦-
li^SB
e. k
©•■
jS-p
OH*
©-•■
T — F
CAMBRIDGE, Continued.
225
'*—•— ■"•■*--!- "■^=t-*"*t — r— — ■ — *■ i - — <— ^-^r— * ■ mM.^ ■*■*> ? ■ a <* Sicilian* Anuanttv
Deity » known, Nor .lares a cteature guess Which of the glories biightest shone, Thejustiee or the grace. Now the fall glories or the Lamb Adorn the heav'stly
p-p—p-
IS!
— !*-*>
HiigiiaSii&ISi^
plain.; Bright ^raphsleamtamanuel'smme, And uythe^^ Wonder and grace**! I tune ray heart, And love cororaand my tongue.
Ee
BLISS. C. M. Dr. W. Hy. 86. B. 11.
Ely.
BLISS, Continued.
227
1EWSPiiiiiiiliilliiiliiisil^li^^i
Moats stood, ' :]|: :||: And view the landscape o'er, :|j: *$?
(iilP|^^iiii|i^M#esiii^iiiiii
Sgi^g^cM^MMlSS!
M • ^ Could «e but climb where Moses fltoud,Aiid view tjie landscape -0*°' ----- er, View the landscape o -
^ fTimlrf wo - hn't Mimhwhi-ro tlnm *tn.»1. Anil v\»\u tin- Inniisfnne o' - A- - eF, View the lauascape,
Could we but climb where Moses stoud, And view the landscape
fg&Sm
SiligiEgglgEpy
m
m
:5»
mWmi
M
~5Kt=5KJ:
Could we, &c.
the landscape o'er, Not Jordan's stream!, nor death's coldflood, nor death's cold Ilood, Should fYisht us from the shore.
i — —
IE
er, And view, And view the landscape o'er,
L=£
m
:-£Ffl
E-l-H"-!
-cec;
il^^ieiisiiigiliiieiSii^l
GREENWICH. C. M. Dr. W. Hy. 79. B. if.
IV. Burnetf.
Hi f i -en )j : ~..lr ~e j r. j :_ w. »_i Jt- ._i 1 ■ _ ^_— twn.t - _«. i- 1 . ■ " j- ^— ~_ <■ — ^"» » r™^ '
l. Plung'd in a gulf of dark despair, We wretched-, wretched sinners lay., 'Without one cheerful
beam of hope, *
Or spark of
of EZ i
glimmering day.
'piigiiggiggii^g^^^i^^pia
.Sillillillitliiii
2. With pity'ng eyes, the Frince of Grace Beheld our helpless, helpless grief; He. saw, ami (0! a- mazing love !) He came, he come to our relief. 3. Down
iriiii^isii^ii^iiaiiii^iiiiii
e
ismm^^^l^mg^^^m^m^m
gf" Andamino. **"■""*>„ <*™s ^"^s •'""■""s ■>",,— ^. ih" ^**v '^""N ^*^s y~N
from the shining seats a- bove^With joyful, joyful haste he fled; Enter'd the grave in mortal flesh, And dwelt, and dwelt, and dwelt among the dead.
ilS^llpiPiiiyigiiiiiiigiiiiiiilfe
Continued.
229
C bonis. Vivace.
fC /7\ Wo. Andante.
Tia
-3i
4. Oh! Oh! for this love
r lasting si
r lasting
praises speak.
s Yes' Yes,' we will praise thee, dearest Lord, Our sou!» are all on flame, Our souls are all on flame, are all on flame ; Hosanna round the syacwus earth, To thine a- dored name.
gp^fpiiiig^gi^iiglii^iiiiii
Ua
S^^iiiSriiiilllillgEfSiiiliSii^liiii
Oh"i ohi forthis love Lei rocks and hills their lasting silence break!-" Their lasting silence break, their silence break, Angels as- im our mighty joys; Strike all your
/?■. For. Adagio ad Libitum.
I ^^StfffiwllM yST raise your highest notes, your highest notes, Hi. love, :|: His love can never be toM,His love can ne'er be told.
iiigii^^liliiiiiiiiiiiiiiigg^gli
.230
r*-^-
THE EVERLASTING SONG. C. M.- Dr. Ripp. Hy. 588. By Dr. Watts
fc _ c tt\ ■ ■ . to _ rtv rtv _JrA k Jr.
£/y.
1 Tt'm'fh Tine *>fl- rrntoM mil ihn1!: tV'n In-ntr ' ;' I iu t^i^a T i.*\ .-.,*> ....... t!H.Kn.,l ,1-.A.. t*A-L - _ .1 ^l i i
1 Earth has en- gross'J my tho'ts too long ! 'lis time I lift" , my eyes- Upward. dear . Father, to th) thru.,e, Anil to my iltive skie<
-ft-^t— — — —t— r~ 11 » — *^ I I *"| — g-^v— /8n- m i „ '
■jT7 ■ — — " — — — — i 1~" 'mbimt — --■— ' ha — ■ — ubUuiiWF — :
iN
£
S Hark! how be- yond the » narrow bounds Of tHne and-
ItSSl
?^~fy"
— I "? — aw
m
syacethey nip; And echo ia majestic sounds ijic God-"- - head ofthe-Soni
rtV, /"S. ;
=?=
J- ''-■ f .—
>. fc. _
my na- tive skies. 1 There the blest man. my sav.
-n- — •*
3^£m
■ iw h,?
-h* >tr
SlSlli
--jti
afcfcs
S^Se
The God- head of _ the Son. fi And now thfv s.nlr rtii> Winfrv fun*. "® a„^ .-„.,,!„» ~™.h,..B~.„. It" " _i__ . . !~ V . _. "
The God- head of ^' the Son. 6 And now they sink the
Inst'I.
The Gad how bright, how bright he shines! And seat- ters
it
|— ~ -f— r^S^l~"-tw'
lofty tune,
And gentler, gentler '
iotes —they [day! And bring- the
&!&**—--
O
=ggf=g=pfe^5E
k a*... k.
^§l§^^ill^^§
in- ft- nite delights On all
l^SppiiiSglllii
ihe happy minds And scatters infinite ile-* * lights, And scatters in- finite delights On
1^ H*!j'
— — !^ — &>■
-• •litrhts. And scatters in-
i=5
Fa- tHr's equal down To dwell in humble clay, And bring the father's equnr down, And bring the Father's equal down. To
the happy minds
wmg^^m
«j.-
iisis
£
#=
a^
?*-
dwell in humble clay.
szzst
nnp
THE EVERLASTING SONG, Continued
231
Ser- ajtbs v. uh el- e- yaitd,
Sa
^^^MeHSHS
* e- valed .trains, dmm strait,,, <* e- vated strains, cTr- c~ the lh~n e~,ou„d, ~ c"ire7e"thea"
sacred ! saer.d ln-siuties! beauties of the man ! boauties of the man ! beautie* of the
mud, Circle the th.one around, Cir-
w TU /;.,-! :j is— .1 n.V .
«?
=s=3=
II—-
_». i^« Jk-*_> V k_ v»-», i.«e«uu reMaeswiunn, the God resides within: ) The
cle the throne around; And move and charm the star- - - ry plains Wil? In im- mor- la
fin 1 1 rr. milf>g " uiiiVhin . II.,. ..i, „i
im- mor- tal sound, immortal sound. 4 Je-
His ' sh_ all
irti- out a
-r T r c- r ■.— m.—m 1 -— « — ^ "1. » "i. «»««»« a sin. wimoui a sin. 8 But
ius, the Lord their harp, employ, rjc- . sm. My love they ring ! """je- ,„s, tie life ""0f .11 ou, ,„,..s„,,„j..„„. c ,. .„,„„. <v„„v^r' .-.._
i^e
Mylovethey ring! Je- _.ul, tho life ^of all our joy., Sound, sweet, Sounds sweet from ~ZT 'ry string.
vthenw Calva- ry ihey turn, si- lent uVir harps a- bide; Su.pend- ed ,<mW , moment mourn. The God that "ToS^- th.«^Vv'd an ditf.
-' 1* 1 * ■ j» ^~f-f.
«H^^
^^t-^-
tiSEti
i "3 J£»_
,-*=»
lov'd, that^
11
232
WOBURN ABBEY. C. M. Dr.Jlipp. Hy. 98. By Cowper.
Dixon,
Andante, w a* , *«__ ^_i m» — , , m
*T- i"5 [£ l ~A^T TSk 7ith God, O Ma closer walk with God, A calm and heav'nly frame, Aca
6 So shall my walk be ciose.with God, So
7h7ll^ywalkte .cose with God, Serene and calm my frame, Serene and calraroy frame, A purer hjrhti shall mark theroad, That
le7ds me w tlKTamb, That liads ine to the Lamb, That lead, me to the Lamb I Where, Where is that
blessedness, that blessedness, that blessedness I knew, When first I saw the
leads me to the Lamb, That leads ine to the LamD, i nat leaos me to u.c u_ : .. ..=.-, •. ■■-- -■ — - ■ -- - m _ 4 _ -,
leads me to the Lamb,
' ™ ■ ™ ^"^ m ~ ' ~ _ «- ~ T,„,;. Infcnti.te.
EEI
Tutti. Andante For.
j| /]-j« /7\ 1 unit aiiuwihu rut. & # _
-I :."7~~ -1 T^TTTT f.IJ.'Sr wl.l7.t.,..,7 jwti.. Ww. nr Jesus, andhisword? 3. What peaceful hours I then anjoy'd! How sweet their mem rj
"Lord? Where, where, where is" haTsonTrefreslung view. Where is that soul refreshing view, Of Jesus, and his^vdf 3. What peaceful bouts I thenjryoyM
_ -> 1 M— . •-rP l-<T\-»-»-r* 1 l r It C-T^T^- C~ P' — (1
.ir^^p^iiiii^iiiiP^fi^SiEi^
2 vo oet, no chords
Continued.
Tutti. Larghetto.For.
233
still ! Bat now Z find an aching void, Which none but God caik]
mmm^^mmstmmmmmm
m
fill. Return, Return, Oh Holy Dove! return, Return, return Sweet Mes- s«fn- ger of rest. 4. I
mmmmmimmmi^m^mmmmi
Mffli
pf*£
rS
wmm^^^^^mm
^^^^S^SS^i^^^^I
hate the sins that made me monm, I hate tb* sins that made me mourn, That drove thee trom ray breast. 5. The dearest idol I have known, What e'er that idol be, what
Ea
igl&iiiil^iSiiiSPli^giilEiiiiiiii
^iilgpiii^imiiiiiiiiiiiip^ii^ii
t=trt»:
ft Da Capo,
— k_ *•_ , {m ■ A._K"_ __ _—„-.— I uii^apo.
e'er that i- dol be, Help me to tear it from thy throne, Help me to ■ tear it from thy throne, And 'worship only thee.
:C_C
i^HIHgi
^IIZMZM
^mm
>:_» k.
m
Fp
234
SALOP. C. P. M. Dr. Ripp. Hy. 297.
Dr. Hays:
t^^^T^st^^-^T^^^W^^^^ J™^ bloom Mow?* It stream, from .hy c .er„a> throne; Thro' heav'n >«s
Repeat Tutti.
1 _P_-£I£U-tr---1*=-«"-1-l-''-- Ul — brf— kJ-x "—
I • joysforev- er rim, And o'er the earth they flow.
ll :"~T— II"d^"^5^T""-^lH-^-1"-— !— iT-^-l-^-H'r ^"^ 5mi'es °'er ev>ry Va^e'
~f:liii;^d"jrgd-^It»-3-j--B3-3^|- -4-1-lf 3. But in thy'gospel it appears,
-r-"H:hr;"fl;25--itt~-~-— 3tt— iU- In Bweeter, fairer characters,
- 2. 'Tis love that gilds the vernal ray,
Adorns the fiow'ry robes of May,
Perfumes the breathing gale :
'Tis love that loads the plenteous plain
With clust'ring fruits and golden grain
WESTBURY LEIGH. C. P. M. Dr. Ripp. Hy. 579. Tucker.
= Tempo.
SiiiillliiiiS
1. When thou my righteous judge shslt come, To fetch thy ransom'd people
Iglliliils
IS
And charms the ravish'd breast ;
There love immortal leaves the sky,
To wipe the drooping mourner's eye,
And give the weary rest. U
Sli§lliSiil
iliiiSiSliri
J -h^7sbn^o»Uem7ttd! 'JSar :.«;i» ™r» 1,'m. .or^mes anT afraid ^o die, Be found at U.yright^.d.Befouuda, ^#, h»nd.
LUDLOW. C. P. M. Dr. Ripp, Hy. 135
Musica Sacra* 235
Largo e Aflcttiioso. -— <,_
Immanuel.sunkwuh dreadful woe," «- Unfelt, unknown to all below- Theninner's surety stood, The sinner's surety stood- In ago^^iizing paugs of
STEUBKNVILLE. C. P. M. Meth. Hy. 198. B. i.
SlkUfJNJN V1LLE. C. f. M. Meth. Hy. 198. 13. I.
sou!, He drinks from wormwood's bnt'rest bow). And sweats peat drops of blood, And sweats great drops of blood. I ^^ Come on my partners in distress, My comrades
— THfisrsg^sgSiiiiS iplllliiliilii
^« IT Hf ELY.
thro' the wilder- ness, Who still your bodies feel ; Awhile forget your griefs and fears, And look beyond this vale of tears, To that ce- lea- tial hill,
==t==I=«:^r±^:n-■hB"^-rIE^■-:tlI*:S^:t*^^^-^^*r Ph P~h»-«-.— »t--: 1— r-- -f^-r-h— »-P r-^n
stiiiSliiiimiiSii^iiiiiiriiis
236
THANKSGIVING HYMN. C. P. M.
Tuttti.
Dr. Sleve?is6n+
1 Ai TomoFc nj'finlj- in /],-■< nai i' . 1i pt\f*Pmm it] hv tlii 'ii- ftliPTi- . h.-ril 't (-^r*' \i , ■- th't'in- Pn h\- thpti- Sihi-'riliT/l *. r»m-P In <rrii_ i_ r ml,- Mj!nixa In
1 As Israel's people in despair, Redeem- ed by their Shep- herd's cafe*, Re- deem- ed by' their
Shepherd's care, In gnu- i- Hide rejoice. In
^^j^^^^^fFfiTil^^p
^
-sz^zm:-m
^5
*t ft *
it \/ _
by pre
i
ti-Q
2 Or as"by proud Euphrates' stream'; They rais'd to thee the heav'n ly theme, They rais'd to thee the heav'nly theme, Of wonder love and praise, Of
S
feUgjfTiiEgp
Si^i^g^i
3 I pfejka--^
m
fet
gratitude rejoice, rejoice, rejoice, In gratitude re- joiee, In gratitude rejoice
9 ~l — -"i — ■■
Or, ns on Si-
ks re- elinM, Our holy father's swell'dthe
wonder, love, and praise, and praise, :||: Of wonder, love, antfpraise, Of wonder love, and praise;. So wefor all thy boun- teous care, Thy Providence, di- vinely
Continued.
rF^Fffij^E:£^zaB^^g^^
— U-U U U I Lb j U — br- U-U-4 U'U-w— U~Ua •^==^— U -■■! L
hajle-luj all's voice, With halle- . lujab's voice, Our holy fathers swell'd the wind, With hai- ielujah's With haile- lujab's vuice, :j|:
Happy, Happy, Happy heyond description he, Whoin thepaihs of pi- e- ty Loves from hss birth to ru-
rr — T 1^™" l' r "I'T-^T-" :m 1 Tin — r^ — r — ■ ■ "■■■■ — i ~\r~ I" — "i =n t-t —
n, Loves from his birth, His birth
|=Bi@iB^S
ggippgpfigp
s©
Loves from bis birth to ru-
iS
gi
i^^flSlIiililillliliiiiiiiiEiiira^i
to run : Its ways are ways of pleasantness, - - - - And nil it? paths are joy and peace, are joy and peace, And all its paths are iqv and nea- - -
Its ways are
^igll^S^^I^ElilllliSllll^^^
238
CANAAN, Continued.
Egn^iiiiiiiiiiiiiiiiiiig:iig|giiiiiig
are joy and peace, And lead to joys unknown, And lead to joys unknown.
IliiiiiiaigliiliillliigiliSllSSplifeliJ
ill
s£
fit#Jillfe
peace, peace,
liggiiiiig^iiggiggEggii^iigiiii
If this f<±- li- ci- ty wt-rennnei, I ev'- rf p- ther would ye- sign.
ev'ry o- - ther would retign, With just and holy scorn,
6
Hiii
iiiiiliiiililiili
fj— e4-F:
^iSillliiiillllifiS^iiilSigg^ili
Cheerful and blithe my way pursue, And with the promia'd land,
:||:' in view
Singing to God, Singing to God, to God return,'
I^S^^BM^I^b
Chorus Staccato.
Continued.
239
First and Second Treble. _ • jm to»
Cheerful and blithe my way pursue, Cheerful and blithe :|: my way pursue, pur- sue _-_-_-__ my way pur-
iiiiiilliiSigiisi^riiiiiiPiiSiiiliigig
^ Cheerful andblithe, :||: Cheerful and blithe my May pursue, :|: -•- Cheerful, &c ray way pur-
my way pur- sue, -;■■-- Cheerful, &c« . Cheerful, &.e.
sue, Cheerful and blithe my way pursue, And with the promia'd land in view, And with the promis'd la-
nd in view Singing to God return, And
m
.Miilliiill-liiililittll^liliiliiiSiilii
And with thcpvoinis'd land, :j|: :|j: the promis'd land in view, Sinking, &c. *
with the promis'd land in view, Singing to God, :||:
mmmm
Singing to God,
Singing to & God to God return. Singing to God return.
to God return, Sing-
vug to God retun
iiliii^i^liiii^^riig^^iiiiiig
240
Allegro,
CAMBRIDGE. S. M. Dr. W.Hy. 104. B. ir. Dr. Harrison.
2 Sing how eternal love
Its chief beloved chose,
And bid him raise pur wretched race
From this abyss of woes.
3 His hand no thunder bears,
Nor terror clothes his brow.
No bolts to drive our guilty souls
To fiercer flames below.
4 'Twas mercy fillM the throne,
"~~~T1t ^nc* wratn sto0^ silent by,
"J~|t When Christ was sent with pardon down*
ISIjX- To rebels doom'd to die.
Handel.
2 There rapt'rous scenes of joy
Shall burst upon our sight,
And ev'ry pain, and tear, and sigh,
When deathshallbear our souls away To realms of light and bliss. „ 5?e dr°wn'd in endlesss light.
o Beneath thy balmy wing,
Osun of Righteousness !
t Our happy souls shall sit and sing
The wonders of thy grace.
4 Nor shall that radiant day.
So joyfully beguh,
evening shadows die away,
Beneath the setting sun.
2 Jesus regard our vows
And change our faith to sight ;
And clothe us with our nobler house
Of everlasting light.
3 O let us put on thee !
«_|_|_ In perfect holiness,
—-1-B- And rise prepar'd thy face to see,
,, B " Thy bright unclouded face.
4 Thy grace with glory crown,
Who hast thine earnest giv'n t
And now triumphantly come down
And take our aouls to litav'n.
irg»=
■
SHIRLAND. S. M. Dr. W. Hv. 93. B. 11.
ff-l J-T T -r+r-i l,r I- _ Z-m. ' ^ Women.— > ,- ^ ^-^ . __ , _ VlUIUeV. ^41
QUEBEC, s. M n„ w u.. „„ t> - + =*«•— PI— HL
QUEBEC. S. M. Dr. W. Hy. 93. B. u.
Women. -"* N .— *. .-^ *
- — ^ •■— "s. w ^-*n — JJ* ▼■• *^* *'• ry,
AttUutfth body die?Thi„n„ml tame decoy? And mo,t these naive limta of
aiiliilS^Siiiipii.
Ar- ray'dm glorious grace Shall these vile bodies shinp. Ami «„> J_J !". .
mine Lie mould'
SSSEEz
rb%;
1
It
* bodies .bine, And __e,Vy shy* and ev'ry fee Look ^a7„,y ' ^T'T
MS m^ the clay? Lie mooldYiiH- in the clay.
m
rT~ «T lr -r "^ S ' S-H' '-"' "'" "" ^'•La"i beav'nly and divine.
PRICE. S. M. Dr. Ripp. Hy. 494. "~ " " '
See bow the . moonting ™ PlmUe,hi, ,hillillg * ntlahT, , T7 , ^Pt-PH-C-l. :«t^^i^-t^~:fl:±H5
'-* y Andw.de proclaim. his Maker', praise With ev'ry briehtnin- r,,v wi.. ....
4-
'. praise With ev'ry brightning ray, With ev'ry bright'ning ray.
-TC—r-r—l-n-n-T „-■_»-! ^ <~S ' * S"V' """ CTr' brighfBing ray.
242
HOPKINS. S. M- Dr. Riyp. Hy. 103. By Dr. Doddridge
Dr. Rippoii's Vol!'
■"*■ . . .. a. ci.oil nil mv chosen live.
f^titli
!IC-t_-— *■ U-— " — I — L-r— I "•" ■"*■ cionrlB Shall all my chosen live.
ISlS^M^l-gff^ Ri,Xv. 239. By D, Doddridge. ftv*£ Co//.
eIgLE^REET. ■ S. M. Dr. RiPP.Hy. 239-jBy Dr. Dodg^e. _
.=43t=&&^=^t-e-^tt±,r-SS- S.M. M.tl,.H,.!04.B.,. _ ; .,■__ "»"*'■
Vigoroso.
Soldiers a Christ arise, And put youf or
hGodSnppfeuT»r°'M»e- ternaiscm: »™.B .... -»t- ™ -
b«>tc r°—
Andante.
CADIZ. S. M. Dr. Ripp. Hy. 341. By Dr. Stennclt.
Brorlerip,
r- trr/a— ■
243
R^fflS
1. How charming is the place, Where my Redeemer Gotl
n=s
^^gaggfe
Unveils the beauties of liis face And sheds his lov
j, F untoso. *-* " v
BROWNSVILLE.
-3
S. M.
1. Out heav'nly Father calls, And Christ invitei us near :
^gpi^iifeitiliiii
2 Not the fair palaces,
To which the great resort,
Are once to he compar'd to this,
Where Jesus holds his court.
3 Here, o n the mercy seat,
With radiant glory crown'd,
|_ Our joyful eyes behold him sit,
And smile on all around.
4 Give me, O Lord, a place
Within thy blest abode,
Among the children of thy grace.
The servants of my God.
Dr. Ripp. Hy. 96. Dr. Doddridge. Broderip.
— I — Vr5 03— 2 God P'ties our sr :
~gj~~t -JT~fl~|T He pardons ev'ry day ;
-p— <-l- -^-FHl Almighty to protect our souls,
— And wise to guide our way.
3 Jesus our living head,
We bless thy faithful care ;
Our Advocate before the throne,
And our forerunner there.
4 Here fix my roving heart !
Here wait my warmest love !
'ill the communion be complete
In nobler scenes above.
With bothourfrien<bhi|ishall be sweet, And oui
: — trSS
i i hi i lion dear
m
LITTLE MARLBOROUGH.
To God I sent my ciy 1 Lord hear my suppli- caving vo
^SSHH
A nd graciously reply
^
lilig^tS^i^igig^i^
A. Williams.
[— 2 Should"st thou severely judge,
I Who can the trial bear >
*- But thou forgiv'st, lest we despond,
And quite renounce thy fear. (
3 My soul with patience waits,
For thee, the living Lord ;
My hopes are on thy promise built,
l_ Thy never failing word.
4 My longing eyes look out
For thy enliv'ning ray,
More duly than the morning watch
For thy enliv'ning ray.
VINCENNES.
Dr. W. Lyrics.
'rOUS i« thv nitfllfi! TliV flni-iim linu rliffiic'ri olirnort Tlirn' thn nm. oiinnli f.oinii
JEhj.
2 Natureinev^ry dress
Her humble homage pays,
And finds a thousand ways t' express
Thine unassembled praise.
3 My soul would rise and sing
To her Creator too.
Fain would my tongue adore ray King,
And pay the worship due.
__ 4 Let joy and worship spend
I_- The remnant of my days,
j And to my God my soul ascend,
In sweet perfumes of praise.
Dr. Green.
2 Alas ! the brittle clay
That built our bodies first \
And ev'ry month, and ev'ry day
'Tis mould'ring back to dust.
3 Our moments fly apace,
Our feeble pow'rs decay,
Swift as a flood our hasty days,
Are sweeping us away.
4 They'll waft us sooner o'er
This life's tempestuous sea :
Soon we shall reach the peaceful sho^e
Of blest eternity.
pMfflggrarai
Beaitmont.
1. See what a livinir Stone, The builders did re- fuse; Yet God hath built his church thereon In spite of envious Jews.
w&
■A$
2 The scribe and angry priesjt
Rf ject thine only Son j.
\ Yet on this rock shall Zion rest.
As the chief cornerstone.
3 The work, O Lord, is thine,.
And wond'rous in our eyesj
s day declares it all divine,
his day did Jesus rise.
4 This is the glorious day
That our Redeemer made ;
t us rejoice, and sing, and pray ;
hoe
Let all the church be glad.
Repeat Tuttiv
CONNELLSVILL. S. M. Dr. Madan's Coll. p. 31. Ely.
Wo. •>
1 i I i :■■« ,__ ^ — -. , . .. aepwK 1 uun Andar
24*
1. Awake, ami sing the song of Mo- sea and the Lamb; v. akc ev- 'ry heart and ev- 'ry tongue To praise the Saviour's
imsii
siliSiiffgs
mE
pp-*
^^^^m^igiligiligm
HORNCASTLE. S. M. Dr. W. Ps. 117. vrs. 2.
Pia. For. Musics Sacra.
honour s-n-ead^Aiid long thy praise en- dure, 'Till morning Iigliiand eve- ^ nint -.bade Shall be exchangM no more, :||:
itfffi^
HSgi^i^i^gifeiiigii
m
■M»
giPig^PililS
:E
Tempo di Marcia.
a
m
■*3t:
1. Let ev'ry creature* j
ft
igilllig
^5
s
Si
CAREY STREET. S. M. Dr. W. Ps. 148.
Wo. Tumi.
Handel.
lpilsllilil^llil§§
i^iislil
praueth' etei- Hal God ; Ve heav'nly linb.tiw song begin, Ye heay nlyjiostt the song begin, Ami sound hu nnraea- "" broad7_' Anil IsoundTis name a- brand.
as
ift^iiiiiiii^ipsig
r£
lisii^gi^^lSiS
246
gs
CRANBROOK. S. M. Dr. Ripp. Hy. i ( 1.
n^r-vrr -ra—.—m r-: B J
^^lilSi^Seiii
T. Clark,
Grace.' 'lis a charming sound, Harmo- nious to the ear
^HiiiiSiiis
eav'n with the echo shall re-
™* ill : A ...I nii .1 i. -i ill
And all tht- earth shall \
M*>nf'rt v nl. i [i„, ,.•■ :.~ k...n . _n j ^i . mm
Heav'n with tlie echo shall .esouiid, llie echo shall re- sound,
^ »-*-»-» »T-l» *_« T - -a-« RUTLAND. S.M. Dr. Ripp. Hv. 111. English.
J -*..a. " ^»___ «. • ,* -. — ■«• . I Grace! 'tis a charmine- Round'^ Hnnmmim,, 7^ .u,. „..7T „-....,_ .^!*. ^.^, ~
-»■■»- HfeHfr-SflMfrr-rf
a charming soundJ
to the ear ! Heav'n with the echo shall
iiiiiiliiiil
a
-»- -m. ^-i^ ^^. <«»r,n<avnwiinuie ecno shall resound, And all the esrlh shall hear. WI1ICI!
T*"1 1 1 i it ■[ r-Q 1 , ^_j * « race al
3T|~2 Grace first contrivM the way
To save rebellious man ;
And all the steps that grace displaj%
Which drew the wond'rous plan.
lead my roving feet
tread the heav'nly road :
ew supplies each hour I meet
pressing on to God.
B— 4 Grace all the work shall crown
" everlasting days ; »
in heav'n the topmost stone.,
we.ll deserves the praise.
SILVER STREET. S. M. Dr. W. Ps. 98.
Smith. 24T
Wo. CODA. -*""*» Tutti. Men.
2. Come sound his praise abroad, And hymns of^'ltlory sing;: Je- hovah is the sov'reign God, The u- ni- versal KinR. Praise ye Ihe Lord, Hallelujah, Praise ye the Loll
2. He form'd Uie deeps unknown; He gave the seas their bound ; The wat'ry worlds are all Ins own, And nil the solid ground. lujuinini.
hallelujah,
PrMl0. LONSDALE. S. M. Dr. W. Hy. B. 11.
/?« A dagio.
Corelli.
Hallelujah. hall-lujuh, :|l: !{: Praise ye the Lord' II Come we that love the Lord, And let our joys he known ; Join in a song of sweet accord, And
gfS3r*iiiiiigiSlliSSI
iitliliiillilliiffipiiiiissiiis
. thus survoimtl the tlirone. 2. The Borrows of the mind Be banish'tl from the place. He- hgion never was design d 1 o
makeour i>!cas«ivs less.
i^llSi^^igliiiiMlii^liliiini^lgffi
COLCHESTER. S. M. Dr. Madan's Coll. p. 89.
Dr. Madan.
|^riiiilgi-Ifsii:lSiiiiPiilllSgSiiii
1. Th' extent of Jesus1 love, What heart can comprehend! A breadth uhose distance none can prove, A lenpth without an end! 2. The first-born Beraplis try The myst'ry to ex-
|SiigHgigmillSiillS|liSiif|iiiiJii
•""N /7\ s~~" •-— "v •*"*• -.♦--P- „ Viporoso.
tfili^igiilgliiiilliilSliiiS»'|sillEiii3i
plore; They cannot find it out, for why? The curse they never tore, The
curse they never bare
SiiiiiPjfliiEirSii^EiEi&:
lii^illiiiiiIiillgi§giHl [ii^Sili^i
Come we that love the Lord,
Ifgllll
YARMOUTH. S. M. Dr. W. Hv. 30. B. n.
Dr. Worsan.
mm^^^smmmmm^mmmm.
And let our .(ays be known; Join in a song; of sweet accord And thus surround the throne. The sorrows of the mind Are banish 'd from the place, Relifpon never wasdesipiTd To make our pleasures less.
iiig|^illiliiiii^gilliiiiiii^ii:il
K-
Spinitoso.
PELHAM. S. M. Dr. W. Ps. 103
Giardini. 249
Women.
sirimiiip^iiiigp-iPii^^iii^g
My soul re- peat liij praise Whose .mercies ate so great; Whose anger is so slow to rise, So ""ready to — a- Date %
feife
High as the
i^f^EgE^^lilgigliilliglillliglljl^
^iiiiililiiliiiigiiiliiilt^SS^
_ ea _i m. ' *■•■■- yy oiikii. -n. ^\ I Utti. **™^»,
Jeav'nsarerais'd Above the ground we tread, So for the riches of his grace Our highest tho'ts ex- ceed, Our highest tho'ts exceed.
"^i^i^ilillliiii^iipiii^liillli
3 God will not always chide ;
And when his strokes are felt,
His strokes are fewer than our crimes*
And lighter than our guilt.
4 Hi6 power subdues our sins,
And his forgiving love,
Far as the east is from the west,
Doth all our guilt remove.
5 The pity of the Lord,
To those that fear his name,
Is such as tender parents feel-
He knows our feeble frame.
6 He knows we are but dust,
Scatter'd with ev'ry breath.;
His anger like a rising wind
Can send us swift to death.
Hh
Our days are as the grass,
Or like the morning flow'r !
If one sharp blastsweep o'er the fields,"
It withers in an hour.
But thy compassions, Lord,
To endless years endure ;
And children's children ever find
Thy words of promise sure.
250
Vigoroso.
LEXINGTON. S. M. Meth. Hy. 206. B. i. . Ely.
Vigoroso. if /C\
iiiiiiiSipli^rigaiiiasigiiiPi
l. Hark Low ^e . watchmen cry ; Attend the trumpet's sound,
2E
Stand to your arms thefoc is nigh
&k~
ITiglSiiilii^lltliEililli^iii^g
_ _ _ f * ^k- « _ -k- -k- _ ■ -i*
The pow'rs of hell surround!
M
ii^ri^iiigiiiiiiiiiilgi^i
fa Men. Women. Tutti. t?/T\ *' <T\ <ff
2. 'Who bow, :||: to Christ's command, Your heart & arms prepare,
The day of battle h at hand '. Go forth to glorious war,
iSliisiiiiii^i|iiii|g^iiii|gg|iiiiig
•I
aiiiiSiiiil^illilli
~c:c:cicrcrc:izK:
m
HIIirte§iP
3 See on the mountain top
The standard, of our God !
In Jesus' name 1 lift it up,
All stain'd with hallow'd blood,
4 His stand, His standard bearer, I,
To all the nations call :
Let all to Jesus' cross draw nigh !
He bore the cross fov^U
5 Go up with Christ your head,
Yout Captain's footsteps see ;
Follow your Captain, and be led
To certain victory.
6 All pow'r. All pow'r to him is given ;
He ever reigns the same ;
Salvation, happiness, and heav'n-,
Are all in Jesus* name.
7 Only have faith in God ;
In faith your foes assail :
Not wrestling against flesh and blood,
But all the pow'rs of hell :
6 From thrones, From thrones of glory drivV;
By flaming vengeance hurl'd.
They throng the air, and darken heay'n,
.And rule the lower world.
T. Jarman* 251
Tutti. rt\
JABEZ'S PRAYER. S. M. Dr. Ripp. Hy. 381.
Andante. ,. — ■>» -«-S / — « — N Wof Men,
O that the Lord indeed, Would me his servant Mess; From ev'ry evil shield my head, And crown my paths with peace,
And crown.
And crown my paths with peace.
Tutli. Animato.
FHfprCTiiJs^g^Si^PajiiL^ EuicadPUl
crown, crown my paths with peace. Be his almighty hand My helper and royguide, Till with his sainti in Canaan's Land,,
L-U-L-L
My portion hedi-
fc» / My
=t=fc
'liiSiiiiillliilli^ii^ii-iiSife^i
fiili^l|iliiiiJiiSli|S|ili|iSlLS^IigSt«
vide, My portion he divide,
Till vi;h his saints in Canaan's land, My portion, &c.
Till with his saints in Canaan's land, My portion he divide.
"ft _ft la - - nd _. _
2*2
Allegro ModecUd.
UPTON. S. Mi Dr. W. Hy. 142. B. 11.
Dr. Jlrnold.
1^^^^^^
sb
Not all the Mood, Not all the blood of beasts On Jewish altars, On Jewish altare slain, Could give the guilty conscience peace Or wash Or wash
- ~ tr m m.m <~ • - - -
±*|t
2fc
— b v/,» ■ ' -
V-p
On Jewish &c
=M
Not all the blogd of beasts,
^-n*
3=33
Could giv.e the guilty &c.
3
m
U-LrU-f^ulLEPU^
fclt
3
EpMIB^B
way the stain. But Christ, But Christ the heavn'ly Lamb, Takes all our
sins, our sius away ; A sacrifice of nobler name, And richer, richer blood than they.
^l^iS^^iiii^^^^^^S^
A sacrifice &c.
But Christ, But Christ rite heavn'ly Lamb, Takes all, Takes all our sins away- A sa^rinctT~ A~"^rince" &c" "— «H — '
My faithivooldlay "its hand On . that dear bead of thine, " while like a pen- i- tent I stand, And uTe»Tconft,s n„-
^m
0ATM }i,,:llC. tiAnlr *»* ...v^ fl*l_- fc . . t . ^^ .* ^™ . ^t ~~"' "I^T^^-- m ***
My
Multoksbackto «e The Uuntens thou didst b<*r» When hil^nj cnth'ar- "^^u"1 tkeTArt ^v»^"T^e7he7 luiU
ies, And hopes her , guilt was * there. ^-
Continued.
253
Chorus. Vivace. ^ ___«o_—_m<_po_iw— .-_ - > 'al
Believing, we rejoice To see the curse remove ; Believing we rejoice To see the curse remove;
E^=?£g
rejoice To see trie curse remove ; d«m<;« t"ts «c "j""-' * « ""■" *"^ ■.•»-- ■—
ii§liigl||p^il
We bless the Lamb with cheerful voice,
^
•■~T=-g
PPPg
W ■ — U— L 1 —
IH^H^I^
._J _,_' ._., .:_- it. i.i.„.,;„„ i„v. nelievint- we reioiee. To see the cut*- remove. Believing, we re- joice To see He curse re- move; We
Vtd sing, And sing his bleeding ^V"^ Believing we rejoice, To see the curse remove. Believing, we re- jo.ee To see He curte re- move;
bleSstLe Lamb with cheerful voice, And sing, Ami sing his bleeding love ; We bless the lamb with cheerful voice, Am Isutg, And sing Ms bleeding- love, h,s bteedmg love.
ice, And sing, And sing his bleeding love; We bless the Lamb with cheerful voice, Andsmg.And sing liis bleeding love, h,s DKeo.ng love.
254
fl^immWgm
JUBAL'S LYRE. S. M.
Handel.
^
1. Oh had I Mini's lyre, Or Miriam's tuneful voice 1 Oh had I Jubal's lyre, Or Miriam's tuneful voice ! To sounds like his I would aspire",
^^^s^i
ferfzbf^
S^~^
^^^:^^^iligs^gi3^^^^p^g
To Bounds like his Z
would aspire; In eongs like hers, In songs like hers rejoice
___ Oh had, Oh had I Jubal's lyre, Or Miriam's tuneful
In , songs iike hers rejoice
tuneful voice. T„ sounds Uke hi, ! v,ou,d aspire,,., p,t tafe . * t" ^H rlSESSTS'iSTirS
^^ISr!
l^gg^^SsSg
songs like hen, rejoice. Oh had I Jubal's lyre, Or Miriam's tuneful voice! Oh had I Jubal's lyre. Or Miriam', tuneful
l^iiPPiiiilM!
s
-i_-
m
voice ! To sound
i^H--T-*C
*»■ -— *■— Urn —'—-I—'—-
Continued.
______ '". _°_^ _***' 0h'a<!'1 "■""'.lyre, or _____'■ tSS_X tSeful ~ote?„
i_l_-^--^_l_-B_l-l_P_|il___lS_SM
________ - gPS - _ "_ J"™** _«*.*« rejoice - "***_■ BjBSJ _*P_ * ~ tSSaSSi ^,_1^^_7TS_^
IgliilPI^_gMiimipi^iiii___^l_ii
sounds Ijke his I would aspire, In songs like here rejoice,
Priroo. 1t O, CHORUS.
To sounds like his, To sounds like his I would as- pin;, In songs like
hers rejoice.
__^S_Mi-_i_3-ll-_»S-----li_-__i
Our humble strains but faint- Jy show, How much to thee and heav'n we owe, How much to thee and heav'n we owe.
Tenor. td
_W-i-l-____ilill_^____|_|i______il__iill_i_i
llITi rOiniCP. Our TilliilM/. cli-ilnr Tim,' v..;...i.. -1 VI • • . « .. -- ......
hers rejoice.
Our humble strains but faintly .how, How much to heav'n and tbee we owe, How much to heav'n and thee we owe.
, — ___._ — h i __= „ _ __ __.. -<'-__. ■: __ . fl>
.-__-__. — __..._,_ _»__,-___ i_ui>7 , .now, now mucn 10 neavnana tnee we owe, Mow mucn tolieavnanu tneewe owe.
ilSii_i-li-_ll__l_lilili___il_ill__iiilillllli___i
*^6 ,. Andant'mo
ffgilllili
ST. GILES. S. P. M. Dr. W. Ps. 133.
Williams*
fWm^ aE>ee, Each Jj^^hi, proper- sutta move, And each ful. El l,i, pa«, Wilh sympa- "^^g
How pleasant 'tis to see Kindred and
-ft**— T«*i
..a
tegs
IS
effisse
*r
ZION. S. P. M. Dr. W. Ps. 221.
Kozduch.
Wo.
heart, In all the cares of life and love
dlove. Howpte'dandbtes'dwa,. I, To hear the people „,. Come, let ..iai™ ^.TZ^ST^fc*5
— nrS^— T-f3-|-*T=^— T— n~ -fV# -»-«-----_- - - ' snjVUome let nS Seek our God to-day.'" ya with ,
An'dantioo MxstOEtu
F4-
PENNSYLVANIA. S. P. M. Dr. W. Ps. 98.
Ely. 237
me Lord Je- hovah reigns, And royal state maintains, His head with awful elo- ri
glo- ries crown'd; Array'd with robes of light, Be-
3. In vain the noisy crowd. Like billows fierce and loud, Aga.
ffTT- HS=j=£S
™* thn,e empire rage and roar; In vain with an- bit spite _The
El, •■■>»,
1
Hiiil
w-^» ^"^ Tutti' ""-"^
Kirt with sov'reign might, And ray, of ma- jes- ty around, And ray. of maje.- tj around. 2. Up- held l>y thy command., The world securely .lands
-"ffi!hl"°"!i».la. fiS'"' Mld d°S'' Uke W°™ »!!»'"" *e shore, And dash like waves a- jjstmTt the .hore. 4. Thy JromiiT „. are t™e, Thy erace*!. Tver new
W „», "]"«¥*"""",» E "B"a """ """" ""° "*"" »B»"»' ""= shore, And dash like waves a- gaunt the .hore. 4. Thy promi.- es are true, Thy graceis ever new
Andskiesand stars a- bey thy word; Thy throne was Cs'd on high E'er star. adorn'd the sky; E- ter- nal iT thy kingdom Lord
There lixM thy churchshal^ -»- ne'er remove ; Thy saints with I olyf.ar. Shall in ~ court, appeal And ^iTg thine "7v- _™~h7stiug loveT
ili^iiiliiiiliiilii^liii^fti^iliig
batiecll.
258
DARWELL. Hallelujah Metre. Br. W. Ps. V ^ wrc-***
rXdlld±MtPf: 2-3I§-3- S-ta--^— ~J T^!*Z""ri „ Jf vmiK, Ye holy throng of angels bngllt In ..# of li„ht beBin the ,onE.
31 ^J3 ^JTwithhcav'n and earth and seas, And offer note.il.- v.nel o >ou..Cre- ntot pmue, > _k_ _. T »•-■.>,.=_
jDr« Green.
■■
J
^_ . - - — ALBANY. H.M. Dr.Ripp.%.304^ r--£J
I ^Sr*"t-ttu"t"-«STq Crtll-CI5 jrZI|_P-L| , Tw> JZb. lulls all aleo^ For cl.ee I would the world resign, And sail to l,«Vu with thee and tl
I & ^fat thyeomtnand^launehin- to the dee,,, And leave nty native land Where sin 1. '"'^ *£± M-£l3.^ZZVt£ E&XZ1
Spiruoso.
BURNHAM. H. W. Dr. Ripp. Hy. 551.
T. Clark. 259
B~B— » 1
Upstarting at the midnight
r i_ |i >1 M III' g HI lut uuhw^>
liiiiigiiiSsliiili^iiiiSii^Sii^Jiis^lii
-*f
CARMARTHEN. H. M. Dr. Ripp. H v. 140. Mus. $r,c.
EI
|p^p^p^llili|Pi|ti|iiii!iifeliiiilii^il
»*T midnights, «*X BTold^W^idegto.n, n,g„. j^ R-l » Reamer ' ««,ThB Savio^JcftJhcdead, __And_o«oUl ^f^*
li|f ^i^pplf fit |ifSIS&S^Sg!=Jgiiili
^t Uta^W: ""Sold^r^'aVn^hS^omnigh ~ I ^ * Loi the Mgl- -W^t. JW _» J™^^ __^!^C l—'L^*^
ry, tliL- midnight cry, Behold >our -p neav niy unucgroom nigo ; *. ^u. », -. ■*,-• » , — . ■ , __ — . __, rc Tx>
-,„,,. Worn™. _JT^1"' "I —I —
worship atliii feet: Joyful they come, And wing their way From realms of day. To Jesus' (omb.
And wing their way
From realms of day TO Jesus* fomb.
ui feet: Joy nil ttiey come, /inu wing uw.-i.whj hiuw.™iui..u' «»j» «« ., , .^ -T~— ■■"*n~"
160
TRIUMPH. H. M. Dr. Hipp. Hy. 149.
Wo.
Loc/ckart.
'w&^mm
M^mm
2 Jesus the Saviour, reigns,
The God of truth and love :
When he had purg'd our stains
Be took his seat above : Lift up 84c.
3 His kingdom cannot fail,
He rules o'er earth and beav.'n.
The keys of death and hell '
Are to our Jesus giv'n : Ltft up &c.
_ 4 He all his fees shall quell,
Shall all our sins destroy,
And ev'ry bosom swell
With pure seraphic joy : Lift up &c
spirit-*, WASHINGTON. H. M. Dr. Ripp. Hy. 146. By Doddrid,
O ye im- mortal throng Of angels round the throne. Join with
our ' fee- hie
Sii§giss8giiii
SiBii&lg
!^^i<jj«Saw™rk^^
WEYMOUTH. H. M. Br. W. Ily. 1G9. B. n.
hr. HarrLsun-.
1. The Lord Jehovah
/„. Women! Tntii. +r Wo. _^_ *_._„_„ ._
„.:_. o,:.A«i.41imi»rt,M*! The rarmenls he as- tames arelightv and majesty, His^Klorie. shine with beam, so bright. No mo
261
reigns, His throne is built on high: The garments lie as-
**=fr=r^TT — T"f~tT,tviT — t tt"Tp~I
K
BMiigr^
Silliillgi
§=^lr=§li
in sustain tlie sight. His glories shine w
g§fi§g|g|||
cansustainthe sight, His gloriesshine with beanu so urigliMCo mortal can stmain lh^*iBh^__ And where hislove resolves to bless.
iSl^SiiS[ii^SS5od3L?SSL, life
]^^~ •" '"" CR1CKH.OWELL. H. M. Dr. W. Doxology. _
^*P
r«Y|— 3 The thunders of his hand
Keep the wide world in awe ;
His wrath and justice stand
To guard his holy law ;
■ His truth confirms and seals the [Trace
3 Andean this mighty King
Of glory condescend ?
And will he write his name,
at-,*:^-
— " ~" * Mr—*-! MM - ™- .. . ~ ."I ". . ... ,„....„• ,... t?,.™,t Kin*. Thv name we«nr* While faith adores. Eternal king, Thy name we sine, Whilefailh adores.
raise ;' Glory to God Uie Son ; To
GodUie Spirit praise: With all ourpow 'rs.EtcrmjKing, Th) name we sing While faith adores, Eternal king, Thy name _.j™c,_While faith adore,.
opini pnusi;; >» iui an uui jiu« >=, -j..,...™ „....,,., — w — .____„ ■
||filPi^ilffi®ite&i
see
26 %
rf:fl
PORTSMOUTH. H. M. Dr. Ripp. Hy= 206.
Wo.
Handel*
W^5<grZStt'*1R^**^'*n^ "herons Pfinceo. «£,__ .-.£-. <f— - ^ tlET-_||rT_T__
Afe-i— 3 -J— 3— aa-J ,J ~^ "■' ■ "Wo. Tuth. -|t _ —
— I — L— I — J"1 f-" *— " ... ,,._ t._.i. . _j 4.-J....1.. .1 . .!,» rs™l ,Wm><h. Th'antrelic host around bjin bends And midst t
:„ndhimbendS,ATdmid!tthes7out the God descend,," TV anBe,ic host around" >m beiul. Andmife Ad. >te.S 8.S CM tacete
Indarkdomnin. connn'd : Th'angelieho,. around him bend,, «-« shot,, tne u.uue.™ " ^l"-.": T r-*-*--T--£ 1 idll"
<l-l-x---- ivn?w-vnRT<r w. M. Dr. W. Hv. 150. B. i. . £'i/-
NEW-YORK. H. M. JDr.W. Hy. l.^b._B. i.
^r_— IZTIEU-^-f- — ^--"t- J~S, B V" '"I 2 i tfTTThT n7o7nT- e7 Ami' iSTdon. ,r»*lm bauds .-Cum- nmsionM tram Ins
«^ Ta7 ra?d m mortal flesh, He like an angel stand,, And holds the pioim>- e., Ann pat J? __
NEW-YORK, Continued.
263
S«S-4
speak his worth, Too mean to set
terras, What con- de- sceuding ways Doth «ur Re- deemer
IgtfliiiilSSSis
ray Saviour forth. 2. But, Oh! what gentler terms, What con- de- scendingways Doth eur Re- deemer
w^ms^^sgm
Prophet of my God, My tengue would hie,* thy name, Ey thee the joyful
iiigii^jr^iiliaiiiigiiiglisi
iiSiSSlilSiSiliiiiL^iiiii;
use, To teach his heav'diy grace! Mine eyes with joy and wondei
What forma of love he bore for me, Mine eyes with joy and wonder
Use, ID l '.'U til ms Ilea) ui/ giutt. uuue >■/« win* j*jj »•'« n«im»w --i .- .._ -- • • |k_
tews *Of our salva-* U« came: The joyful news of sins ibrjiVn. Of hell subdu'd,and peace with heav-n, The joyful news of sins for-
— 4r*<^ ri
liiililiiigiliii^^iiiii^ii^ii
feEifflF
:£z*±HI
see What forms of love he bore for me.
1T /7\
liliiplilISi
giv'n Of lu-U sup- — 3ued and peace wuh heav'n.
*tItP-liiiiii8
5 Be thou my Counsellor, My pattern and my guide;
And thro' this desert land Stilt keep me near thy side.
O let my feet Ne'er run astray,
Nor rove, nor seek The crooked way.
6 I love my Shepherd's voice, His watchful eyes shall keep
My wand'ring soul among The thousands of his sheep I
He feeds his flock, He calls their names,*-
His boSom bears The tender lambs, •
-64 Spiiitoso.
SAXONY. H. M. Dr. Dwight's Ps. 159.
Handel.
liigiifg
Zion's sacred gates, Letby.meofprB.ebeBU., Where^ffeiO^nove In^ceasetas teauty shine,_
ustiilgi*
Where acts of faith and love In ceaseless beauty shine: In mercy there WhilJ
37kT w^u,ac^^,Hi»w>»dom and his grace, Thenars of on. hand And tvansp^ rfourp^e
The labours of our hand And transports of our praise; Relieane his name T(
v 3, His wond'rous. acts demand, His wisaom a.,u »., M.^, * - V-B- , j- Z~£lEr^Ttt±^ZZtt
''I "^TS^Bete1nr,h*elvT,b songs appear,® In mercy there While God is known, Befo,. his th, ...
I ^^ ... ,- „: v. „„1.™.II(. hearse his name To ev'ry shore, Where e'er
Before his throne With songs appear. 2. In henv'n, his house on high, Yc angels lift
ev'ry shore, Where e'er his pow'r, His worts proclaim, Re- hearse hi. name To ev'ry
hispow'r, :||! His works proclaim. 4. Let the tramp's martial voice. The timbrel's soft-
eT aound, The organ's solemn ycal U- ru- tea pra.se .e»u™, ^ ^- , -+Jtft» - -+- JT T ZZ~rZ"3l3"^^^",'3:d+" H1 T8
TAUNTON. P. M. 4ls. 10s.
Mus. Sae. 265
A- WOktr! O slothful spirit, raise, awake! The Lord himself is ris'n.and where ait thou? The night is past, the mom be- gins to bwak, The dnysti
^giSgglgiifeiggffiiMMe^^
A(!aBi0 DIRGE. 4ls. IPs. Mawtel.
glitters on yon mountain's brow.
ilgiiiiS
Few are our days, those few we dream a- way, Sure is our fate, to moulder in the clay, Sure
^iilSiiig^iiiiSSilif^iilllli!
is our fate to moulder in the clay; Kise! immortal soul, a- hove thine earthly fate. Time yet is thine, but soon it is too late.
iPiiiiiiltil
'rr0 P
e— s-
Kk
wmmmm^m
26S a Tempo,
i
HARDBOROUGH. P. M. 61s. 10s. Dr. W. Ps. 50.
J. Arnold" t Coll.
-"^:7~^l_^"l~™„„.l.i;.„,mm„n. forth. Calls the sooth nations and awakes thenorth; From east to»e,t the sound™,; orders spread, Thro' distant worlds and regionsof thedead; )
H~
_#_i— „| |_. - -(- h - DW1GHT. P.M. Dr. Dwight. Ps. 18. %.
1 — ^_J-}__|— M h— - 1— _ r— ,r"..„T_ „„i™™„„ «,«*.*'■ h,»hnlt": the dnv.
1
If
^re'thTua'thdsrTmoTk his long delay;* H"isve'nEeance sleeps no more : behold lire day.
-ft-T
"l^r^.^S
iigi^gS»Si
|4<::
To lieav'n let all ray sacred passions move, My trust, my wonder, gratj nude and love-
==4;Ht£-^i-:K~:3t-*ili-='?=-""CT"="" --£=15 ±=t
eEESEEEEsS
{( Godismy hope, my s.fenrrth.my towV, ^MeldbiW*l^aBdmySworuUtpo^^^ celebrattta^ name.
Presto e Vigoroso.
THUNDER STORM. P. M. Dr. Dwight. Ps. 2(J
£/y. 267
BE
gE
1. Ye chiefs,aiid kings to God your voices raise, To him ascribe die
glory pow'r and praise. The grateful incense of a contrite mind. With truth enlighten'd.
k# — z
\oVrthedarkworldwhencloud,7heskv deform, Hi. car the whirlwind.and fa tone the storm, His voice is heard ;a,lonish'd at the sound, Old ocean mmb
,"cl„„.-..„;"„H„r Uf.J ,„ ,h»,l,v. ! Proud Lebanon with deep convulsion. riv'n.Bend, his b.gbcliffs and
3, See groves of. cedar lifted to the shy, Rent by the flaming blast
.igliiiiigii^llliiSliPii
4. There rink the Hasted pine, their honours lost; There oak. majes- tic bow their heads in dust; The wasted forest opes its dark abodes, Shorn all .ts glor.es.
and by grace refin'd: fie- ho- vail speaks; thro' neav'u
shakes from pole fopoIe^And the vast concave 3l.a^rompo^eto pole.
to his farthcsT bound; The hard rocks cleavefthe hills in homage nod. And the touch'd earth proclaim, the present God, And the toueh'd earth proclaim, the cornmg God.
ownsthTroiceof heaved SMon leaps : hi, "de^T foundations shake; The vallie, heave; the howling deserts ou.ke, The value, heave; tiling desert, quake.
-U U 1 U-J--3-U U U~l| U U—l- — --*-W-^*r- —- ■*— .h™ti„„ mortal, tremble and adorn
prostrate all its woods; Anew the lightning, blaze; the, thunders ran; And shrinking mortals
tremble and ttdore, And shrinking mortals tremble and
268
lT3±
Brio.
XENIA. P. M. Dr. W. Ps. 50.
J. Arnold.
««3E
SSfe
?"(*:
IllSSiiSigllliiilii^iliiii®
TheG«d of glory sends his summons forth, Calls the south nations and awakes the north; From oast to west the sov'reign orders spread, Thro' distant wilds and regions of the dead.
„ _ The trumpet sounds, hell trembles, heav'n n™
SISSBSi^iiiilSillfiiillliiSiiliil
SiPiiiSiiliiii;
»ssssw
jr=i=
!«Jiiiiii§iS
joices. Lift up your heads, ye saints, with cheerful voices-
liiiiiiiii!
Gmemente. GENEVA. P.M. Dr. W. Pf. SO. Yrs. 1 1.
Dr. Ambrose,
smmm§m^&SMmn
I. Unthinking wretch ! how wouldst thou hope to please A God, a spirit with such toys as these? While with my grace St statutes on tl
fcfc
SiiiSigfssiiiiii
HiHTsiiilYEiiiliSSiliil
jji-B-
dost thy brother wrong."- Judgment prot
tongue, Thou lov'st deceit, and dost thy brother wrong s-
Judgment proceeds, hell / trembles, heav'n re- Joices, Lift up your heads ye saints with clcerful voices.
srszs
HililiHligiiii
_a--
iil^SiSlil^ii^liiiiiaiPgiiiP
*
NEW-ENGLAND. P. M. 10s & Us. Dr. Ripp. Hy. 533. By Dr. Doddridge.
rS*3g§
Dr. Haydn. 269
i;Ho».eof^Oo^*cT1«riWM1d.em,BnS. mileallour lipsand h«hi goodness sing; Wi*.«n=djoy hi, wmidrous declaim; _*-«_J^ ™d> !^SL- -
3. His goodness never ends ; the dawn the shade, Still see
new bounties thro' new scenes displayed; Succeeding ages bless this sure abode, Ami children lean upon the*
IZn^SZ'JZ^ *u*J0!; Angel, and men in harmony combine, >Vta.e human year, are measur d by the sun, And while
■ -■*-*-
5
:t-*-i*T-*-*-
.., -!«.,■:. „„.,.ST ™,,v „„„ enSur. His blessing, in per- pet- ual show'rs descending, Hi, blesstags in pe^ i^- ua^how'r, descending.
I The Lord is good ; his mercy never endiug,
semtri
^^^ll^S
lias been known, Thro' your immortal life, with love in- creasing
Proclaim your Maker's" goodn=.s never ceming, Proclaim your Maker's goodness nevei^ ceasing,
Siii^llse?-
father'. God: The deadilcss soul thro' its imrainic du- ration
Drinks from this source immortal conso- lation, Drinks from this source immor- tal con- solation.
God: The deathless soul thro' its immune no. ration, u,m». ..™ ...._.„»» _ _^
course srliall run : 11* goodness in per- petual
270
SOPHRONIA. P. M. 10s & 8s.
J A -».-FMlKa^^m»fMn«i,!fmto nnd Mt no more, Wtergi.II mr>:' cl.ferf.il ate foflSa? Why will ye rate a« l.]k rty ,or- menu ovjrtfy iifT"™/!
3. Grace is a sad-erf i.Tanf nf. linv'nlv liif.i. Tl.» „~J J. j:. . a__... . - ««mM U -| r— I |— I— I *
sacred plant of hcav'nly birth. The seed dc- scendiug from abov
e, Roots in a sol! re- finM, grows high on earth. And hloom, »uh ,
SI
gig'
"-^!^^^!r; ■*■'"*; Ji*-^ groans .ha. wasle n,y brea.h, And read .he .njeh.y sorrow in "l^W^sTphronia sleepstVJ
@Ss§
_fc_ T^=r— ^____| , ° * B=*-"" — ~* "'"--«■"*' *'!«•' »<« ev«r- lasting; joys, Sopliroi.ia waits above for thee
Maestoso.
-#-ts — i-n
-i£. "^
1. Hither ye fa.U.fu! hasle will. s„ues of triumph, To Ijeihlehem In
'ff~rr ar--lT+ —
ADESTE FIDKLES. P. M. lis & ids.
ss«»
tf'rbbe.
2.01,1 Je,us for s,,eh wond'rous eomlesceosion Out-praise asd our rov'reneeare an off*4r meet ; Now is the word made nesl^nddwellsamon
ig- usj Oh I come, &e.
■ ■: Shout his almiehty name, ye choirs of an^s, Let Or.- celestial! -miTtshfcfefi ^i.- *"" "^TJfrLi .. TFr.,"1 "L,.^ „■ T: J "~ E
Unto trar Gcd fce glory iu the higiiew, Oh I &<•..,
CHRISTMAS. P. M. 10s & lis.
Ely. 271
._ .- ._!'.. n IT. «..,! 1..* «. .«^«>»1.Tm A»lm£.»f,-nf ^-^ 1 P i I i I I i , ..* VMinijiinw I . . I ' i.. . I.-iki.v mitpn :niv 'Pin-, mni-nitki- mi n'li-ij.lt f ti<* *l^vid-iiif-/~'lli>ict lUncl
come and h-t us worship, 0«omt*nnd let in worship at his Pel
^igg^feigii
1, Exulting, vjoicinp;, hail tlie happy morning, Tim morning on which the Saviour Christ was bom.
^s^j^Sffil^^g^g^^l^iii
Expressive,
^7\ Fortissimo.
i^l^^ll^Jilii^^^l^iii^S
Angels of mercy. Angels of mercy, Angels of hiefcy, who his birth at- tend- ed, O bear our loud liteamuu thro' thi' skies. 2. Sal- vauon proclaiming to the guilty
Jtfy I — -&. — » — - — ■ — . K—
pra
F=f
. -. 4 -. .i_ ..*' _^._- ..LL. I V _...!_ -.-,... »" ■ n 1 ..1 .1 ». ~ . »L..,.l *U— -1.f«.. .« Un k-.-.^.-k rr<ni,\ *1.^> /I. O rl -lllfl H f fl ll*VlfcV*Il 1W.
Angels of pity, Angels of pity, Am>els of pity, who his birth attend- ctl, O bear our loud hosaimas thro' the ski
4. He rose from the dead mid v to heav'n as-
rtN Fovtissimo.
nations, He comes in the glory and the ipow'r of God; Angels of m icy. Angtls uf mercy who his birth attend- ed, O bear our Innd hu- saunas thro Hie skies.
ceuded, Andnowinter- cedeu for the sons of men: Who would not love hini? Who would not love so gmeiuus a Redeemer? ^Wehail thee Prince and Sflviourof mankind.
EH
M^^immm^&g^^m
272
Vigoroso.
ODE ON JUDGMENT. P. M. 11s. & 5s.
Dr. Waft^ Lyrics
■1 VI'l <L. C .!_ ...!.. JJ .-■.! « ■ .. n — _ _ _ ■"
I. When the fierce north wind with
3:
his aivy forces,
Rears up the Baltic to a
fury ;
And thq^ red
-3-1-
3. Stich shall the noise be, and the wild disor-
light'niiur with
storm of hail conws
S^&li^gS^iiiiS^iiigi^l!
f=mgggii
^Kj
to tlie gaping waters Quick to devour tliem.
-\gi — ■- t3"f"'f3 »It«-»3 CJUHill. 1UUEVUU1 IIIITIII.
and their bones aris- ing. Flames all around them,
—— —^ifcfcfcL-mtai. r ■ .._,, 7 Hor
; S Hark ! the shrill outcries of the guilty wretches, 8 Stop here my fancy, (all away ye horrid,
. Lively bright horrors and amazing anguish, Doleful ideas,) come arise to Jesus,
Stare thro' their eye-lids, while the living worm lies How he sils God-lik-e. and his saints around him
Gnawing within them. Thron'd, yet adore him.
• 6 Tho'ls like old vulluresprey upon theirheart-strings, 9 O may I sit there when he comes triumphant.
Ami the smart twinges, when the eye beholds the Dooming the nations ; then ascend tn glory,
Lotty Judge frowning, and a flood of vengeance While our hosannas all along the passage
Rolling afore them. S|lout the liedeemer.
7 Hopeless immortals how they scream and shiver,
""liile devils push them to the pit wide yawning, jV- s- T/,e ,as! verse may h* either repeated or st/jy ,'j
leous and gloomy to receive them head-lo ng tfle repeat,
Do^vn to the centre-.
. -rui in ■
- — — i-~-
■M
SARK. P.M. 7s. Dr. Ripp. Hy. 240. By Dr. Sennick
f^T^L^tJt^mT A.'ye journey .wee.iy s„,g, ^~l«Mfr~« pnnse, Gioriou, l^kMfe-*— .
»-#75— -IT
^b_s_
__gH
_§__
_____I_ii_iiSS
Dr. Miller. 273
2 Ye are travTing home to God,
In the way the fathers trod ;
They are happy now, and ye
Soon their happiness shall see.
_ 3 O ye banish'dseed be glad !
|-r Christ our advocate is made,
I Us to save our flesh assumes,
'— Brother to our souls becomes.
4 Shout ye little flock and blest ;
You on Jesus* soul shall rest ;1
There your seat is now prepar'd,
There your kingdom and reward.
CONDOLENCE. P. M. Mcth. Hy. 190. B. n.
Pleyel.
"6^ ~JT~ Tc „ ^ ,,e Alercv still reserv'd for me? Can my God Ms wrath forbear! Me, the chief of
, l. Depth of mercy can there be, Mercy sun reswrv u ^_ ^_ ._
:|^^^^___g___w__i_i3i
*~ ~ " RKEDEEMING LOVE. P. M. 7s. Dr. Ripp. Hv. 69.
jeig_£__iii_i-3£M
_-3:
R*
2 I have long withstood his grace ;
Long provok'd him to his face ;
Would not hearken to his calls ;
Griev'd him by a thousand falls.
3 Kindled his relentings are,
Me he now delights to spare,
Cries " How shall I give thee up !"
Lets the lifted thunder drop.
4 There for me the Saviour stands ;
Shows his wounds and bleeding hands;
God is love ! I know ! I feel !
Jesus weeps and\l°ves nje still.
' ^ Ely.
Now begin the heav'uly theme, Sins a- loud in Jesus' name!
sgs^__a____
Ye Who his salvation prove ; Tr>"~
" _H
redeeming love, Triumph, etc.
anas
^|giy^ill_l^___lgp_li__ll
274
T£fei
EASTER HYMN. P. M. 7s. Dr. Ripp. Hy. 142.
Pomposo. uaoiiiuuiMii, 1 . JU. /o. J>I. i\ifj[). xiy. 1*2.
1. Angels ! roll the rock away ! Death yield up thy mighty prey; See ! Ire rises from the tomb. Glowing with immortal bloom, 2. Tis the Saviuui ■! angels, raise Fame's
Dr. Carey*
:«3
_=tt±a
Glowing with immortal bloom. 2. Tis the Saviour! angels, raise Fame's eternal trump of praise! (
^j^s^ifflgg^s§s^ss
3. No* ye saints lift up your eyes! Now to glory seelnmrise, In long triumph up the sky, Up to waiting worlds on high. 4. Heav'n displays herportalsw.de! Glorious heros thro'-*-- them ridt
^g^^SS^^^^^^S^^^^^
£&!
!. Praise him all ye heav'nly choirs! Praise and sweep your golden lyres! Shorn, O earth, in rapt'rous sonjr, Let the strain be iviMnd strong ! C. Ev'ry note with wonder swell, Sin o'erthrownotcoplur'd hell
Hf CHORUS by Dr. Miller. g " ™
T.*>f til** Plll't'li'tf Wmnlpci- hi-llinit ' H.Jfir His* t*\v insnii>in» (.mmyl E»-_. *__. 1_-1I_. I--J-1- j -.. SL- I1-. 1 _1_ r\ _.. ._■.. jt. "
Let tlie earth's remotest bound Hear the. joy inspiring sound.
— m
halle- lujah, and" ever, halle- ltynh, forev- er, and ever, forever and
King of glory! mount thy throne, Thy great Father's and thy own. •
Whir ]s Ii^lrsonce oii-«.\ ,i t-;„„ i wk«-,. n ,i,..,«. .w „ 1 _.: ■
Willi is "ft once dre»J.,,i King ! Where, O deash, thy mortal stir*
;g-Wo. All. Wo. A||, »
__■-.- Wo. All. Wo. All.
fgi&tii^i^^^Pii^iSriiiPiPPrSS
I ever for ever, hilled lujah, andever T5ir> T, .1 _lT— * ' ^" T~ U_W71 ' , T H> V~ }~ * *~' ' U-^J-U-I-.^.^,
| ever ior c,c., iuur j-t ) . ~ Hijah, for ever and ever. Tor ever and ever, ibrcver, halle- "- '
ever lor ever, na.ie- ..yap, »m,e.e> "»'"•- l,Ual>, for ever and ever. Tor ever and ever, ibreVer, halle- lujah, and ever, halle- ^b,luuleT
^i'll&^iigi^Sgiiliiiii§i=Silsli?iil:
w
Continued. _ _aj»^o. _
I--1 U-%-*-l ta— ta-ta I ■■..... . ... ...:-.. i.ll.. !.,.»>,_ halle- Imok. A- n»,
275
haUe*" "lu- "jah, balle- lujah, hall.- lujah, halle- lujah, hMIe- lujah. hallo- lujah,
A- men.
lujah, halle- lujah, halle- lu- jab, bane- mja", — •->• _. - 7T rTTTT-PnT
^_P_t L-6. GOSHEN. _P.M._7s. Dr._RiPP. Hv 174. ^^^^^fe^U
^" ..M-^O E,„riou,narae! Let i. shine i„ endles, fame : God and manm Chr«.-. O m, _V-_^__ — -t^— ^tZtJflfc
a.Godwith .„• but tainted not TO*. «n.-p>m. Mot ; ** " ^- »" - -TVs£ rT^" ^T^TI~~ ~I"P gF —
i jjfeg+^PjIirM
wLta hi.eouruabove Now ye sain,, hi, ^ce aotnire, S«ll<he .on^w.th »*■» _.»_-__,-- -_ Par^^:RBG#£FiS*EHr
"" ^T«"~"bi«.^.oT.«. That**™? Innuanuel *» A, we ^„gnt„uC Godand Kin,. J"*' fe^^fcp— feT«=fcltt=^^li
276
0=fc
Wo. Spiritoso.
HERALD ANGELS. P.M. Dr. Ripp, Hy. 130.
fefcaMiiil
Harl" ""' ■■^'i °nEeI„inE. Hark ], he herald angering, Glory to thenewbom King, Glory to , he newborn KinB, *ic, <mS[h, and mercy mild, God and .inne* reconciled, God
Kra
SffiSra:
isma
_^^__^^ri^J^.«p^g;;^e. JomtluMriumnh of the skie., With the angelic host proclaim, Chri.ti, born a, Bctl^ehen, Hark! ,b I, .-
m
Tutri»
^i^^i^^
CONTINUED.
27&
1 I 1 L— ' I — l — ™ ' ' ' ~] . , . ... veil'd in flesh, the God- headhe ! Hail ! Hail.th' incarnate Deity,
Late in time
behold him come,Off3prinBofthevirgi»*swomb.
^npZf-Il— It-B ^ -I r-M— I jKm mr Immamie. here, Jews our Iminanuel here,
■pi,.^c'H aaman with
Our Imrannne] here, here, Our immanuei here, here,
pirns'* a3 man w,tI> man a'1" ' ' fc K a_-a U ^- V-n*-,*-
ZtU^4-«^5-J-4— r—U-l-r- !■■ I '- » ,„ ,„e new- bom King; Glory to the new-bov
n^atc
Hark! tie herald angel, ring. Hark the herald angel. ring, "Glory u
"e newborn K.ng; Glory to .he new- born KingJ_ Glory to the new-born King.
-^^^^mmmm^m^^^
iiiiis
i
m
278
If:
l^^^^Sg^
LOUGHTCJN. P. M.
P. M. MltrrOW!.
1. Christ, the Lord, is ris'n to- day ! Sons of. men and angels say! Raise your joys and triumphs high! Sing ye heav'ns and earth reply. Love's redeeming work is done, Fougtu the fight the batt i
pippf^gpiB^
tr
2. Vain the stone, the watch, the seal, Christ hath burst the gates of hell! Death in vain forbids his rise, Christ hath openM para- dise. Lives again our glorious King ! Where O death ! is now J
-t— i -TT7— — r-rv- r* r# n rm P-i
iSBfewiiK^isg^ie&s^^i
of our present joy, Saul who hast thy thousands slain, Welcome to thy friend* again; navid his ten thousand slew, Ten thousand praises are his dm.-. Ten thousand praises, :|| :
a^t^g^^^^lii^
-»«_-S:
i-ff-B*
are his due*
-k-
i^ip®isia@iss
l£
~jrT~T!
km
1
NATIVITY. P. M. 7s. Dr. Ripp.-130
Dr. C. Burney. 279
Tutti.
~ ^_^^ y^Q ~ >^-S 1 UK].
Z-dE.Z-3lfI-Z— U-^U-W-'W-'D--1 JW. U tawH- - tar- -*T- on earth, and mer- cy mild; God and nmw
Kis*n with healing
1. Hark! hark! the herald angels svnC, G.c- ry ™_ _Z " ™__(iT_— -h~n T I 'O^^I^^S
t2J iTJTa-r-UIta Z?*-L ,— 'H--T7,1- "T~ rf RiEh.eo...- mSlLik-hl ami life to all hebnngs,
7 3.Hail!Hail! the heaVn-bomPrii.ee of Peace! Hail the Sun of R^Meous^ J\ _ „, ,— ^ 1 -
tl±fcCrt-±t IiiS^S^?-1— ^~r-J — W-*-r -rk -**-"» r!? .wt: *S An "Tclic h~s proclaim, Christ is
rise. Join the triuraolu
the skies; With tu'an
TSSS^mi fcJojful a" je na-tions r.se, Jo.n «e mumpu. "^ ' -j-f-n T IftJT
:5:r<il±*±H=-:L^--F-UttC^^^-^o:E -tr?*in ■„7"ih7 h&te1Ue = ETuT^ all thea,.._£^henWSTnl>G. ...
in hi.* wings. 4.Comede- »i.e of na- «ou.! M *■£ .n JL^ ■ ^_ XT" 1 -T^TTl l~T ~TF~FT
""" • - - ^ .»- /Vr Cho.io. _^ " , | JZ*.^- T ^it-H
to the new-bom King, Glory
TO Ill's iiqw-uum -""HI J
280
PRAISE THE LORD. P. M. 7s.
Handel.
Praise the Lord with
cheerful noise,
Wake my glory !
wake my lyr
f Wake my glory ! Wake my lyre
liiyilPi^iim^iililiiiliiiliiE^^il:
^- *" Wake my gldl <
■ — - ke my glory, wake my gio- ry! wake my glo- ry! wake my lyre, Wa> - - . - -
giigiiigiiimlininniigsii
H:
_ ry, Wake my,&c.
-H-
:ttt
Wake my glo-
iTi^®^I1il^Siliiiii=i^iiil?IPra
ke my lyre! Praise the Lord, each mortal voice; Praise the Lord ye heav'nly choir
Ye heav'aly choir,
bj,
Ye heav'nly choiv Praise the
liii^iii^igiiiiiiiligiiiiiiiiiig^i
_ wane my lyre; ,—
Lord ye heav'nly choir ! Praise the Lord each mortal voice I Praise the Lord ye heav'nly choir,
ye heav'nly choir, ye heav'nly choir, Praisethe Lord ye heav'nly choir.
^HSiS^^^^^^
U:
m
ifg
«^TE
!^^§
LOUGHREA.
Andante. *V ,
Handd. 281
D.C.
! God did love them in his Son,
Long before the world begun ;
They the seal of this receive,
When on Jesus they believe : With &c
S They are justify'cl by grace,
They enjoy a solid peace ;
All their sins are wash'd away,
They shall stand in God'sgreat day
* They produce the fruits of gra«e,
In the works of righteousness !
Born of God they hate oil sin
God's pure word remainswithin: With &e.
5 They have fellowship with God,
Thro' the Mediator's blood ;
One wilh God, thro' Jesus one,
Glory is with them begun : With Sec.
6 Tho' they suffer'd much on earth,
Stranger's to the worldling's mirth,
Yet they have an inward joy,
With, Pleasures which can never cloy: With &c
7 They alene are truly blest —
Heirs with God, joint heirs with Christ ;
They with love and peace are fill'd;
They are by his spirit fdl'd : With &c.
DR. MILLER.
UJ
Da Capo.
Turn to Jesus
Find in Christ the way of peace, Peace unspeakable, unknown ;
By his pain he gives you ease. Life by his expiring groan ;
Kise, exalted by his fa)'. Find in Christ your all in alt.
1—3 0 believe the record true, God to you his Son hath giv'n !
Ye may now be happy too : Find on earth the life of heav'n :
Live the life of heav'n above, All the life of glorious love.
This the universal bliss, Bliss for ev'ry soul design'd :
God's orig'nal promise thiF, God's great gift to all mankind ■-
C Blest in Christ this moment be ! Blest to all eternity.
382
LAUNCESTON. P. M. Dr. Madati's Coll. p. 103.
ir, -
Dr. Madans Coll.
tr
£j *** . 1. World, adieuijhou re- a\ cheat! Oft have thy deceitful charms, Fiil'd my heart with fund conceit, Foolish hope and false alarms;^ *Now I sceai
" iliili^slsiiiiiSifiiiiiiiiiii
^- !--rH- I — ^
--rf-J—h
~i3~ 2 Vain thy entertaining- sights ;
ses renew'd ;
thy delights,
Does but flatter and delude :
&'i clear as day, How thy foies pass away. „,. , .-■ «■ . > ,
_. h* _ _ j=a»_ _j . 1 hee I quit for heav'n above, <
' * Object of the noblest love.
3 Farewell, honours, empty pride
Thy own nice, uncertain gust,
■k-j** If the least mischance betide,
than tbedust:
end in gall
Vivace. HART'S. P. M. Dr. Ripp. Hy. 142. MilgrovA
^f~afy^ — T"j T HtJ"Zb~tl— 2 Vain thy entertain
K _C"^B_ld"CC: :K. B+Ztt'Zt jSl False thy promise
?] -F.J-FFN Ei«4g.^|l aii ,he pomp oft
jw thy follies pass awa)'.
i-morrow fall.
Tutli.
tSSiiSiSiilipii
Angels ! roll the rock away! Death yield up thy mighty prey; Sec he rises from the
l25fflSrCT3agiifi!a^to33'jrafg?-:
Jp£:
ZnZZ~TZZ~T-&ZK.Z2.\^:Zl E3_ Laystl.ee lower t
-3— S-4PPP[+t-F-Ts-(8-|s-T|-.-|T Wordly honours <
r=z:p±t:p;t±:±rt:±pptT4i_ uise tn-day-to-n
. • tbJ- coda.
tdmb, Glowing with im- mortal bloom. Halle- lujah, Praise the Lord, Halle lujah, Praise the Lord, Praise, praise, praise, praise, Halle- lujah, Praise the Lord.
troclaim,
,' station
his fame.
Italian.
Repeat Tulti.
— -■* — ■■ XT^ 4 While the heralds 01 saiva.
t-e— ^p-Fr^f ~T~TJT His abounding grace pre
.__.,. Ht-1-PH — I S'E^RP £ 1+- ^ ■vttltCKSH TW Le' l>'3 friends of ev'ry stal
^^^^f^^^®:^^:i:E#lF:P#F:^SS$tiffi \ladlyjointospreadhis
-" ^ '^-^LD^ pVm. 8.H7. Dr. RiPP. Hy. 500 .By Robins «»* ^JW
I Sir Zld:rT?K=I— ^Bffl'iSf Hfe^^ft^iPH? ^fftq* 3 Here I r
'I" . -_-; •.-_,_„•"...„,„„!„„ thverace; I _ . . ,„,. „„„,.. Snnir bv flaiainK tone"" above . a„r„l„ ti
■aise my Ebenezer,
by thy grace I'm come ;
hope hy thy Rood pleasure.
Sai'elv to arrrive at home. ■
me when a stranger.
om the fold of *>d :
sonl from danger,
precious bloo<f:
284
I
Andante.
THE SAILOR'S SONG. P. M.
Banister*
I I Wo. Tutti.)
Sailing on the boistrous. ocean, Far from home, Farfrom home, Far from home and far fromland- r jT~iw,m .w J„ „ . ' — ^
- — s' ^— v _ s~— -. - - L . lr°°"ana, lord from thee we seek protection, Guide and guard us, Guide M
II =£
•^Kiiiirt
HiiSiil^ii
k A h ^ '"T" •"* "^ TVTt>n. rf...i: — --. — — ^
1 guardus; Guideandguardu.withthyhand: Lord from theewseetproTeetrTu. " Gutnd^'^ .H^^^^EEE^^Z^T^—'^^iT^PS^
jru^, GuMe and g^u.^hthy hand f ^Trom «hee"we ,e"etpr„,ee,iou. " G&lnd^7usf^^~^^^^fe;
• a --. •— -s ~-wu~«™u* v,uiue ana guard „s, :|: Guide and guard us with thy hand. Wen withers an~~Tg7re
compass'd,Maywe Bad thee strong to save; All ourhopp.we Bust, we Snt,* n„\.;.„t. — 1~ \t*~ • U,I-E IC:MX-_3J _I ~ ;_T_ TCut_I7 l-Ll I "tl
-^.fc-,.,.. . _, ' ' ^"Ei-S -«• -»"»-mEI' ?^Sro'E:,'',',h0wil*'I'l'eS^Al"ur hope, we trust, we centre, On his might **?*Z whowaVlthew
Continued.
— fe-s
i'Bvl
CHORUS, Vieroro*. . t ^ «-r— k — k~lSl?'-!lCO — SUfe
l'ShVT!.n5'e!ri»nde«rat.le,Wind»andwav«theu- fury pour, their fury
,^n,thundersrattle,wmtisanuw.,.»u.™ .-„ - - *»tft "ft'SlLE ir-krF iF-F-p-FTrT-Wr
-*- — ' JrV"?.™.ffL.!!!? !T.,ndmTfltcfe. Winds and waves theirfury pour, jf ~^_ -1ft*-. . _ _ b<
X fe, may threatS, thunders mtle, Winds and waves tterfury pour, XT ' ^ "Pg"^ * rHT S^^Er^T
"* Foes may threaten, thunders rattle, * Repeat Tutli. Modesto. CT I. I rJ'lllU I I — xrHrxiT Hi Tftlil V , It-
-' — *-' — HS*T?!? ™tK»l „f tattle. War is safety, jtormssecure; If,^''
aJ. - .... -. _ F^h7L^7 ^umTs, From \fe perils of^he^,-g-^y merey
sft
"53"fl_:3±~-Zi=:-:3l5-SI-$.I-^I-F-1F-F-1- -1- §£££! the h»v™,He»vV.thehaventhatweseel^
dEptittiZ^^fc-PtP -IF Pt= X jSJ^STtoSrS we «*, Heav'nXSc
d^K
236
AHegi'O-
KENTUCKY. P. M. Dr. Ripp. Hy. 162.
Come thou long expected Jesus! Born to set thy people free; ;
~£ - _1 . "_'" - Fr°m ""l^T ^j;"' """e '"' Le' "' fi'"i ""' *" '" ""* : Is™el'ss(re"E°'i">'l«™™l>'i<>»,Hopeofanthl!!arat!1thonart;Deard4l
Lty-
iaisia
ISSiiiiiliglsai
issiisii-iiigiiiiiiiiiiiisgiiiigiilijiii
Repeat Tutti.
.,„. . Ah,„ TROWBRIDGE. P. M. Dr. Ripp. Hy. 295. Handel!
! sireof ev'ry nation* Joy of ev'Ty 5- longing ° heart Jo-v of "T^" ~ &~ i Si =7 _ 8 -g^-— -I— L.-U--- 2-1 1~ (—»■—!-- 31[_-£ P-TrT^-I-g 33 rit—fltL--
_ |T_I ^.1, '_ " ™+»~fiil jj!; >J Ionpng heart. I ~f 1. Jesjlsl full of all compassion, Hear thy humble suppliant, cry, Hear tbv h".b
Prostrate at thy feet re- penting Send, O.send me quick relief,
Finis. _^_^
supphantscvy-i Let me know thy great salvation : Seel languish fti„ta„d di,. o. r-..:w„ ,,.„ „;,!, „..„.., ' _|JSTT 2~~~~Z^"~.. ~ . . I_"~ .
languish faintnnd die. 2. Guilty but with heart relentiiu
<7_ k . . " «uumj ^L",ul„rdi .citjiuiig. uver- wneinvawitu helpless grief,
SWEDEN. P.M. 8,7 V 4. Dr. Ripp. Hy. 132. By Robtoson.
' .., fg—m~r. . r_«-^-Fi-?HrP^4a-H — bars zafcfcfcxfc-Lr— P3=:r-y-M— W- H-r>Err_ ^
l__3 ~ ~ — ^ — 1^ — ^-*- n 1»-Wa' mM-mi » w — — —
,• v , t „1 „r men as" well as anirels, Thou art ev- 'ry cteamrrtlhcrae, Hallelnpli, Halle
thee. Mar an infant hip thy name ? Lord nt men as wenja aing . «-W HriJ * P * 'F~P
lTjahTH'1- ■*• '-Jal'- Amen.
Hal.
Hal.
Lord of ev'ry land and nalion, 5 But thy rich thy free rede
,':°, „f eternal davs ' »ark thr0 brightness all along ;
Sounded throstle lie creation, Tbo't is poor, and poor expression :
S -n^fee,- "-■« Se^l^ajSk
TW IhTrTeSry wide domain j -Did the shepherds learn their lays ?
Wines an angT guides a sparrow, Shame would cover me ungrateful,
Ked be thy gentle reign : Hal. Should my tongue retire to pra.se : Ha!
OUNDKL. P. M. 8, 7 & 4.
Andante. ,..i--ug
*-^ 1. Happy soul thy days
1. Happy soul tuy any:.
Go,*)1 angel guards
ussis
guards
-jfe
W=
Harmonhi Sacra.
aye ended All thy ■ mourning days bd
"at- wndeded, To the sight of Jew
^,^^1
»
lujah, A-
288
YAMWORTH. P. M. 8, 7 & 4. Dr. Kipp. Hy. 567.
Pompoao. . -. _ _ _ *V pia- «>* ' r** For
1. Guirfp me. O tlmii n-iPnt.Mi(iviili._«-IJilifi-im™ii.^L'rT1;ch,>i....... i.,„,l» ■ '_ ' _ ■"'
1. Guide me,0 thou great Jehovah.
-4-
rim nihru' this barren land",
giliSPtiigSSi
I am weak but thou art mighty ;-0-Hokl me hi Iky pow'rfiil hand
1— &r4-^:iTpggP
Bread af heaven, Brea'd of heaven, Feed me till I want-no more.
:9±fe~Hr53?
£
m
iTfc
CALVARY. P. M. 8, 7 & 4. Dr. Ripp. Hy. 71,
^miKllia^iSg
LockharL
2 Open Lord the crystal fountain,
Whence the healing streams do fli
i ■ Let the fiery cloudy pillar
Lead me all my journey through :'
7TT|~ Strong- Deliverer,
^jtSl Be tilcU st'1' my strenSth and shia
•dH_3 When f tread the verge of Jordan,
Bid my anxious fears subside ;
Death of deaths, and heli's-destructioj
Land me safe on Canaan's side :
Songs of praises
I will ever give to thee.
ria. Ado. Stanley*
saigas
I. Hack! the voice of love and mercy Sounds aloud from Calvary ! See it rends tile rocks a- sunder. Shakes the eartli and veils the sky 1 It is
crtr=iz^ii*=aazca:^--:-li5iffT^ — r— in rs^rr-i-h — P-rl^— r^=v— r-<- i. ..~r-
^EifCT
>ff=F
:£*:
^
igg
w
n
?t±
sP?
Si
arcr:
-4—1-
Sii
For. Tempo.
GRONINGEN. P. M. 8, 7, 4. Dr. Ripp. Hy. 1 14.
Hear the dying Saviour cry T
Wg8&£
^*^ f'fimc Vr» e-innprc. iinrwoiwl n....K- W/....1, n.,A ....... ...1...1 .:..! 1 ~~.
Kozduch. 1
— *rT
■f*r-
3
iiig, doobt no more.
_,,_, i ~_!_*^* ou"",a <«»«"•* j«"t *«». ui |ui j, mil-. ;,iio jjuw r; me — is ame, j-ic is nine, He is willing, riouht
i^giigili^iiiiliiiiiaiiiiiiigiiii
mi
"•empo (Ji Mhreia.
DISMISSION. P. M. Dr. Ripp- Hy. 389.
Eh. 2S9
Lorddisram us wuh thybtesinir, F'"°°» heart" with J"1"""1 pe0Ce
.Idemess.
9 Repeat Tutti.
1 —I--1--1- _l-M- ' : Ft^Tg».peV. joyful sound, May the fruit, of I* sol- vat*.. »»r lu.m and Impound, May
sbtra
,hy prams, May thy |«MK With us evermore be found !
£sa
JN N
AtfiittHOEO.
teg
LENA. P. M. 8, 8, 7.
Dr. Belknap.
..ordof glory dying! See him gasping ! bear him crying ; See his burlhen'd bosom heave ! ,.mu. r^JTZIZTlL,* ' ..
1. See the Lord of glory
Look, ye sinners, ye v. ho hung him! Look hov. deep your sin, bj |
-tTu -r-^-<^--^-^:-^L.^l^.ILri'__ T* °°S°'" -— ■ Lo°t.^si™-.y'»»""«™K»-^»oU».«deepyoUrsin!l>3.
2. See theirs and mountains shaking, Earth „„,„ her centre faking! Nature's groan, a^ke^e tod- .J VTV^~t H^I-CffO-l
r-. ^ „-__,_«, ,• ■ » --#- *"M,',e aa"1' i-ook onPhoebus struck with bonder, While the peals oflegal
Btunir dim ! Dying sinners look and live.
3 Heaven's bfight melodious legidns,
Chanting to the tuneful regions
Q Cease to thrill the quiv'ring string:
Songs seraphic all suspended,
_ Till the mighty war is ended
By the all-victorious King.
4 Hell and all the pow'rs infernal,
Adagio.
rTSmite tl^StTca^n^^r^ V OTJ^ ^ "^ ft!"* -^T\
~tn -" _ i i-y „- _ when h= pour'd the vital flood ;
=iJ^S OT.3^-±PHJt % "= groans which shook creation,
-M^pp p !-l3_^B:J~pqf|X Lo ! we sound the proclamation,
' - — --U- Peace and pardon thro' his blood.
Not reserved b, Id, „„„! Promis'd Branch from mot „r .W.^IT.;.,.. '^■..5T:~'-"~ "
Look on Phoebus struck with wonder, While the peals oflegal
BIRKSTEAD. P.M. Dr. Bladen's Coll. p. 2S. Handel
„ _ ^ M~m- ' -""WwimiTUOUJUSSmiCK Willi W
:STEAD. P. M
... ,„_._„* ... . sw
ert, .Tasus Christ is not
Jm jiwnj^omis^Kmch from root of Jesse, David's offspring sent
_~--— _«, ___ __ _ -1 i>""'cn ironij-not ot Jesse, David's offspring sent to hi
is.1 it iini rt«- I
mm
ttiii
|—2 Like a tender plant, that 's growing-
|X Where no friendly water's flowing,
Q No kind rains refresh the ground, '
Drooping, dying, we shall view him.
See no charms to draw us to him,
There no beamy will be found T '
3 Hlessed be the pow'r who gave us,
Freely gave his son to save us ;
Bless'd the Son who freely came--
■ ... . ,,:aj~~ — 'Teely gave his son to save us;
Andante.
ZANESV1LLE. P. M. 7 fc 6. Dr. Ripp. Hy. 560.
Ely. 291
T^^^i^^^^^^^^Ss^S^^^^^^^^.
HSlfggi
Sgl
2 To him by grace united, I joy in him done ;
And now by faith delighted, Behold him on his throne.
There he is interceding, For all who on him rest;
The grave from him proceeding, Shall waft me to h.s breast.
3 When with his saints in glory The grateful song I'll raise,
And chant theblssful story, In high seraphic lays.
• Free grace, redeeming merit, And sanctifying love;
Of Father, Son, and Spirit, Shall charm the courts above.
Lady Hnntington's Hy. 66
-i '
va Lord,]* VRnal'i the favour. That we
2S
i5imK-rS,,oor,C^no'U,ybloodSs,ee,tavour,:Vpl,v,aCtal1v^rC,^,«d
ii^Mi
Hud tut open p.i5!i!|!«Unto th
4
wue Unto the throi-.e oi' grace; 1 li
„**. »«,»,«^ That bid. ». soinj^Therc ™. ^^ne&c.
«^i
T
sin
1-2 Lord.we are helpless creatures.r'ullofthedeepestneed.
I Throughout defil'd by nature, Stupid, inly ae*A;
rt Our strength is perfect weakness.And all we have issin.
' Our hearts are all uncleanness, A den ot thieves within.
3 In this forlorn condition Who shall afford us aid? [Head?
Where shall we find compassion But in the Ctiurcn. s
Jesus, thou art all pity ! O take us to thy arms,
And exercise thy mercy, To save us from all harms.
4 Then we, with all in glory, Shall thankfully relate
Th' amazing pleasing story Of Jesus' love so great .
In this b'est contemplation We shall forever dwell,
And prove such consolajion As none below can ten.
P. M. 7^4. Meth. Hy. 173. B. t.
292 MiE!toso. MELTON MOWBRAY
I 1. H< ad of the church lri- un* pliant, We joyful- ly a- dore thee: Til! thou appear, Thymemhers here, Shallsing like' those in
Loch hart
glory.
<t
If
2 We lift our hearts and voice's,
With blest anticipation,'
And cry aloud, And give to God,
The praise of our salvation.
3 We clap our hands, exulting
In thine almighty favour;
The love divine Which made us thine,
Shall keep us thine forever.
4 The world, with sin and Satan,
In vain our march opposes ;
By thee we shall,
Break through them all,
And sing the song of Moses,
Siena™. OLNEY.
Spii-itoao;
liiiiiigii
BUCKINGHAM.
HHii
Praise be to the rather
save. Now the heirs, the heirs of heaven, Now the heirs, the heirs of heaven.
D TIT O -r f> . >-» p-» AT i i -r-r _ _ -i-i — , . ' '
P. M. 8, 7, & 7, 7. Newton's Hy. 82. B. n
1. Let us love and sing and wonder, Let us praise the Saviour-'sname! « r— w ■■ ' ■ — J ™ f— r—
He has hush d Uie law, loud thunder, Hehjl husJMmlurt Sinai's flaifee: He has wash'd us with his blood, He £ TJouJht us nish to God.
I^ilillSiiiilglilliiliiSSi 11
2 Let us sing for grace and justice,
Join and point to mercy's store ;
When thro grace in Christ our trust is,
Justice smiles and asks no more;
— Me \vho wash'd us with his blood,
Hath secur'd our way to God.
Let us praise and join the chorus,
Of the saints en'thron'd on high ;
"~ trusted him before us,
praises fill the sky ;
vasli'd us with thy blood,
.'orthy Lamb of God."
STAMFORD.
1r
P. M. 73.
Women.
Metli. Hy. 96. B. i.
Mus. Sac. 293
Repeat Tutti.
i3
\T Women. r,_ Wt— — »tIK3"~ 1 |~J— 1"M~"
:£3LS RP-H111 -^-^rZ.rTK^,. RrcRDMONDSEY. P.M. Dr. Rip
lesus our Lord arise, Scatter our enemies, And make them fall,
i*t thine almighty aid, Our sure defence be made,
3ur souls on thee be stay'd, Lord hear our call.
Come thou Incarnate Word, Gird on thy mighty sword,
Our pray'r attend;— Come and thy people bless,
And give thy word success; Spirit of holiness, On us descend.
Come Holy Comforter, Thy Sacred Witness bear, In this glad hour;
Thou who almighty art, Now rule in ev'ry heart,
And ne'er from us depart, Spirit of pow'r.
To the great One in Three, Eternal praises be Hence evermore!
His sov'reign majesty May we in glory see ;
And tp eternity Love and adore.
BERDMONDSEY. P. M.
Allegro. Wo. Tutti.
Gtay^ttGoTl onw","L« earthed .kiUroply, fjjte ve hisname; Hil»ve»|d_B»«*
iSiiigie^sii
l«i
HUE
.* Jesus our Lord and God,
llore sin's tremendous load,
Praise ye his name :
Tell what his arm hath done.
What spoils from death he wo/ii
Sing his great name alone,
Worthy the Lamb.
3 What tho' we change our place.
Yet we shall never cease
Praising his name ;
To him our songs we bring,
Hail him glorious King, [the Lamb.
And without ceasing sing, Worthy
294
if:
S
LEONI. P. M. Dr. Ripp. Hy. 66
1 111 (^rnrl i")f A hram r\Y"liv.> Whn n^nt-ir ^r.lKr^^M fitinw Aha^m.* ^^.^.L.i:^- J a^-is-1_-l-f»t ■ *- . . _.-..»
The God of Atan™se, Who reigns enthron'd above, Ancient of everlasting days, And God of love! Jehorab, Rreat I AM I Byheav'Bnnd earth eonf, ss'dTl bow and bless the sacred nJ
ra:mEffeii2:Eg2Hi^fi£EEs3m,tlir$,^^
Sffil^K
iggigigiiggg
ii
i
Spiritoso.
ENDLESS DAY. P. M. Met. Hy. 159. B. i.
3F
, — 2 The God of Abram praise,
Forever bless'd. ,.„l^„ ' ' ,
At whose supreme cornman J,
,-l-fcn^HZtt ll'J From earth I rise, and
ZP+EHgid: JI At his r'ght hand
— JlZSSX— -J_ I'd all on earth forsa
seek thy joys,
I::
forsake,
Its wisdorri, fame and ppw'r,
And him my only portion make,
My shield and low'r.
Ely.
liiKlililSillfilfliil
liHark! how the gospel trumpet sounds; Thro' aTl the world the echn bounds And .r«..e i.v r,«w,n,„,, T.i„„j t„ ... ."!??'
gospel trumpet sounds; Thro' all the wor)d the echo bounds! And Jesus by redei wing blood, Is bvine?"
lipiHSSgSiiSiiligl
?. Hail! all vie- tonous, conqu'ring Lord ! Be thou by all thy works ador'd, *-Vho undertook for
msmmm&gg&^m
sinful man, And bro't j
sinnpfa l,n/.i.- «„ ^_j- »._ji _. -ji__ .i r>_i__ .___ >• i ™, .. _ ^™' ™ "■" - -
amners back to God ; And guides them safely by his word, To eiidlesi day, And guide* them safely by bis word T
V«. linn *l™l .l._ ,„. .... ... W* _ -^ -™— -w *
va- tion thro' thy name, That we with thee might ever reign,, In endless day, That we with jthee might reign in ev- w- last- ing day.
§lfcii§Si^igiigifrti^!i|
PILGRIM'S SONG. P. M. 7. 6. Dr. Ripp. Hy. 301
Handel. 296
tntee my »uUnd wretch thy wiugi, Thy betttr portion trace;
better portion trace ; ^
- *y*,„^^*T^hyn7.^,.tr torSmm^Tai.d «. de- cay, Tjme ah.U .ooy^hi* earth je- move; Rise my soul and haate 1-
| 1 — L.J r--1-! H— H~ W~ -J "— WATPDfAPn P M 41 JII.V.w/vm/'
Rise, from trarai- torj
-4±E3
IS
rvay To seats prepar'd above
&C
•Rivers to the ocean run, Nor stay in all their course j
Fire, ascending, seeks the sun; Both speed them to their source;
Thus a soul, new-born of God, Pants to view his glorious face,
Upwards tends to his abode, To rest in his embrace.
■— ^-™ «■ l"--"*-"""1™ ."""^ "* . ... „._■..,.■,•._,. ki.j,.„j. Praise 'him fur his matchless pow'r. Him from whom all (rood proceed*, Let heav'ii and es
3 Cease, ye Pilgrims! cease to mourn : Press onward to tue prize
, ...„— Soon the Saviour will return, Triumphant '
Yet a season and yon know Happy entrance
All your sorrows left below, And earth ex<
lf££
WATERFORD. P. M. f Milgrovc.
iggg
aSSB
:5-C-pit=±
1. Praise the Lord who reigns above, Aud keeps the world below.
ess onward to the prize; *> ^.. m
nt in the skies ;> i p^^i^rpr.^^-r^r^^pip'p'rTxrr ^
exchang'd for hea'v'n. L~*I~f tj3Lrtl G~ t--l^--»— -tTfc^ J
Praise him for his uoble deed
Praise the holy God of love, And all his greatness alio*
Praise hiin for Ins matchless pow'r. Him from whom all good proceed^ Let heav'n and earth adore.
_aq:.5l .=-3
^li^^^^i^^iligii^SEiSlffi
AMSTERDAM. P. M. Dr. Ripp. Hy. 301.
~"-fl-*.. A"J"":C- _— ,_> AMblMUMM. l\ M. Dr. Ripp. HT. 301. William*
j» j Rise my soul and stretch thy wings, Thy uettei- portion trace ; W I— ■-(— bW-J-hb1-1 1— -J — L-— ! 4,'
Hue from transttory things' To*»M»h*»|a thy native n,ace. Sun.and raootvtnd stars decay, Timc.hnU soon this earth remove; Rise my „,ad hi,,, I^i above <
S9SBB
H==$?F
.„.„,„ ,„„„. „„,„„,„ moon,™., SIars accay> „mc.l,aU soon this earth remove; Rise my soul and haste away, To seat
STTPPT lrATTfW P M 1U-U. XJ.. ,«; r, ■"' ^'*~ ' K K
— ;t-t*
»
Breillat.
~ Afletwoso SUPPLICATION. P.M. Meth. Hy. i&s! B. i. £ 7/ J
J;I",mb0fG'>dWl,Me «»=^^ta__ - c.Mojnind; Send the a^verfrom above And fe, . mercy1" 6„d": T^on^Jot;^^3
iiisflii^l^iiltPii^iSPgSiii^sii
««. B.ins,onl release. O remember Caivary! O remember Ca.vary! And bid u, Ko in peace; And i?d „. „ ' SHST" 2, S^T«2 '
i
l sttaS- Eiingsoalre^e. 0~ -*3T Ch^rl ^ j^yT Calvary! . ' jKS? J* -g^ '.WW JT» ' feT^"^^^.",^
l=g|Eiiiiiii^g^ip;iiSiiiiiiiL^i^||||s
PEWSEY. P. M.
Dr. Madan's Coll. p. 71.
Tutti.
Dr. Madan.
SiteiWWrarpMi
^30
,rt theKms" Thyw.ieta.pr.iM we dug! ftri^U.ur£l.dlM8»«'«rnp'ny^Prin«.,erfl.wM^fa^l^
l.Thou Jesa. .rt theKmff! 1 hywasem, pra™ .^-^ ^~^" ~^— _2T f, -,.i ^-j-p^-^-^j-^
breath enjoy.
^li^M
3C±
ter- ual ages
SUSS?
Thou ait th'. eternal Light,
I That sliin'st in deepest night ;
Wond'ringgaz'd th' angelic train,
" While thou bow'dst the heav'ns beneath
God with God wertman with man,
Man to save from endless death.
O Lord ! O God of Love ! „
Let us thy mercy prove '.
Help us to obtain the prize,
Help us well to close our race ;
Th.t with thee above the skies,
C Endless joy we may possess.
Wo.
CHRISTMAS.
Dr. Madan's Coll.
Wo.
-*,_ .l-Me±±=
Dr. Madan .
isKsgi
Tutti..
Lift uji your heads in joyful hope, Salute the happy morn, Salute the happy
sggp
■BBS18
«
■■ ■■ l -*~ ~ ~~ """ _ - t_ -. IT- 7n..._ it... CnvunIP iu hfim 1 . ..»■ .i
Jeaus the Saviour U
horn ! Lo, Jesus the Saviour is bom 1
rSii^JS^SigrPifT^ Tow'rd? Adam*
^:plpitztrn_ -<-U-z— *pt4-—M~, — L *-*~^-\-±-\ ^ - 5 Then let us join „
3 Let joy around like rivers flow j
~'ow on and still increase ;
er the glad earth, At jesus's birth,
heaven and earth are at peace.
4 Now the good will of heav'n is shewn
Tow'rds Adam* helpless race ;
ransom his own,
infinite grace,
the heav'ns above,
Where hymningseraphs sing ;
Joinallthe glad pow'rs.For their Lord is ours,
Oo
~^ZZZ— Zl— ^}— JJ— Our Prophet, our Priest, and our King.
298
ll
W^^St^s^
AMESBURY. P. M. Meth. By. 269. B. i.
Rep. Tut. Vr. Arno!d.\
1. Come^lett^ .anew ^ Our Journey pursue^ Roll round with the year, Roll round with the year, And never' stand : still till our Master appear, And never stand still I
1-
His a- dota- ble will Let us gladly Fulfil, And our talents improve,Our talents improve, By thepatienceof hope and the
-,»-»
HP*
- . "-^J- ^ L
-rr^lis:--
labour ofjove, fythe patience of hope and the labour of (I
:3^5i3z5r5r!!t^L"TT"! — -r-i| ;
ES^^f
Rep.Tmti.
slilfilSllillilli
the patience oi hope and lire labour of love. Ourlifei, „ d,nnm: fw «™ „. . .. -"'&».. :,., " ■""r',~" '"■"•• — a^W-U-L J,
§^§i^8illiigi
Our lift; is a dream; Our time as a stream, Glides swiftly a- way, G
y. Glides swiftly away, .Ami the furtive moment r< fuses to/
ISSiigfigilPS^llil
Continued
93)
The arrow i, B„vvn,TI,e™mcr.t»Rone,Thcmille„- i- al J^^™ ™ ^
lflii§|§irliii^§
^eeSeeeee^
pj^gg
eglad word
m — ^— h K — 'it bi-frw — — •-*■ im ■
SOLO. Andante.
O lhat t-ac.
r&fc!
ipra
finiih'il the work thgu didst give me to do
iftMl, "done! Entermto ...y " andsit down on mythrone, Enter i-.o my joy and * down on „,y Otto^e,
ma __M_M — ^1 1 * I *^ *l ^ P*
■ M_im.c«-«nTm:-wn-««-=a-™-3rT — 31"^ — 13 «3T* IB L_ !-l-_l — !-— , — 1—
llillllliilll^
tc jj
300
m
i. Hosanna t0 God, In
-a-#
tc™
FRANKFORT. P. M. App. Dr. Ripp. Hy. 80.
h.sh,she.t abode; All heaven be join',), To extol the Redeemer and friends m.„t;^ . „..,„:-..„?. ..'
e join'd, To extol the Redeemer and friend of mankind : He claims all
Ely.
our praise. Who in infinite grace, Againhath atoop'.l down.
— __ — _. ■ . m..0« . . __ _ _ — —«—-»..««, |..-iM, "uumimiiuie grace, Agamnathatoop'ddown^
1—24
iiSISgiiiiii:iiiiiitiiiiigi§^g^g'
fiSiii^
2Ka:t
taught up a worm to inner- it a crown, Andcaugitu
. Afteunoso PENTYPOOL. P. M. 5 & 11. Meth. Hy. 212. B. i
i worm to inner- it a crown.
All ye that pais by, To Jejut draw nigB; To you is
isingisss
liothins^tJesu.sl.oulddief Yourwniom and peate, Your
j™.urety he is: . Comesee if there eTer "„assorrovv like hi, ! Comeseeif there
mz
jT- — •-> r lr__ kl w - "- ■■ ™=i« •-->»■' wassoriwime his I Col
LITCHFIELD. P. M. 5, 1 1. Meth. Hy. 152. B. t
Elv; 30 1
T*fT-n
——-•-■■ •— ta ""TIT Tl .. ™ I..JT. .=.1 _.. ;.„■„. »™,„,™-t .n r„„nrt. Where true lovs abound; To dwell I'mdetermined on this happy pound.
O tellmenomore Of mis worlds vainstore! Thetime for such trifles with menow is oer
A country-Ive found, Where true Joys abound; To dwell I'm determined on this happy pound.
O tellmenomore Ofthis worlds vainstore: uwuiuc .or .u«u ,....« »™ .-~ - ■rtR[krn
?The souls that belieTe, In paradise live; And me in that number trill Jesus receive : My
I soul don't dehy, He calls, thee away; Rise.follow thy Saviour, mnd bless the g
% inewuii umiut-'"-", — r— - tt _._. m __ - 1 . ■■ I I r~" "* * I ""IT"
giUi!
33C:
BRAMHAM. PJfl, 6, 11. Meth. Hy. 269. B-^ Giardmi.
^ c7me,« "^-oT ^y-pTrsue:^,, JunTwith 0^,^ Tever standi,, rtl, our Master appearand never ~d ,ull,.in_our_Mast« T^L
302
UARRISBURGH. P. M. Dr. Ripp. Hy. 110.
Ely.
fimmmmwmmmmmmmmmmmmm
Hn songs of sublime ado- ration and praise, Ye pilgrims! for Sion who press, Break forth and extol the great Ancient of days, His rich and ex- lingui&hing grace. 2. His love from eternity
ISSiiiiSPiiglliilSjreteiiita
lllIiliiifj^iillPSlllili1igiiiiil^^:
Si-
fix'rl upon yon , Broke forth and dis- cover'd its flaine, ,j«W4ien each with the cord
, Maestoso. Women.
THE STAR IN THE EAST. P. M. App. Dr. Ripp. Hy.
you were n
"er felt ; j
would hnv
And sunk wilh the load of your guiltj
4 What was there in you that could met
esteem,
Or give the Creator delight ?
'Twas "even so, Father," you evev rnui
sing,
*• Because it seenVd good in thy sight,
Ely.
Tutti.
i^iillipigiiiigsisgiiiiiiii-iigiiiii
Seel sec in the east a new glory ascends, And pours its effulgence afar;
It ' glides on sublime, and earth's utmost ends Acknowledging Imnianuel'j Star. Ovcrthe
ii^lilii=^iii=iisiiiiiiii?iiii^§iiiiig
iilieiil^iiilliliilMliilliiS
r
THE STAR IN THE EAST, Continued.
;iPiiiiiilililiiilii!iiiil§ligifcl^i
"Wo. Men. Wo. Men. Wo. Tutli. -fa*
:=ate-fc=a
IliSis^iiiiiiiliSillipgiii
howtheSyrians^ shout, While (_;omoron, ^echoes the lay; echoes, echoes. echoes, While Comoron echoes the lay; The German and Dane sj>readthetiding3 about, And
echoes, echoes, echoes, .
iiSiilgliliilil
iipyigiiiiiiiieiljliii
Wo. Men ,
From the martyr \1 Abdalla, From the inartyr'd Ab- dalla, • From the inartyr'd Abdalla, see
Jubilees,
And Jubilees welcome the day.
And Jubilees, :\\: *s ■ -» — i r- -—
304
THE STAR fN THE EAST, Continued.
^B^Sffl^ggg&gB^^m
Sabat retire, see Sabat ret.re, see Sabat re- t.re.FromAbilaUa, c||: :||: see Sabatretire, re- tire, re- lire, From the martyr'd Abdalla, seel
From Abdalla, :||: ~ ^^^ «" *-
illiiiiPiiiiilillfeiiiiiliiEii
CHORUP. Maestoso. I
's^r^se^i:igieSiisJii^S
Sabat retire, A- ralii- jiri darkness he fears! Love and zeal for a Saviour his bosom inspires, And the christian,
translator appears.
And still seethe!
iSi:lSlgifliilSIiillrsiiiiliii*3ill
^ Men. Wo. Men. Wo. Tulti..Rf.
| Day Star its journey pursue, Even Brahmins pronounce it divine ; Je- hovah, incarnarte shall multitudes view, And scatter, :J|: And scatter their gifts at his shrine.
And scatter".
•-P-Tlj::-=F;F-F^=:f=--^=-~=:F=-=T=-="?fFtr'
igplffi^^BB^^iiJpg^BgiBil
Continued.
305
Agitato. ,. w. . ■ - i . i K r_ «^-j-»-«
' n ■■ .*■ . S"^" _ ■■ ■? . ...i ....:., :„ U..IH.. i,...-^!.!., <™. Timp mpprino- with Pronhccv. ooens her uace. And bidsall the nations a
Ye HcnS to vain Sy! menacTand rage, And vain is hell', horrible roat, Time meeting with Prophecy, opens her page, And bids all the nations a- do-
WOmm
iiffii
=7=
^glS^SSSSsii
Ute^ffiSHii
e. And bids all the nations adore. Roll on blessed Star, fill the world with thy
snffiHUi
aHiw»^aiiiii
light, The saints are expecting thy rays,
Bid the latter- day morning ascend n
^i^^ffi^iSS^i^iei:
its might, Bid the latter-day morning ascend in its might, And shine on our incense of praise.
The saints are expecting my rajs, _d.ui»^ .«..«..- -•*> », »*" ■» -^ „..., _-_........ ., „ ^ ._ , m f,_
i^g^gSiSi^lll^tl^SsSli
Se
s
5ft
306
FEVERSHAM. P. M. 6, 8. Mefli. Hy. 221. B. i.
Dr. Jtladan.
■■ vx> Im^hM ■ ■ — tM « ha — k^ R
Jesus confide, They are bold to out- ride, The storms of afflic"
tion beneath ; "With the Prophet they soar To that heav-
ra
, j „._ „,„ .„ uuv. „ut> .ucnuuuiui iiuiit- nun utruciiuii w iui ins i-ropnet mty soar J o mat oeav- enly shore, Andoutlly all the
mms^m^"' : ^ ""■-
chariot of love, Come up into tlie chariot of 1„.„.
k ^ !T~|^ff~~"riT"~" ~' |" j H"5tZ!~IT~'^! ^'ro on earth can conceive How happy we'
-pF-p-^---^TJ-J-K:^g:"^~ ^--^-rff In the Clty ofGod the sreat Kins!
— U— t— i-^S-Ur ■ ti i^b ^ii_*zilJ J_ What a concerto*" praise, When our Jesus7s
arrows of death, :||: ■ . " The whole heavenly company sing.
^s^li
- 3 By faith we are come To our permanent home;
: down on the skies,
ive.
-4 Wire on earth can conceive How happy we 'live
. .— s grace,
.'enly company sing.
5 What a rapturous song, When the glorify'd tlirong
In the spirit of harmony join !
,._ Join all the glad choirs, Hearts, voices and lyres,
X— And the burden h mercy divine.
GUARD. P.M. 11. Dr. Ripp. Hy. 15.
For. Dim.
i. Thy mercy my God, isthe themeof mysonp, Theioyofin
Keeitd
heatt,and theboastof mytongue; Tby free grace
-tr
1 ^ 1.^—^^ W --J — I -1-1 j.jc^.
alone, from the fifit to the last, Hath won my affections
Polite
i
Hath won my affve- tians and bound my 60ul fast
duce me to utter despair:
~Il™-_-
4**— ]■■*■! js>AJ,.i
a-o' thy free goodness my spirits re- vive, A nd he that first Madeline
Unlink
still keeps me a- live.
KEDRON. P. M.
\J •• .. *_ * * .f ._ 'I. _. . f-h.«. «rt.r'.n.,M ,., nkilnllv'i' 11 lu-li f VllillSSl'c li'dP hf/iTT> SihfV
Pirs Dr. Miller. 301
... _. ... _ mmmmm
1. Thou sweet gliding Kedron by tliy silver stream, Our Sayiour at inidnij-Iit when C) ailiia's pale beam Shone bright on the waters would frequently stray, And lose in thy murmurs, And
1. Thou sweet gliding ivearon Dy my suvLTsircuuijuui onj.uu. ■*,. ..■.«...„>. -.. - / - - , a ■■- — *» -----».
2 How deep wersthe vapours that fell on his head! How hard was his pillow, how humble his bed. The angels aston- -feish'd grew pate at the sighVAnd follow* their niaster,Ani
■— *"" ^ — — r— r*- f~~ - r^- ■■— r™ »~ I r~ r- r _«__ii _. ,_„ i__ *■ . ti.« .i • *»»...,. nm-*;n>i. In camnli -.lir.1 .-■ Xlin ti-niniTih': nf UimiW. ihe
T" O ga7dm of OlivetrdearhomiM spot, The fame of thy wonders shall ne'er be forgot, The theme most transporting to seraph above, The triumphs of sorrow, The
"■"■" "■'" ' ■"■bt"' «■ r- .... . _j t- i.—.. -■«:_ Rsai r. ,.,»,.i. .,,, (I,,. rrir.i-1- ili« nruitf ,lmr in meet. Let
lose in thy murmurs, the toils of the day, the toils of the day, the toils of the day. Come saints and adore him, come bow at his feet, O eWeliim the glory, thepraise that is meet, Let
lose in thy murmurs, the toils of tl.e day, the toils ot tne ciay, me ions oi hie u*y. v,u.u-j Muiiu«maumMUU., a,.™™ »*-.. ■,,**... , - & *^-" * —
iTIigiililiiSii^sliiliPiiliililllsiii
follow'd theirmaster with solemn delight, With solemn delight, With solemn delight,
triumphs of sorrow, the triumph of love, the triumph of love, the triumph of love.
joyful ho- saunas, uncecs- ing arise, Letjoyful hosaunas, uncasing arise, And join in full chorus that gladdens the skies', And join in full chorus That gl adden. the skies.
»H
iiliiiiilBrtiSilSiiiiiSl^
308
Expressivo.
CHRISTIAN FELLOWSHIP. P. M.
!tli.
Dr. Milter.
Appointed by thee, ^Ve mee^n thy ™e, And meek], agree To follow the Lamb; To .race thy example, The world to disdain, And con.iai.llj trample OnplemuKinidpain]
I ,(Pliii?ilf^iitIS&iligiiiiSii3|i|iiii
ifilliii@iii:ii^iiiiiiiitiiilii
«iiiiiiiliiisiiiiiiiirsi§ifliiiiiilii
I Totracetlryexample, The worMtotadain, And constantly trample On pleasure and pain, And constantly trample On pleasureand pain, Andconstantlytrample On pfcasure antTpau?
^iililMilgiiimfiiiliililiiiliiilS
«*:
TRIO. Vivace.
[
IfSgli^lliiiigiiigiiiligliiifiiPii!
Rejo^nginhopeWehumhlyBoon^nddailytakenpjr^pledgeorourcrown; IndoingandhearingThewillofour Lord, We still are paring, To meet our reward, Ang, iicThe will of. &c. We
Continued.
CHORUS. Mat-stoso.
309
*~** k 1r CHOKUS. Maestoso. «&_■! — ^ -^ — k- U^-' S- ■•" —
SiiiiiiiiiiaiilliS^Si^llSSigi
OJesusappear! No longer delay, To sanctify here, And bear us away, To sanctify here,
• » Wo. Men. "«> _ - ,, Vj. B- F-— —Ik."™.
iiBlSSi^liiiiS^riiiigiSililgii
earmawsy. Theendof our meeting On earth letu. see, On earth let us see, :|l, Triumphant^ stag, i|c „— - T— » - -'i--— t
SiiSlSiiilliligiiiti|iiiilS|Epli
Wo. Tut. Wo. Tut.
c< -rH-rr-*-+T|CZ
,In glory, glory, glory, glory, In glory with the-, In glory with thee, Triumphantly sitting In glory with thee,In glory with thee.
In glory, glory, glory, glory, In glory with thee.
310
il /S^sZ.-
HYMN ON REDEMPTION. P. M.
Handel.
ipliilii@iiiiigE=iiiiigii?gi|:iPi^fg
When Jesus our Saviour came down from above. How u-ond'miis h\* ^p.W .■m.ui.'h i™i o:„ ....... ..,_.„ . T - - - - . ^^ *~™. *+-- ta+- ^'—<— M 1 — | — l— <
WTTcn Jesus our Saviour came down from above, How wond'rous his grace,how amazing his love! His dear blood as a vansam for
sinners he spilt, Andhe laiddownhis life to atoueforo
Si TJ~rf"Zr 1 — 1 ■* m - -™. -«™« «>><u»«iuiwi Biiiiivra ue spur, Ana ne laiadowu ins lj(e to atone for ot;
tiiii^rffiiiiigiiiiiiiiiiiiiigiiiig||gpii
<f==-*=
gmlr, That justice divine might be well satisfy'd; He hunff on the tree, That all might be free if on him thev re- h*l *„.. fc- * " i \T" * ~ ■ "i
1 !-_!-■■-_«_ , j _ . ' 6 " onnuntneyre- Jy u. Andnow he in heaven sets pleadmgour peace, Inviiingul
if on him they rery'd.
If -^^J^J^^^^^'-^^.^J^^^^ "-ng. of Utol-gWng his „«cieS potato, Forrinnm I " led „ta, ,„ save u~ e dy'd, iJdTe b£ bore "
3' — fcj^ -_-._( )— — j-i I— It—- -c-x— — - — 9L mm "*J -Q- For sinners he bled when
bore, bore,
Continued,
31 i
812
,*„„.'" ANAPOLIS. P. M. Meth. Hy. 25§. B. i.
Elt,
^:^;U±±±US
l.Ohi lovely appearance of death, Whatsight upon earth is so fair? No tall the say pageants that breathe Can with a dead body compare: Wilhsoleum delight I surety, 1*hs corpse
Ig^iili^giiiiglli^^liliiiSii
a
sft
2. How blest is our brother! bereft Of all that could burden the mind, How easy the soul that has left This wearisome body behind! Of evil incapable tliou, Whose relics
rrJv
^i^ffitliiiKiiiiilffiglffiiffliS
iSL^^
spirit is flad, In love with the beauti- ful clay. And longing; to lie in its stead.
H^tgHg^i
envy I . see, No longer in misery now, No longer a sinner like
Ely.
spirit™ TROY. P.M. Meth._Hy. 262. B. i.
1 Hosanna to Jesus on high ! Another is enter'd his rest; Anoth-^r is 'scap'd to
*-"^ 9.. Who! fiillnpccj uri-nntiii-K ic il.fr-o Wt.ili. T.-mir l.!.- tI,,-,- ^:,.,.l„... . A,
2. What fullness of rapture is there, Whik^csushjs glory displays j And purples the heaven-
a -jg- Repeat Tirni,
Exalt- eA to Je-
.Ajidlodg'dinlmmanuelMjreast: The^ souljrfjiu^ sister is gone, To^ heighten the triumph above, Exalt- ed to Je- sus's throne, And chispW in the arms of his lore.
air, A nd scatters the odours of grace! ', He looks- and his servants in light, The blessing in- cf- fable meet, He smiles and thev faint at the sight. And transported full at his ftw.
Moderate
THE BIBLE. P. M. Or. Ripp. Hy. 205.
— -t-vt- — nrm, i-a— B-i 3-t—l — _"1-n__"t^ I
Ely
313
Willis
. m~- i «i — mi-.- — t- r^r* — /5v — — r- ~^-r~r— r
^&
...,., i *■ .t i„„ AnHnvmit the P-lon- it wears: How cheering the truth must have been, That
isacwts-s t.sjtr^c; KiT-sassx ^sems-s.. «.** ^.s,^ ».
Si
i^gfe
s Review each prophetical soup;, Whieli shines in predictions rich train, The sweetest to Jesus bekmg,
C. Maj»Jesus more precious Income ! His word be a lamp to ourfeet, While we in this wilderness roam,
And point out his suff'rings and reign ; Sure David his harp never strung With
Tillbro'tin his presence to meet! Then, then we shall gaze on thy face, Our
HSg^liiliiigiliSii
and grace, Affords it that lustre divine,
houd lie,,But there in full majesty shii
Bible all books doth outshine i But Jesus.his person, and grace, Affords itthat lustre divine, But Jesus's P">™.
prove it was not his design Those dories concealed shou d lie,.But there in full majesty dime. Those glor,e« concealed.
But Jesus's person and grace. Affords it that lustre divine.
:fl: should lie. But there in full majesty shine.
iSESiSS
Jesus the promised seed, Should triumph o'er Satan and sin, And hell in eoptiv- ity lead, Should triumph o'er Satan, *
bfoTtba. Sprinkled of old, Hudlife when the people could taste, The bles^g, those blessmgs foretold, Had hfe when the people,
and sin, And hell in captivity lead,
could taste The blessings those shadows foretold.
Pvcphet,ourPie3i,aftdoMrKins
he sung, And he was revcaFctlMjjlijrstght,
of graeej Thy praise* etcmidra— a^gg*" , *
314
1T3
HAMPTON. P. M. Meth. Hy. 90. B. i.
.±ii
Thou1
_ForLclM"er_com- muijion"^ ^hJel l7on£tVSs' n ' ■ -
Israel aiidmjne, fhejoy ami desirTor my heart, 1 lT "•"— ■ ^"WJ— LH-4— '-■J #l^W-E->-_M
Lear.'.
,^- J Thepastu»y lan^isltto find, Where.,., who then Sluphe,,. obey, Are fd, on ,hy boso*
o am' i . «.■•' • ^ Affetiuo... PEN.TRNT.AL. P.m.?,. Mrth H- 24 R.
2 Ah! show me that happiest place, ^•ftHrar4r-H-ir''l pw , , ''"'"■ n\. ^4. B. i
And screen'd from the heat of the day.
■ B ,m^ »-ra— r >ny love tor a sinner
-Ff -j*lfc»krp-j-p k ^Ti\ : Tt, Thy passions and deal
44:tFFM=fmt;5=Ht My spirit to Calvary b
^U3^U'-^W~i-Ip5J3_ To suffer and triumpl
^$5F:i
That place of thy people's abode ; ff jifcg^S
Wheresaints in an ecstacy g;aze, " '
And hang1 on a crucify M God.
Thy love for a sinner declare,
th on the tree
bear,
ph with thee.
l^i»
-ZLLU^i l ALj- r- M- ?- Mp,h- Hv. 94. B.i. Elv
holv r.?- li>*. *;. nl r.^^^ t :. .:. ., - *■*"" . . .
I. Come holy ee- les- ti- a! Dove To visit this
2. With me, if of old thou hnit
nowful breast; My Wen of ffuilt to remove, A
<E
Wove. And strangely withheld in from tin; And I i'7
Mi
•«
'1 by tlelnreoftliy love, I
±iptt
**
bring nte assurance and rest! Thou only hast pow'r to re-~ liere A
j. ■- It
55
wottbJess affections to win :
— It
sinner o'erwhelm'd with hii load; The .erne of
m
■c- ceptaoeetoeive, And sprinkle bi, heart with thy bwH
i^mm
The work of thy mercy re- vive. Thy uttermost mercy „. e,t, And ki„d|r
^
JCX
cononue to strive. And hold till I yield Iheelny hMM,
a
■ — am —
Maastoso. .
^3E
r*^?:
FOUNTAIN. P, M. Metb. Hy. 41. B. it
Ely. 315
lliKiiiiii
oflifeaotlofgnice, ift cgistom_Red«mfr we see ; For u. »hoh» offers Mnbraee. Fur al 1 iH o- pen and free.
ss
~mm
mmm^Bg^s^fe.
Rep 'at Tutti. Siciliano.
rfti
To drink of his
,taB 'unknot I ,,„ „ re,m> of imlnor. ,al de. li|lh,, That ...f™ hi, heave ,y .hrone. M,oona, in him webeiieve, By faith of hi, Spirit partake; An*
Si^S
ssse
PW
pleasures unknown.
^^^^is^iis^^
Repeat Tutti.
freely forgiven receive. The n.ercy tor Je- bus's siikel We gnin a pure drop
n a pure drop of his love. The life of tt» rnity know, An- fithcnl hnppiress prove, And * itneac a heaven below-
. The riiercy lor Je- suss siiKti «e k»ui » ijuic uh.jjim ■.» ■«•«.-« ...*-■.- — ----j i - ^_» fa. t> fc i -
315
LONDON. P. M. Dr. Ripp. Hy. 553. By Francis.
l.MyBraaous Redeemer' I love! Hi.™**. aloud I'll p.aelaiu,, Andjotn with thea™.iet tE^ anrTes, «£ ^rrnle? above Tosh™.! To>Ltffi^dt"iabul
mh
S*?:
shout his ado* ruble name: To irazi'nii hi« (Hm-ie.^ hit c\. „■„■■. ,(.,.,„<> cSfiiTT JP~-™ "*' -* 'P *-■ . ---*'
name, ado- i-aotename, ado-j-abje name, To shout, To shout h,s ado- rable name: To gaze oThi" gi"ri~, " slorieTdirine; i£ulte^c^t^t-^lr1^"n*Tjmpt
BSsE^^^o^^
i^Sii^^i^il
Shall be myeter- ,,al employ, eter- nal employ, eler- nal employ, Bar- nal employ, Shall-ba my eter. nal employ. And feel then, incessant- ly .hine, M7l>oundl~.
SraiiMSes
SEMI-CHORUS. Andante.
efta- We joy.
?■ "ef^,L''ei''''l'm'^T'tl'l'i!bl0°d'JIy!',>uJ f™m'l"= «mnn:> of hell, To live on the .miles of my Cod, And in hi. sweet ptesence to dwell inewith "
3. In Mal.ecka.yet I res.de, A darksome and restless abode! Molested with foe, on eacl. side,' And longing to Pdwel"with", God ; 6h whensh.llmy
One instrument to each voice man accompany the Duettos of this piece.
gUsSa^Stt
Continued.
3t7
DUETTO. Spiritoso.
W^^mmim
My glorious Re-
Sh~"Tf light ; With saint, and wit], seraphs to sing; To view with ever- no.1 delight, My Je- su,,my Sav- iour and King. ") i. My glorious Redeemer,
'njt exchange This cell of corrup- A- ble clay For mansions celestial, to range Ihro' realms of in- ef- fable dayl 5 > >>
™ ■■■ -■■"■■w- — t*I ~~ ■■ ■■ — * Mv „i.|Hiius Redeemer. ]
mB
r ! I lung To see **-* descend, descend on a cloud. Amidst the bright
berless throng, bright numberless throng, And mix, And mix. And mix with the triumphing crowd:
;lorious Redeemer, I long to see thee descend, on a cloud
Moderato e expvessivo- D'm*
iiiigliiilSli
™: ' . . ' ^T™ "■ ._j _•-...:.!. .1... *. . ,.
ia^^^g^ll^S^
Amidst the bright numberless throng, bright numberless throng, And mix, And mix with the fccc.
Pia, For. -|r Dim. Cres.-|
Oh ! when wilt thou bid me,
Oh 1 when wilt thou Wd me, Oh J when wilt thou bid me, Oh! when wilt thou bid me ascend.To join in the praises above.To gazeon the world without
Wm^mmm
I6t
pja Crcs. For. -f»£ Fortissimo. — _ — ,
£5^SS^E«^=nrwr -^-Itr-^ °~^" = 1? L^_-^Togazcrth^oT!;i>vnl,onte,,d,Andf„,stond,yravishing.ove.
■I LlU-U-U-t-t^- — ^S^ rr—7~~—- " ~JT" .7" ™ "" 'H_" .|T -«_To raze o!TSreTvm1d*illionteiid,Andf«iston thy ravishing love,
end, AndlVaston thy ravish- ing love, Thy ravish- ing love, :|: WW «.«._—. .p^" _ _-»- #-p~
' ~ — — — " ™ Thy lavishing love. -\\- '»'•
SEMI-CHORUS. Allegro.
rfESE
LONDON Continued.
iMiggilE
Nor sorrow, nor sickness, nor pain, Nor sin, nor temptation, nor fear, 7
Shall ever molest n,eaga,n, Perfection of glory reign, there:., ThU soul and thi, body shall shine, In robes of salva- tion and
Cres.
#a=
$
_ , _, . • . ||i ■ K— , _ """ """ pnose. Ana Danouet on pleasures divin
DUETTO. Staccato.
Where God his full beauty displays, Ve palaces, sceptres, and crowns. Your pride with disdain I
Ye pillars &e.
1WS,
fit-
$3i=s
feM
survey ; Your pomps are but shadows, :|[:
and sounds, And pass in a moment away:
Your pride &c
CHORUS. Pomposo e modeifito,
Y-urpomps are but shadows, :||: „nd sounds, And pass in a moment away.
rT:5tSaai.1 — t — TrrrPTfr^i r -i m
Theerowu! The crown that my Saviour bestows,
3=:
^msm
'=^4;
SH^fciPliii
IT*. " Isaasaks!— I
J_l*ecrown. :|[: ^ The crown that mv Saviourbestows,Thecrownthatmy Saviour besto.
±1
The crown thsitmy Saviour bestow
Continued.
519
"*--:*^§5g
wn The crown he bestows
- - ws, The cro- - ■ t- - wn that my nviour. The cro- -
e
b*»- stows, be-
s.^The crown he bestows,
My Saviour besto- *
"" -.^L^Lfl rr-l .. ..... 'II.., .*..» k.n,,:n.,H q'liHAHnWn ll„-.t lltil Cui'lim. k^rlnllFa
w% The cro-
wn, That my baviour, The crown that my Saviour btstowi.
on permanent sun, Yon permanent sun. Yon permanent sun shall on tonne; My joy ever- lastingly Ho- -
llliilglililttii^gi! ""
on permanent sun, Sec.
on permanent bun, kc. l L. fc k_^ •*- *—
■^ "-^ * *-<- •"*" Ad Libitum. ever flows, :): ;{■ :|: :||:
sfefclj
My God, My God, my Redeemer,
-•-r^-V-k-r '
y God, my Redeemer, my Redeemer » mine. *
320
9f3
Spiritoso.
*0M
1. How ahal] I ray Saviour set forth?
NEW JERUSALEM. P.M. Dr. RjPP. Hv. ,5
Br. Ripporrs Coll.
2. In him, all the fulness of God Forever transceiidantly shines-; ihoojicelikea
gffiilliSi
m^i
■n
— ^yfj^y^M
a
W*
morjajhestood To fimsh his gracious designs: TWoncehe™ nail'dto the crass, Vilerebel, like me to
^ . . -ftX ilr nusuuuu to me cross, vile rebels like me to
f-
iPm^Si
Ten,po^»rc^WHlTCHURCH. P.M. A pp. Dr.Ripp.Hy. M. Altered from Lack)
thro ne, How rich are his treasures uf grace : So this is a mystVy nnkown.
ppsHSSiis
tree. His Plnrv tiiRrfnnpri Tin Incp TTt„-.i..l v:_ ».• 1 _ < .. .
-Ur
1. O sister
fisSiiiiP
2^0 savour herspirit receive^ Which into thy hauds»e resig„7~ And u. from ouTs^mAV"
j *i«, In mercy he calls thee a,vay; Hi, pity ha, sign'd thy rekase, """Ltu™ TSjy"
SBM^S^g
native abode. Make haste to the mansions of bliss, And fly to the bosom of God,
1 ~| I -1*1 1 I ■■, 1 .-»--_ _j__J- ', """'" '» my n»nve abode. Make haste to the mansions of bliss, And fly t
^eve. And „^^ompany_ j^-gfr- ^rlZ ^gl^j pT^Sfg .'' ■ -iMSSBt+Z ±t!=-C
•^isiWililllg^lI
that are Janclut^ before, WUh thee let
us^ Joyfully meet. To part and to suffer no n
rajra ma __ 1 ''"-"""J ««:«, in pa" ana to sunn- no more.
/
#
*£
\
Live Music Archive
Librivox Free Audio
Metropolitan Museum
Cleveland Museum of Art
Internet Arcade
Console Living Room
Books to Borrow
Open Library
TV News
Understanding 9/11