THE
n o & a
UNIVERSAL PSALM O D I S T.
CONTAINING, K L> , I ^ 7 .
I. A Compleat Introduction to Pfalmody ; or, The Art of Singing Pfalms, &c. Interfperfed with many ufeful
Scales and Examples, carefully laid down and explained, in a familiar Dialogue between Matter and Scholar.
II. A choice and valuable Colleftion of Pfalm and Hymn Tunes, Canons and Anthems, many of which were never;
before publifhed ; alfo the. Tunes, Anthems, &c. fung at the Magdalene and Foundling Chapels, and other public
Places in and about London, with Words adapted to each Tune.
The Whole compofed in a New and Eafy Tafte,
For Two, Three, and Four, but generally for Four Voices, in the mod familiar Keys and Cliffs, according to the Adv ice
and Direction of the moft eminent Matters in London. Calculated to promote and improve this moft excellent l'art of Social
Worfhip, and thereby render it both ufeful and delightful in all Country Choirs, as well as in the Congregations and other
Religious Societies in London*~and Weftminfter.
By A. W I L L 1 A M S, Teacher of Psalmody in London.
LONDON:
Printed for Joseph Johnson, at Mead's Head, oppofite the Monument. 1763,
London , Jan. io, 1763.
In the Prefsy and will be publijhed in a few Days,
I The Second Part of the Golden Treafury for the Children of God whofe Treafure is in Heaven.
Confifting of Seled Texts of the Bible, with practical Refledions in Profe and Verfe for every Day «,
the Year. By C. H. v. Rogatzky, Author of the Firft Volume.
II. Twelve Sermons on important Subjefts. By the Hon. and Rev. Walter Shirley, A. B. The Second
Edition, corrected. Price 2 s.
R E
A
G E.
To all Lovers of Psalmody.
A IVINE Mufic is undoubtedly the moft noble
I of all arts, being more immediately appointed
JL-^ to fet forth the glory and praife of the great Cre-
ator of all things and when otherwife employed is
greatly profaned and abufed.
Many and wonderful are the productions of this inex-
hauftible fountain, whofe beauty and excellence is greatly
illuftrated by the fmallnefs of the fpring which having
furnifhed the ingenious with fuch a grand and pleafing
variety, is ftill as full a? ever, and its depth unfathom-
able •, yet, however great and myfterious this art may be,
fo much of it as is fufficient for our delight and amufe-
ment is more eafily attained, than many people imagine ;
and I cannot help thinking, that every one who has any
ear for mufic, (which fome few have not), and have
heard it rightly performed, would be glad to learn it, if
they knew where or how. I alfo believe, that many
young people, either by reading obfcure authors, or by
hearing people talk of Mufic in a dark and round-about
way, have been kept back from learning the delightful
art of Singing, under a falfe notion, that it was too hard
for them. This induced me to offer my afliftance ; and
I hope the plainnefs I have aimed at in my Introduction
will have the defired effect:, namely, to promote the glory
of God, and the comfort and delight of my fellow-
creatures.
Pfalmody, or the Singing of Pfalms, &c. if performed
with due reverence, is moft certainly one of the grandeft
employments that a Chriftian can be found in, as it
not only bears a refemblance to the noble worfhip of Hea-
ven, but conveys to us the ftrongeft ideas we can have of
the employment of Angels and glorified Saints. I think
this is abundantly evident from Scripture, efpecially the
Revelations, which abounds with heavenly anthems, where
we are told, that the Angels and Archangels join in ring-
ing Hallelujahs, &c. to Him that fits on the throne, and
to the Lamb for ever and ever. And mall we be fliame-
fully filent ? Should we not join in the Chorus, as we term
it, or rather imitate their ftrains, by joining to fing the
praifes of Almighty G,od, for his wonderful works of
creation and providence, but, above all, for the great
work of redemption, which far exceeds our highefl: praife,
A 2 as
iv P R E F
as Dr. "Watts beautifully expreffes it in the fecond verfe of
his Paraphrafe on the 1 50th Pfalm.
Let all your facred paflions move,
While you rehearfe his deeds ;
But the great work of faving love
Your higbeft praife exceeds.
The fame author has another verfe very pertinent to
this in one of his hymns :
Let mortals ne'er refufe to take
Th' Hofanna on their tongues,
Left rocks and ftones mould rife and break
Their filence into fongs.
We are told that eternity will be too fliort for this de-
lightful work ; furely then it is time to begin and tho\
we cannot fufficiently praife him here below, yet we mould
improve the talents we have, by endeavouring to fet forth
his praife in one glorious Trio of heart, lip, and life ; for
with fuch facrifices God is wel*»pleafed.
How far the life of Mufic is abufcd, is not fo much my
prefent bufinefs to mew, but rather as much as pofiible,
to prevent a farther fpread of it. And here I would only
mention one thing, than which, perhaps, nothing has given
more caufe for the abufe of Mufic j I mean, the lhameful
ACE.
neglect of it in our churches, infomuch, that if it was not
for a few young people afibciated together, there would
in many of our churches be very little, and in fome, (I
am inclined to believe), no finging at all.
Some exclaim much againft a regular method of finging
in time of Divine fervice •, but neverthelefs, I think thofe
little country focieties, the defign of which is to promote
it, are very juftifiable, for the reafons juft mentioned ;
and it is certain, that if the congregation would take the
trouble to learn as they do, they might fing with them
with great pleafure and delight.
I flatter myfelf I could propofe fome methods, which,
if purfued, would in a lhort time greatly improve our
method of finging, and in a few years render it univerfal.
I mall mention but two, which, tho' not new, yet are the
principal ones. And, firft, let it be made a part of our
fcholaftical learning, in all our proteftant fchools : I mean
not as it is taught in fome of our charity-fchools, which,
in the opinion of many, had better be quite omitted ;
but that children be taught the theoretical and practical
part, (according to their capacities) as well as the active
or mechanical part •, which, when they were eftablifhed
in, they would no more forget, than the reading of their
books, &c. Secondly, let it be promoted by the heads,
of all worftiipping afiemblies, according to their abilities,
PRE
by giving books to fuch as cannot afford to purchafe, and
otherwife encouraging them to learn ; which, by chufing
proper clerks to lead the worlhip, would doubtlels make
it both eafy and pleafant to every lover of devotion, and
more acceptable to God. It might alio fave our churches
much expence in buying organs, &c. which are now very
convenient to drown the hideous cries of the people. It
might alfo draw many young people to attend the church,
who are miferable on the Sunday, knowing not how to
fpend their time. Such perfons, by attending the pools
of Divine Inftitution, are more likely to be caught in the
Gofpel net •, how pleafing the thought ? but how much
more fo would thefe practices really be to every fober
Chriftian ? to fee full churches and thin play-houfes, finging
focieties inftead of riotous clubs and drinking bouts, &c.
I expect not to live to fee all thefe my wifhes fulfilled ;
tho' perhaps there never was a more favourable opportuni-
ty than at this day, when the fpirit of Harmony feems to
revive, and many young perfons are feeking the knowledge
of Mufic by forming themfelves into focieties both in town
and country ; and this I hope is a fufficient apology for
prefenting the world with the following pages, being cal-
culated as well for the instruction of thofe who are defirous
to learn, as to entertain thofe who have already learned.
To the firft of thefe I recommend the Introduction, as
'ACE. v
worthy their perufal and for fuch as have not leifure to
ftudy the particulars at large, I have fummed up the whole,
and explained it in two or three fcales, &c. at the latter end.
To the fecond I need fay but little, they being able to
judge for themfelves ; only that I have been careful to
have the Mufic as correct as pofllble. As to the new
Tunes, which are all marked with a {tar in the Index, I
have kept the air of every part as fmooth and pleafant as
the rules would admit. As for the old Tunes, where I
have altered, (which is very little) I hope I have improved.
Some few of the old, and many of the modern Tunes,
which were before in few parts, (and fome of thofe very
unfit for the voice) I have greatly altered, and added more
parts for the ufe of mufical focieties, whom I would ever
ftudy to oblige.
I have alfo added four full and eafy Anthems, which
were all I had room for in this work ; one of which was
never before publifhed, but has been fung and approved
by feveral of my mufical friends.
Upon the whole, I have been at great expence and un-
fpeakable labour, to render the Universal Psalmo!dist
as compleat and extenfivcly ufeful as pofllble, and now
recommend it to the candid world. If any thing has efca-
ped my fight, I fliall think him my friend who lets me
know it, rather than indulge an envious fpite, in imputing
thofe
PREFACE.
vi
thofc errors to ignorance or conceit, which may be owing
to overfight. But, left I mould keep you too long in the
Preface, (tho' too much cannot be faid to recommend fo
laudable an exercife) 'I will here break off, as your time
will be better fpent in perufing the work ; and that a blef-
fing may attend this, and every undertaking for promoting
N. B. In the following work the initial letters at the top of the page direct to the different Authors from whence
the words were taken, and the meafure of the verfe, &c. viz. Dr. W. for Dr. Watts'' 's Verjion ; O. V. Old Verfion ;
N. V. New Verfion •, G. W. the Rev. George Whitfield's; J. M. Mr. James Maxwell, L. M. Long Metre ; C. M.
Common Metre ; S. M. Short Metre ; P. M. Particular Metre. When a D. is added, it fignifies that the Tune is dou-
bled, or includes two verfes, &c.
the knowledge and practice of Divine Pfalmody, is the
hearty prayer of,
Gentlemen,
Your moft devoted Servant,
Lond. Jan. 6. 1 7 63 . A. WILLIAM S.
ADVERTISEMENT.
IF this Work meets with encouragement, the Author having in his pofTefTion a large and valuable Col-
lection of Anthems, fome of which are his own compofition, propofes to offer them to the Public in a
very fhort time, under the infpection of a very eminent mafter ; of which public notice will be given, and
the price fixed, as foon as a proper eftirhate can be made. The whole to be neatly engraved, and printed
on a fine paper, according to a fpecimen intended to be given.
Snch Mufical Gentlemen as are inclined to encourage this Work are requeued to fend their names and
places of abode to Mr. Johnfon, oppofite the Monument, London.
No money will be required till the Work is finished.
Any perfon, who is defirous to learn Pfalmody under the Author's direction, may hear of him by ap-
plying to Mr. Johnfon, as above, where letters (poft paid) for the Author will be received.
' A L P H A B E
N. B. The Tunes which
Tunes Names.
'A
A.
Iloffe-Street
Aylelbury
Aithlone ■ — ■
Alderney —
Alcefter —
Amfterdam
Angel's Song
Arlington —
B.
Barnet —
Bath —
*Beconsfield
Bedford —
Bethefda -
Bexley —
Bletchingly
Blewbury —
►Bloflbm —
Bofton —
Bray —
*Brentford —
*Bi ighthelmftone
Page.
43
66
90
65
71
74
95
97
102
73
131
123
60
108
64
98
128
136
* no
49
106
Tunes Names.
*Britannia
Buckingham
*Burnham
Cambridge new
Canon —
*Charlotte
Chatham
*Chelhunt
Colchefter
Crowle —
Cumberland
D.
♦Dalflon
*Derby
Down
Drefden
Eagle- Street
Lafter Hymn
*£gham —
C A L INDEX
with a Star, were never before printed.
Tunes Names.
Elcnborough
Evening Hymn
Fairfax —
Farnham —
Foundlings
•Funeral Thought
G.
Goodman's
Grantham . —
Great Milton
Green's ico
H.
Hallifax —
Hanover —
Harlow —
Havan —
Hereford —
*Holbom —
I.
Iflington —
Page.
117
109
90
121
108
127
108
77
5i
132
130
;lo7
86
89
124
111
Tunes Names.
Kingfbridge
Kettering
K.
L.
Page.
106
80
Leeds — —
*Little Marlborough
*Littleton —
Low Dutch —
M.
Magdalane — <
Maryland —
Monmouth —
Namure — —
Newbury . 4r-y5p»
Newcaflie t •'*<9|£
New Eagle-flreet —
New 50th wra^^H
Norfolk . — '
Norwich, or Dr. Green's
148th —
75
92
85
44
109
109
118
123
117
121
100
82
107
70
Old
Vlll
Tunes Names. Page.
O.
Old 50th — 69
Old 81ft — 139
Old 100th — 116
Old 148th . — 83
Orange — — 57
Parendon * — 78
*Penbury 102
*Plaftow — 100
Plymouth — 106
Prefect — — 71
*Putney — — 99
R.
♦Rickmerfworth — 93
Rineton — — 126
Ripon — — - 73
Rochford — — 67
Rochefter — 66
S.
*Savoy — — 1
Tunes Names. "
St. Alban's
St. Ann's
*St. Clement'
St. George's
*St. Giles's
St. Hellen's
St. James's
St. Matthew's
*St. Martin's
Sydenham
Southwel
Stafford —
*Staines
Stebbing
Stortford
*Strawbery
Stroud —
Stroud water
Sutton —
*Thorley
*Troy —
Trumpet
N D
E X.
Tunes Names.
*Twyford —
V.
Virginia — —
Page.
59
W.
*Wakefield
*Walbrook
Walney —
Wallingford
Walfal —
Wantage
WareWm
Warwick
Watling -
Wells —
Welfh —
Wenlock
*Weftminfter
Weflon Favel
Wefterham
Wickham
Winchefter
Windi'or
92
128
62
62
44
53
68
133
79
54
110
101
46
120
63
129
134
53
Tunes Names.
Workfop
Pap
*~ 4
Y.
Yarmouth -— >
*York-ftreet —
CANONS.
Awake my Soul, &c.
Bleft is the Man,
Hail ! glorious Day,
Hafte thee, O Lord,
I nothing am, —
Non nobis, —
0 Lord Almighty, —
*Praife God, from whom,
*To Father, —
To God, —
ANTHEMS.
1 heard a Voice, —
*I was glad, —
O praife the Lord,
Sing, ling unto the Lord,
11
9
*3
9
1 1
15
5
10
11
14
J4
J5
H
An Introduction to psalmody. i
Shewing all that r.eoefsary.fnr the attainment of that Nohle and delightful Art.
'iff*': A"M««^.^th«rV.«l.M (rfUuth founded on the fame PrincipIes,and fo ElWiv,']
lore thre ;:no,n -° : vn'"*. "hirh lt **tri* - «* b ^ *L
hat.t i, ,«j,.6,Ue for aV oneto Sing „ Pl^ t* an, degree of perfection with„ot it, therefore T „„, >,frc
Iratinthpnr/ ^ W^MS, G. all above t>ie{e are only the fame repeated over again
4^21^ ' ^™th"^ and Sonnd.Vi.G.and 0,mahe fo
'the " 1 i t o d f "i " " *"**"*» ^ >» «»•<< «««*. . U.. two Sounds in „,,e.
fi^elinei e not ^ ^ "~ «" dl'd a Staff; hot
not futt.cent to .nfwer ,,, c^paf, of the Voice.therefore the following Scale is extended
1 . A *V«>. times with the action of a fourth £,w>ich makes
t5 Fleven line ,,and the Seven Letters are "P^^^cnff, which are all regularly placed as th<y
Two and Twenty Notes or three Octave ^together with the three Witt
ftand on any Tune .
The Gamut or Scale of Mufick
Gfolreut in Alt
Ffaut
fc la
I) lafol
Gfolfa'«
\\ frabemi-
A lamire
C. folreut
F faut
K 1 a m i
Dlafolre
C folfaut Cliff
B fab em i-
A lamire
G folreut
F faut
Y. lnmi-
P folre
C faut
D mi-
A re
Gamut
K*pUnation of the for. going Sc.le .
Thi. Scale >. i»« three part,.which are aiftingnifhd
^'A' Wa'ch part including five line >.» .are
ftld tho,,the uppermoft five «... ^onta.n O,. T e
eft five line, the Baf,.and the middle f.ve.wh.eh mclnde, two
of the Treble and two of the B»fs,i, theTenor,or Co«ntr*Ten.
* t,fo that * this Scaled p
in one part correfpond with the Note, m another.,for m
ftan^Note on the loweftlin. oi '
Sree of Sonnd with a Mete on fte higheftl.nebnt on. of the
lenor.fo likwifc "he tMrft line of the Tenor ,.
hieheft Note hot one of (he B.,i-,,hich i. very neceftarv to he
rememnred.
SIH,Thus far lunderftand^ou very well,but I muft |
beg a" further explanation if .you pleafe .
This I will readily do in the beft manner I can,and
firft obferve that the Letters are placed in their order onthe
Lines and Spaces as thej, ftand on any Tune,the Scale being
divided into three fives.as I mentioned be f ore. where jou
have the proper Name of every Line and Space^thejr being a whole or half Tone diftantfrom each other.and
joumuft calljrour Notes in any Tune according to the Lines. or Spaces.where on thejr ftand.and allNotes^
afcend above Ffant in the Treble^are eall'd in Altfand all that defcend below Gamut in the Bafs,are called
Doubles^as Double Ffaut,Double Elami ,D folre .fc$c .
c/ » SIR. I thank jrou for this Example which is fo plain,that I doubtnot,but I fhall foon learn it and
be ready for^your further Inftructions .but pray Sir^multthole hard Names be learn't too •
tylb . Thofe hard Names,Vi7^Gamut,Aref Bmi,l$c,are more for Antiquity than ufe,thejrbeingmorecommon
yexprefs'dbythe innitial Letters, G,A,B , «,c,but to thefe there are Syllables annexed/Vriz , Sol, La, Mi >vjc,
which are generally ufed in Vocal Mufick,be in g eafier to found,by which alfo.jou may fee more diftinctly j
exact agreement that their is between every Eighth,or Octave.for in the Original,the Eighth from Gamut is
G folreut,but here they are both Sol;and when founded to^ather.are fcarce to be diftinguifh'd from one fin.
gle Sound.but I {hall here fet down the Scale in a more ea{y Method,and the Notes in their proper places,
with the Syllables under them.and the Letters at top. as thus.
Obferve likewife.that if a Note afcends higher than the Space above the upper line,
or defcends lower t*ian the Space below the loweft line.a fhortline is added to the Staff
as thus, -e-or thus. £l. which is calld a Ledger line.
The Scale of Mufick divided.and Set on the five. lines .in the three ufual Cliffs.
(Bafs )
C D E.
(Tenor, or Counta.)
A B, C D E,
Treble
A By C D E
soi~LT3Tr;
Fa Sci Ld»
F
-0-
G:
Sol 1 * Wi>
^ In the compafs of thefe Eight Note sphere are two called Semi or half Tonesjwhich Ihave diftinguifhed by a
bar^drawn bet-ween them,Vi7,from Mi to Fa, and from La to Fa,afcending,and from Fa to La,and from Fa to M
defcending,which are ftill but two half Tones.and majrbe underftood thus,ifyou fuppofe.a whole Tone to be an
Inch,then the half Tone is buthalf an Inch,which is a Mathematical demonftration. N^.That thefe Syllables
Vi7,SolyLa.Mi,'bSc.are removeable by Flats and Sharps.which Ifhall explain in their order.
This appears fo eafjr,that with a \jttle Inftruction I hope foon to become Mafter of it •
This muft come by practice, therefore diligence is better than Conceit,and I wonld advifejrou fix
to learn that part,which b eft fuits jour Voice^and whenjou have learn*d one part perfectly,jrou,ll find it no
difficulty to learn the reft .
*6 1 Of the three Cliffs and their ufe .
In the Scale of Muficlc there are three feveral marl<s,or Characters,calld Cliffs,or Claves,that
is to fajr, Ist there is the Ffaut or Bafs Cliff, which is ge'neraly fet on £he higheftbut one of the five
lines.thus. ' \ fometimesjou maj find it placed on other lines tho^very feldomfbut where ever it is
found,it gives its place the Name of F, and when Sung muft be call*d Fa, unlefs contradicted by a Flat or a j
Sharp at the begining of a Tune, (of which^in its placejand all other Notes above and below are guided by itJ
2djj ^Yie Contra ,Ten or, or Cfolfaut Cliff,is fet on any one of the five lines, .as thus, U |j
■"udoives its place the Name of C,and when Sung muft be calld Fa.unlefs c cntrad icted as above. this1 was
- Cliff.but is now almoft out of ufe. except fometimes in the Contra .
and -5
vmdLaftly,theTreble,or Gfolrent Cliff,is placed on the Second line from the bottom,thus,
Jives its place the Hame of (j, and when Sung muft he calld Sol/mlefs contradicted as above,this Cliff is now ap_
| vlied to theTenor,and Sung in the Eighth below, i,e7 an Eighth below the Natural Trehle>and is thebeft (illffnow
m ufe,either for Voice or Inftrument.
(*^P . I thankjou Sir,but piajr why was the Cfolfaut CHS fo much ufed formerly,and fo little now^
nd,whv is the Gfolreut Cliff ufed in its ftead .
The Cfolfaut Cliff was ufed moft formerly becanfe it was moveable at the CompoferVpleafure,
to bring his Kejs into the compafs of the five lines.and becaufe thejr did not then know the right ufe of Flat-
II ind Sharps,whirh anfwer the fame end,and being now fully known, the C Cliff,becomes almoft uftlefs, (e\_
cept when any one of the Inner Parts" of a Tune lies very high or. very low, it may ferve to bring them
wi thi n the compafs of the five lines) and the Treble Cliff takes its place being lefs moveable^with which,by
the he|p of Flats,and Sharps,our Kejs are properly founded,and is of more eafe and certainty to^y Performer.
. Rut pray Sir, why are thofe Characters calld Cliffs, Clave s , tyc.
tsft?. The word Cliff,is derived from a Latin word Clave,or Clavis^and fignifies to open, as a Key
*^et i
to*%f' Jrtich openeth to us the Kejrs of all Mufick.
Could not a Tune be prickMdown as well without a Cliff as with .
No^for if there was no Cliff ufed^how could 1 know the true Names of any of the Notes,!
might fuppofe it to be Tener,or Bafs,tbe Key Flat.or Sharp,but I could not be certain which,therefore to '
preven*fuch uncertainties the Gfolreut.or Treble Cliff, is placed on the Second line from the bottomjby which
I can eafily find out all other Nctes^abcve and below.
SIR, I thank you for thus much of jour afsiftance, which I hope foon to. he perfect iri,b-it
pray Sir^what muft T learn next .
t-^Hj, W The next thing to he learnt is the Names and rneafures of the Notes,which I fhall deferr
till our next meetings this being fufficient for the prefsent .
CHAP. 2? |
Of the Names and Number of Notes,with their Refts, ufe and Proportion of Time .
^V:. Kopeing by this time jrou are perfect in the Gamut,! now come to the next thing propofed/Namely,
to explain to jou the Names and Meafures of the Notes,with their Refts, ^c. which I fhall do with all the
Brevity and plainefs that I can. by givein£ jon Firft .
I A Table of the Names and Meafures of Notes, with their Refts,ufe and Proportion of Time .
Notes
Names ,
Propor-
tions •
Refts .
A
,ar<
8 Bars
Laroe .
o
A
Long
4 Bars
A
Breve .
2 Bars
A Semi J
breve.
I Bar
mini
2
A
Crotchet .
H
A
Quaver.
A
Semiquaver.
Demifemiquaver.
heja
I
■ 4
5 o- 7 g sP /
Kxplanation .
This Table comprehends the feveral Notes ufed in, Muficl<,with their Refts under them,and their Names
7
tnd Proportions at top; Obferve that the Three Fixft of thefe Viz. The Larjje. the Longhand the Breve-
Which were formerly' uled as Notes. are now only ufed as Refts,or Notes of Silence, (except fometimes at the
Clofe of a Grave piece of Mufick,) therefore I fhall call them Refts.and explain them accordingly.
Firft. You have the Large.which contains Eight Semibreves. and fignifies thatjnu are to Reft,or keep
Silence^during the time of Eight Semibreves,or Eight whole Bars in Common Time.
2 The Long,which contains Four Semibreves^and fignifies that jron mnft Reft the length of Four .
Semibreves, or Four whole Bars in Common Time .
3^.ly The Breve, which contains Two Semibreves^and fignifies thatjrou muft Reft the length of Two
Semibreves, or Two whole Bars t£c . .
You have the Semibreve, which is the longeft Note now in ufe, tho formerly it was the fhorteft,
whofe length and Proportion of Time is as long as jov can leifurly tell 1.2.3.4 .^your beft guide
in this will he the Pendulum of a large Chamber Clock,which will foon teach jou the true mea -
fure of any Note in Common Time.
The Minim, which is half the length of the Semibreve, and has a Tail to it.
6-thly Crotcliet^ js ^a|f t-he length of the Minim. with a black head and Tail .
The Quaver,is half the length of the Crotchet, with a Tail turnd up.
The Semiquaver, is half the length of the Quaver, with two Tails turnd up.
The Demi-femiquaver,is half the length of the Semiquaver, with three Tails turnd up,which
is the fhorteft Note ufed in Pfalmody.
N3 . Thefe Six laft,have their proper Refts under them,and whenever thejr occur in Mufick,fignify
that vou muft Reft or keep Silence as long as jou would be founding one of thofe Notes to which they
8 belong,but the better to underftand the true Proportion of all Notes^obferve the following Example .
A Scale of the Notes, and their Proportions.
1 Semi breve - - - -
contains
2 Minims -
4- Crotchets - - - > ■ * ^
ts w n u
8 Quavers — - -
I<T Semiquavers _
- 53 Demifem
quavers -
to mm
HOT
Explanation .
In this Scale the Semibreve which is the
meafure Note,includes each of the fhorter
Notes to its meafure. i.e. one Minim is
half a Semibreve,one Crotchet /4, a Qua_
verH, a Semiquaver1^ <j;a Demifemiquaver
H2tpart of the Semibreve-
CHAP. 3?
Of all other Characters t^c. ufed in Mufick^and their ufe
3. 4, _5, (T, 7, %,
IO>
A Elat, A Sharp, A Natural* A Repeat, A Tye A Single A Double A Direct , A A
or Slur, Bar, Bar, Fore-Fall, Back -Fall
'J'
m
r<5">
17 .
A Beat, A Turn, A Shake and Turn, The plain Mote US Shake, A Trill or Shake, A Hold, A Clofe
Zstb. You have here difplay'd.the feveral Characters \gc.nfed in Mufick.and I fh all now proceed
to fhew you their ufe. betfinnino Firft with the Flat .
^ o o
st
I. The true ufe of a Flat is to fink any Note before which it ftands,half a Tone lower than its
original found,as if a whole Tone be an Inch,a Flat before it will reduce it to half an Inch: Flats are
Ifo ufed to regulate the Mi. in Tranfpofition.and when fet at the beginning of any Tune.caufes all the
tes to he Flat on the line or fpace where on it Stands, (unlefs contradicted by an accidental Sharp or Natur
d al.)
The true ufe of a Sharp,is contrary to that of a Flaf,as a Flat finks the Note half a Tone lower,
• \ he Sharp raifes it half a Tone higher than its natural lound;Sharps are alfo ufed to regulate theMi h
Tranfpofitioil of Keys, and when fet at the beginning of a Tune,ferves to Sharp all the Notes on theline*
ice« where on thej- ftand; (unlefs contradicted by an accidental Flat,or Natural.)
N3.That a Flat,Sharp,or Natural,^, fet before, under.or over a Note in the middle of
a Tune . ferves only for that Note. to which it is placed .
A Natural, or Proper.is fometimes fet before a Note that was made Flat.or Sharp. at the beginning of
a Tunc which reduces it to it'sr Primitive found,but Flats and Sharps, anfwe^r much the fame purpofe and an
y^.pften jfed. . SxjtL-
4 ; A RePeat'is «™ * Performer,what part of the Mufick muft be Sung orplavWa^in.
thm Character U alfo ufed in Cannon?,to direct the following part, to fall" in .
I* 4 S1"r- " " f°rm 1Ike 3 ^ *™« ^ T,o/Three,or more Note.,fignifie. that they
muft all he Sung to One and the fame Sellable.
^ A fin§le Bar.ferv" to divide the time in Mufick, accord ing to iu Meafure.
7 . A double Bar. fignifie, the end of a Strain,and if dotted on one or both fi^ tWfltf|«l
fies that fuch a Strain muft be repeated . II 5 ~
A Direct.i, fet at the end of a Staff,*, direct the Performer,* the firft Note in the next Staff
The feven following Character,, as under the figure, j>. io. „. are the feveral grace, «fe<Hn
Mufick,which Ifhall here after explain in their order.
1<T* A Hold.fignifie, thatvou muft hold the Note over which it i. P1aced,fomething longer than it'*
proportion of Time . °
r" ^ A CWM. Three Fonr,.r more Bars together, Set after . pi.ee of Mufick,.nieh fi^ifl.. . ..„clu
n«n,or the clofing of all the Part«,in . proper fty,.
■y. SIH.I tha-Voo for thefe plain InU, uc,ion,,bnt J have „,t,n obfcrved . littl. D„t,o„ the right
*"« "* a Note^whofe Name and ttfe I fhonld be glad to kno.v„
o^M't ThU,D^l' th: MH ,0 ' -"•"*'*«* ■» *»« Frtck of perfection or point
of Add,ton,and add. to the ,o«-„d of a Not. „.« as WDeh as it ... before,,, wh.n f.t before . Lib,
>rev«
it miuft be held as long as three. Minims,and fo of the reft,but I will here givejrou
An Example of Prick'd Notes.
Minims. 3 CJrotchets. 3 Quavers. 5 Semi.Qnavers. 3 D em i .fern i Quavers .
II
^inims. 3
ft r 1 r r r ■ g g f ' g p r ' g g' e
N8. Youll fometimes meet with a point at the beginning of a Bar, which belongs to the found of the laft
Note, in the foregoing Bar, and is generaly tied with a Slur, as for
Example .
the fame bjr Notes.
1. 3.X4. 1.2.3.4. 1. 3. 3. 4. 1.2.3.4. 1.2.3.4. 1.2.3.4. 1.2. 3. 4-. I. 2.3.4. I. 2. 3^4. 1.2,3.4.
</ d, u, 6% d, u, 1 d,' U> d, u, d,u, a, u,' d» u, I u, d, u,
Thefe are caltfl Notes of Syncopation. or driving of Notes;of which I fhall fay more in the next Chapter.
I thankjrou SIR, and am always ready to give attention.
CHAP. 4**
S
Of Time in its various Moods, and how to beat them.
Timers fo necefsary to be underftood in Mufick,that no Perfon can ever Sing or Play, fo as to pleafe himfelf
or others without .i du« obfervation of it,and when rightly underftood,will enable the Performers,in all MufirV
to fall in with, or alter each other^according to the real intention of the Compofer.
hould be verv glad to hearyou explain the different Moods,and Meafures of Time- if vouple.m
. Time is divided into feveral parts or branch es,which are diftrngui{h*d by Moo,ds.or Cli <<•■;..
all which may be reduced.to thefe two. Viz. Common. and Triple Time.which arc rneafur'd by an even or odd
Number of Notes. as 4,or 5, that is fach a Quantity of Notes to be included in each Bar, But I fhal! ft
r:r{t,of the Meafures and Proportions of Common Time and their Moods.
Common Time is meafured by even Numbers, as 2,4,8, Uc.each Bar including fuch a Quantity of Notes.as will
amount to one Semibreve which is a whole Time. or the Time Note. and guideth all the reft.In CommonTime
there are three different Moods or Chavacters.by which the different meafures are diftin^uifhM,each being nean=;
Quick r.gain as the other.'the Firft Mood is marled thus, C which denotes a very flow movement,the Second is
marked thus,^ which fignifies a quicker or lively movementfthe Third is mark'd thus,^ which fignifies a ftill
quicker or very quick movement^ nd is generalj beat with the hand or foot once down,and once up in every Bar. *
. Pray SIR, fhall I be$ an Example of thefe feveral Moods Kc .
L.SIZ) < Nothing fhali be wantingthat is in my power.to render this work as ufefuUnd plain as pofsible:h, vC
ing a defire to promote, this delightful Science;therefore I will here givejrou an Example of the feveral Moo as
• r. Common Time,in the Tenor,or Treble and Bafs Cliffs;with a d,for down^and u,for up,uvider each Bar/arith
the figures at top fhewinghow many Beats is required in each Bar.witliyproperName^movementofeachMoodithu?
I, (Actagio) or very Slow.
1.2.3.4. 1.2. 3.4. 1.2.3.4. 1.2.3.4.
2,U ar5o) a little quicker*
1.2.3.4. 1.2.3.4. j. 2.3.4.1.2.3.4.
O |4-
3, (Allegro) or very quick
I. 2. i°. 2. I- 2. 1.2-
,-<, — . orr,**r- "U.dtW,". <Tr<l.tr, . rr
1.2.3.4. 1^2. 3/K i;2.3.4. i] 2.3.4. 1.2. 3.4. 1^2. 3,4. i/ 2 . 5A 1.2.3.4. r. fl. I,
I»2. 1.2.
I
In this Fxamplej/mhave the three f-vcral Moods of Common time with their properNames and Me .
Iv You have the (Adagio.)or very Slow m«vement,how thi- Time fhould he neat has been already explain'd.t.
proportion of the Semihreve.the beginning of the Second Chapter.
21! The Second is the(Fargo.)Mood, being a little Quicker, or a lively Mood.
3^ The Third is the (Allegro.) or very quick Movement, this is call'd the Retorted Mood,or Retorta Tin t ,
and is fometimes exprefs'd by a large Figure of twi,thus, Q. as In the Rafs.and fometimes contains bnt two Crc'
c.hets in a Bar. NR,the Double d^, u^fignifies thatjour Hand or Foot muft be twice down at the beginning.,!
*wic.e up at the latter end of each Bar,as in the two firft Examples, the third haveing one d,at the beginning,
and one u at the endyflgnifies t° beat once down and once up in each Ba^fo that Vou may ufe either Letters or
Hgures asyou pleafe, hy the help of this F.xample,you may be able to beat in any Lefson of Common Time let y
Notes be of what fo ever fort or kind,by takeing care to divide them into two, or four>eqnal parts .
Syncopation,or driveing of Notes,is one of the hardeft Lefsons fnrj'oung beginners,becaufe the Hand
or Foot is moved up or down in the middle of, or while the Note is founding^but the foregoing FxamrH vN ,v
due attention are fufficient^forjrour afsiftance bjr telling 1,2, with the Hand down,an<l 3, 4, with tl. H nd iip.
as markd over the ftotes.But I come next to.fpeak of the Meafure and proportion o{ Tripola/>r Trip! ':'
nnJ its vcrious Moo us- .
Tripola,or Triple Time^is meaiurd by odd Numbers,as 3, <f^J>, and each Bar including tht
Quantity of 3 Minims, 3 Crotchets,or 3 Quavers, two of which muft be Sung with the Hand or Foot Jov. i ,
and one with it up,fo that jour Hand or Foot muft beju(t as long again down,as up. ObUrve^herc^that tlv1
Sloweft movement in Triple Time is one fourth quicker in every Bar, than the meafure of th-- Semibreve,
as if a Bar fhould contaiitthe quantity of 3 Minims, they mult be Sung or play*d to the meaiure of 3 Crotchets
and fo of the rcft .
C L of the the* proportions in Triple Time .
j 1 ••n 0:ve vou a Scale ot tne n
14 But hefore I proceed.1 8" J „ Tril>le Tim, . s
A Scale of the proportion of Notes n |
4- Tlmi
1 he Moods
1 Prided Semihreve
roivtains
? Minims Q
in Triple
I Piiclcd Minim
Time •
1 PricWd Crotchet
contains
5 Qnavers
<5~ Crotchets
12 Qnavers
contains <^m~~^m~
3 Crotchets # JL— X<
^- ~ 1 m — 1 * • » *~ Semiquavers
<T Quavers • • "~T T-r,
fjnrr>
J J f f 1 J
•'"^ . ;r«-„,,T,<h,dhv their varionsMoods.V.* -if. ^W'J
TM, SCe is IMM into three ***** «. dift.njo ^ * ;Firft .
> .Wftand the trne meafure and proportion of Triple , a e mea
•on may e.tiljr underltana tne c^niaUera T>reportion,or Three to l*ro,
,* The ffrft and SWft «••»,■• «" 4 . S 'J 1 «**" ' P,n4 ftollM 1, S«»S or pla/din the fam .Tim..
r v i;v<> votes. in Common lime, ana o „ . «,hich is mark <i
of *.hr,e K.t«.,t. t« fuch hhe , ftcMike quantity of other Kotes.«h,c
■„s v.,„din.loi.s three Minims,, prick . the meaf-,re of three Crotchets.
.1 is Three to T»o ana r.cVo ^ he „ ,„ former,and is marhd thus
The Second fort,is call'd Three "^"'t^*1 * tity of other Kotes.
^ three Crotchets, one prichd M,i™ £ ^cV a.ain af that of Three toFonvnaismarhdthns. .
,d The Third fort.is call'd Three to < „ , fwM,kt ^..ntit, tf **« .
.. „, incWin, three ^ ,e,t,„ith the Hand or Foot t,ice do.n at the ^ , •
nhf.rve.that .thefe three f.T.r.1 forts of Time,m
and once np, at the latter end of every Bar, as in the following Example .
Three to Two.
I , a; 5. i, 2; S. I, 2; 5.1, 3;*.
Three to Four .
1,2; S. 1, 2; 3. 1,2; 5.
Three to Eight
1,2; J. 1,2; J. 1,2; 3. 1,2; 5.
d,d;u. d,d; d. d,d> \i. d,d;u. v d,d; u. d,d; u. d,d; u. d,d; n.
"Ml.Thefe feveral Moods,are fometimes Sung Slower or quickei>as the words may require,which is generaly
directed by the Compofer, (by a Latin or other word fet over the part to he fo Sungjthd* this is fometimes left
to the Judgment of the Performer.
SIR, I thank j'OU,but are thefe all the Moods in Triple Time.
oft. There are feveral others ,but as they are not uftd in Pfalmody I fhall omitthem.as unnecessary in
this work,hut as they are all deduced from thofe all ready fet down,the Ground work may he known hy only looking
on the figures^and the fuhdivifion made accordinfily,I will here fet them down in Score,thus
3 . . . tf". . . <T.. . <T. .._£>.. . _p.~_P .. . I2...I2...I2
I 6* . . • 4 if. • . 4 • •• 8«»«I(T...4 •••8...I(T
Ohferve that the lower figures, 2,4,8, "i$c, in all the foremention'd Moods, denote the Compofition to hetc
the meafure of fuchlike Notes^as will make one Bar in CommonTime. IB.whenvou fee three Notes of any
kind with a Figure of three^and « Slur fet over them^as thnsjggi^you muft Singthem in the Time of Two of
the like fort. *\
CHAP. 5.*
Of Tuning the Voice; and feveral other Grace t' ufed in Mufick.
The Flrft thing to be obfervM by a Vocal Performer, is to have^ycur Voire as dear as pofsiblc;
neither forceing the Sound through j-our Nofe,nor blowingjom Breach thrcn'ghjrour Teetl^ithjrottr month (hut;
(as is the fault of too man)') which is very offenfive to a Mnfical E arjl < '- iveingjrottr Voice in good order,Pro —
ceed to fome fhort Lefson, takeing the part which b eft faitiQVb ice/but I wjll hei e givejrou a LefsOn of the Eight
Nctes^which is the firft that is commonljv taught,in two pa^s in Retps b -1 Timejwhich is two Beats in a Bar,with
a Star placed over the Note that rifeth,or fallethhalf a Tone, that island f> :.fsct-nding,and E,and B,defseend^£.
ing,as for Example •
The Eight Notes afcending and defending. LESSON I.
Tenor* . *
Fa Sol; Sol Fa La
SIB, I underftand this Lefson very well, but I cannot Sing it in Tune .
The true and exact Tuneing of this Lefson, is to obferve the two Semi,or half Tones. Vi
from Mi to Fa,and La to Fa afcending,and from Fa to La, and Fa to Mi defcending. ' ' - whirh
aie Stii but two ' Semitones,and all the reft are whole Tones,fo that an Octave confiits of five
Toms or whole Notes, and two Semitoncs,or half Notes, whofe order differs according to the Key they are
computed from. But forjrour better Inftruction in this,obferve the following Scale,which is,
A Mathematical Scale of all the .Semitones included in an 8^ or Octave,with the Concords ard Difcords
fignr'd,and the Notes on the Lines and Spaces^bv way of Inches.
Flat Sharp Fl at Uc.
Chords Names. Unifon.^ ft 2$ |?3d 5™ b^n i?7th ^th 8^
Bv Flats
Proper Names o
By Sharps
Semitones
Notes on the
five Lines
X3-
a-
*3~
o<*
>4
_P IO II
12
BE
EC
m
This Scale which is drawn according to the Keys of the Organ %c. fhews that an Octave or Eighth may be
divided into Twelve Semi^or half Tones;. N3. G,Sharp>and A,Flat,are XJnifonto each other, and fo are all
the reft which are flur'd^as the above Scale does dernonftrate;the proper Notes being Semibreves^nd the o_
thers flur'd Minims .
The Fight Notes, with the true Proof of every Interval or Diftance comprehended in. an Ort.v
in the G Cliff. LESSON 2d.
!3 Intervals afcend in g, „ 4tn.s „ T 2 5 „ -5-l)ls, r ^* ^'V^-J'
7* Hm, f m, (lAt,f Hm]Ff;ft t. f,l m f f 1 f 1, fl
The fame defcending
lfl,fl. ff 1 f, f f. fflf f, f f. fflffrn,fm. fflffml,
_ 8ths
1 2 ?4 5<rZi/r. Jj-
mf f I f ff, flmff! f L f, f.
I2XA 1
ff 1 ff
is
if,
to count their Diftance; and their
true diftance between any two or
By. obfervingthis Lelsonjou may eafily find the true Diftance of any two or more Notes,to the
Created extent 'n any of the Parts^asyou have already been fhe\vn,the con nection they have with each other,
and to make it ftill plainer, I have frt Figures^over the Notes,which ferve
M mes at bottom which found beft in Ringing. Now^if you woud learn thf
more Notes^firft found the H!gh*0 oi lowtft Note,and call it f : then Afcend or Defcend gradually ,tell ing
12 5. y^c . (obferving jour Semitones ^tilljrpn come to the Note whofe diftancejrou would know.this is th«
beft method that I can lay down,and I think, quite fuffieient for the purpofe.I come now to fpeak
^ Of the Several Graces ufed in Mufick
. Yvzy SIR, what are Graces*
C>/6. A Grace is a Shake, turgor humour of the \rnke,or Inftrtrment^which when rightly performed,
is the perfection of Harmony.but of thele there are feveral fort*;of which I fh all fpeak in their order.and firft
I'!1 the Fore-fall, is a Grace mark'd thus; /to do which,S ing firft the Note next under the Note fo mark*d,to
half +he length of the Time of the mark'd Note-and then the mr.rk*d Note it felf to the other half of the
° X
"Iime^as for Example,
A Fore-fall, ExplainM .
■}j The Back-fal1,marka thus; \ differs from the Fore_fall in this onlj-thnt^rifteadof rileingfromthe Note next
'V0" fall from the Note next, ahove to the markM Note#thtrs; izg
P
Back-fall Evplaind
5 The Appoggiatura,a word,to which the Englifh Language has not an Equivalent^ fignifies a prepare, lead>
or carriage Note;this Grace anfwers the fame end as the two former,and is now oftener ufed;it ferves for the ar_
riving more gracefully to the following Note,either rifing or falling,and muft he dwelt on according to theva
lue,or length of the Note^the fame is fometimes ufed as a preparation to a Shake, ^c. and is exprefs'd hy inter
mfJUtt No,"'as thus- tjt* ■ | Jo • [■' | U | J... || | ■ ["' l^fcrtperf^^fS^
. J The Turn,mark'd thus^0^ fignifies thatjou muft begin with the marVd Note,then rife one degree, then
fall to the mark'd Note,next defcending one degree,and laftly rife to the mark'd Note,thus; -ft-
-thly i • the lurn.fcxplaind.
5 . J lhe plain Note,and Shake,«is markd thus/ It and fignifies that you muft found one half of the mark 'd Note
.plain, and the other half Shake,as thus;
^-thly T, _ . Explain'd
The Trill and Turn,is mark'd thus;^ and fignifies thatjrou muft Shake firft,and then turn from the
Note next below the mark'd Note, as for Example ~t|' | l I I ) I I I I I . _
J \iTTMU}±\\ .
■ thly Tv t» j.r-r- Explain'd*
ihe Heat,drffers hut little from the Trill, only in this, thatJnftead of Shakeing( from the Notenext a -
hove that mark'd kyou muft heat from the Note next helo
Plain the Peat ~
20
The Trill ;TriIlo,or Shakers mark'd thus;k this is the Capital Grace,and maybe either open or
clofe,F..g. if the Note next above the Note to be Shaken (from whence the Shake is always hegun)be a whole
Tone,it is an open Shake,but if it be but a Semitone diftant,it is a clofe Shake.this Grace is perform'd by Shale-
ingjour Voice diftinctly on one Note or Syllable,the diftance of a whole or half Tone thus .
hr
P n ■
Trill
Trill
The
open Shake
The cl
ifrrrfiiiTr'^-1 "
ofe Shake
If^you would learn this Grace^you muft firft move flow, then fafter by degrees^and with diligence jou may
foon get the perfection of it. Obferve,thatjou muft move as quick as pofsibl e, -while the length of the Note
(which jrou are to Shake) is peforming,tho fometimes for variety, the Note before a clofe is held longer than
its Time^according to the Judgment of the performer. TO.This Trill^is very agreeable ( and fhould be ufed)
on all defcending prick'd Notesjand always before a clofe; likewife on all defcending fharp'd Notes,and Semi.
tones.if not fhorter than Crotchets. But I will add another Example,with a k.over the Notes^youare to Shal
s
1
i
33:
_pthly Another Grace which is very Ornamental^ when well perform^ is call'd Tranfition i.e. to flur
or break a Note^to foften the roughnefs of a leap^of which fee the following Examplejof Tranfition^ or
breaking of Notes .
21
:o:nIy The Swell,is a CJrace fometimes ufe.d when a found is to he continued to an extraordinary length,
%^in.i (HotiW he performed thus; f"p pofe the Time of the continued found divided into four equal parts^begin
i\v{\ part Soft, then Swell graduallyyfo that the latter end of the fecond part and the beginning of the
"ih'ad may be the loudeft;then derreafe the found, in the fame mrmer asjrou increas'd it,fo will the letter
end*of the fourth part,he no louder than th*» beginning of the firft:this Grace is fometimes ufed in th^
middle of a piece of Mufick,when one cr more Notes of the fanve found^bave a hold placed over them,as thus*
I
fingfing fing-^c.
when^yoxr meet with tw rM hree^ or more Notes, with a plain ftroke over them,
diilinct,and Kmphatick as pofsible*/ There is yet two ~Cral-.es, which,tho' they are 1 aft mentionM,ou£ht
. to ht flrft learnd, Namely^the Accent^ar. r1, Propriety of Exprefsion .for tillyou havelearn*d thefejrou cann.-t
'inrt the others true. And Firft.
i — 0 i ■
I
it denotes that they muft be Sunr
2,2 jst n[-y,r Accent; to- perform which, obferve, that if a Bar of Commoii-Time fce divided into foure^'ugl
parts^and a Bar of Triple Time into three; the firft and third parts of a B*r of Common Time, and the Rfft
of Triple Time,ouc|ht to he adapted to the Accent of the wordsjthnS'n fomc Compofitions,it is not always fo)
but if any part be Sung louder than the reft,it muft be that on which the Accent is placed which is,(nr ought
to be^the Firft and Third parts of a Bar, People fhouid not Sing as loud as they can^leaft their Voice he _
comes rough and unpleaf in£,except in fome particular cafes; as when they Sing the words^Strong, Strength,
MightyNoife/Thunder^c. when the words, Soft^Mild^Meek^Weak^coccur^they fhouid be Sung Soft.
2^}y Propriety of Hxprefsion.The words in Singing fhouid not always he pronounced as they are fpell'd,
but rather, as they are exprefs'd by the beft Mafters of Language; words ending in en,of more than one Sylla
Me, fhouid be pronounced without the laft E,as Chosen t Fros'n Of t'n, Soft nUc.fc^almoft all words ending with
■Y, fhouid be pronounced as if they ended in E,as Lofte, Mighte, Eternalle, ty"c. If my,comes twice in f»n.e [en .
tence,call the Second, me, <>r m'as,my hand and me,or m1 heart -To^fhould he pronounced as tu,or toojfo^Peo
ple,not Pepel,but P< < p i* "c but the Mufick muft fometimes guide in this Cafe,as experience will teach
jrou;for the words mutt eon*' rm to the Mufick, and not the Mufick to the words.
chap. 6.th
1 Of the feveral Key s, and of Ti anfpofi t i on .
In Mufick there are but two Natural,or Primitive Keys, Viz, C fatit,the Sharp or chearfi'l
Key;and. Are,the Flat or Melancholy Key/and no Time can he form'd on any other Key.withoutptjaceinj
either Flats or Sharps at the beginning of the five Lines,which brings them to the fame effect as the two
Natural Keys .
23
qjP. What is a Key; «r what is here meant J/ Keys;
. A Key, or Key Note,is the laf* Note of the Bafs,and contains the Air and Judgment of the
whole Tune,heing the Foundation of all other Parts. But I will firft give yon
An Fxample of the two Natural Keys .
-S— 9:
I
^=3
32:
I
C_y. priy SIP, why is one of thofe Keys call'd Finland the other Sharp.
o/6. The firft is call'd A,the Natural,or Flat Key,becaufe it hath the Lefser Third, Sixth,and Seventh
above its Key>or Key Note .
The Second is call'd C the Natural Sharp Key, having the greater Third^Sixth^nd Seventh ah ove its Key^v/hirh
is half a lone Sharper in the very firit Third,and is therefore properly Sharp.^c.Butl come next to fpeak ,
Of Tranipol '.t'<on of Keys.
C^it?. To Tranfpofe fignifies to remove.from one place to another,in order to this, the firft thing to be
confidered is the Mi, which is the Mafter Notejand cuideth all other Notes both above. and below; and alfo
bihigeth all other. Artificial Kejrs to the fame Nature,as the two Natural Keys;the Mi, being next abfcvethaj
.... ,5 a Fla on t 1""ri>0f't'0n » »«*~« V Mi.whioh is f Sharp Not^W firft "
Fourth ,ho.e,or F.fth helow,aSJo» rayr f« in the fofog^ e—,,..
B orooer ^ TranfP°fition of th* M*» FIa's h the two Cliff, .
Mi, Ml. m;
Mi,
m
Trarfpofition Jy Sharps.)* contrary to that of FUt„.»n alwa^'a Fifth ahove'oV FouVth b>,„. its
*« M1 ^ °f Space with the Sharp Uft,«^„
Of Tranfpofition of the Mi^ bj Sharps in the two Cliffs
B^pioper. r| | # N. B. That the Mi cannot
■ *~'ff °»* ^lii A.# __B, proper. be brought on to
" «ny of the Artificial
Keys by Flats nor p.,
to any of theXatur
al Keys by Sharps .
Mi,
Mi, M i j
i
Mi, Mi,
-0-
rrr—
i
H«e tt< tutt Shsrj, is folded on r.
,„ithi,.a„„ot fce brougK ''^^ *« ™ «~y Semitone in the Oct**. R
» Sir, „*y „„„„, ,he ^ .
«... or Step co„M be " K7'"" •*« » *• o*„. SemitoneS.
F^.rly hc „H,M on »„ trf!on „ . MM " m"!l t °< done, but no more Flat, or Sk
. Fr,,, {.ir.Cr what rcafons. \
, L- Becai"";',f ^n add a„„,Ker Pla, r. c ' — *
tJ ^*»*« of TranflJ0fiti0n.Md , . ~'™.-)°»U, find by exarai„ing fuch a Leffi,,..
"w* », , MtfeV,both Plat, and Sharp: and f^, ,,r'!a'n
W Hie feveral Flat K-y hi ,k ,
*e7s>ra the lame effect » a il n . ,
» At the Natural Flat Ker
e c •♦ n tW Octave except D Sharp, or E Plat,(wlikh is 'he fame) 00
Shar^KeyC . . »LjL_ " "
E
Mi In B — ■ 1 I §11
d4
H
■
Here we hare a Sharp Key foundd on every Semitone in'the Octave , except F Sharp/)* G Flat,^Mch is tht
fame^on which no Sharp Key can be Set, for the reafons aforfaid.In this example, I have taken the four laf t
Notes of S* Hellens Tune, and have raifed them gradually, as io the former example of 11 at Keys. Obferve, that
thefe Keys, though 22 in Number,are imeffect but l4*,becaufe,8 of them hare both af?,and-a# Key founded on them, viz. A,
B(>,B,C,D,E,F,G; add to fhefeF#G#e*C#,the other 3 \p. Kej$tt D^Etfc At, ) othejt3 # Xtys,which compleatsTralpofion.-and li<
evervarious your Airs may be, they will all Terminate in fome of thefe forementioned Keys, efpecially the Bafs;the
. laft Note of which, is ia Standing Rule, to determin the Key in all MuficV. See, page 23. You may lixwife ob
-icr:e,that in fome o f the forgoing examples, the Key Note, is brought onto the fame line, and fpace by Flats,as i
lit is by Sharps, for Inftance; the iecond and third Bars of the Flat Keys, where the Key Notes, are both bri
the line B;but,that by Flats, is on b[> and that by Sharps is on B Natural; whic h is a Semitone higher.-The
lame maybe wderftood of the fecond,*r.d third Bars.of the Sharp, KCys,and of all the reft , which occur
-h- manner: for ^hatbyFlats, will beaSemitone lo we r, quite th rough the Octave tfca* tfcftt by Sharps-See the
following examples
Tn-f-f— J~
1 f f '
Mi in D Natural.
N.B.If anv
Mi in D Sharp.
(
of the forementicned Kevs f«m dificult,you ma; Tranfpofe them on to any other,bT obferringtl.e- Rules laid do*
I haYc,fome timei, obferted Tunes, fet on fome ot the Artificial KeYo, which were not diftinguifhed by Flats ar.
Sharps, according to -your Rules , -which I fhould beglad to hate explained. :
^JvL. Many Inftances of this kind might bep reduced, but, I fhali only mention two ot three; which may f err e tot
-pin in all the reft;and f£ft,you may fome times find a Flat Key fet on G,nith only one Flat, at the beginiug; but it if ft
pofed to be in two Flats, and if any Notes occur on E,theymoft be Fiated; unlefs,the Arrreqnires them to hare*: '-
natural Sound, which is oftrn the cafe, in fuch Tunes : fome times a Sharp Key on G, with out a Sharp at the. beg'mi'.
but it is fuppofed to be in one .sharp, and fhould beperfo rmed accordingly; fo,aTune~on Cwith two Flats jfhould be
performed as if it had three; liVewife,a Tune on l),with one Sharp, as if it had two, and aTune on Aswith two Sharps
as if it had three; and fo of the reft: but the better
Example 1 .
the fame.
to underftand this, See the following example*. , -
the fame. ^
By Sharps, ^th.
j 'i nf 11 'in nil" i
the fame.
the fame.
Br theft examples it'appears, that, a Tune maybeSeton any Key without either Flat,or Sharp* at the beginin,.
and only add them as the Notes occur*or as the Air may require which;will ftand good in. Inftrumcntal Muhc
but is not convenient in Pfalmodv,on account of the Mi'whofe place , fhould alwajs be made known to direct
Learners to Sol, Fa, fee c. iy
Pray Sir, why do Authors fet Tunes in this manner.
^JVL . The reafons are fuch as thefe,* either becaufe very few Notes fall upon thofe Keys , or becaufc the
Air' rerjmrt-s them to have their natural Sound! fex.But, as thefe. things^ tend rather to puzzle, then In ftrucf, they
ere carefully avoided, in the following Work.
3 i , I thank . jou , for thefe plain Inftructions *, which appear to me very ufefull.
at. rhefe things are necefsary to be known, by every one, who defires to make any progrefs in Muf ick*,bv ■
there is an eafier method often ufed in finging , for Inftance", fuppofe you have aTune fet in A, and you would
have it aSemitone higher, then found B^,*. and call that your Key , founding all the other Notes accord b^
-ly', and then your Tune is properly Tranfpofed in effect , though the Notes keep their places; by this metho<
you. may raife or fall a Tune to any degree , without moveing a Note.
Some Inflrument is very ne"ce.fsary to givejou the true found of any Key, Sec. A Pitch Pipe, which you maj ha\e"J
. \jit the Mufick Shops, is the cheapeft,and moft ufeful for Learners. . ^ ^ j
I have fometimes obferved two Notes, Stand one over the other, as thus r^— ^~~or thus , . » m'F -pTn
Mhich lhave not heard you explain. * j p2C*^
- Cz/i L- . thefe we commonly call Chufeing Notes, and when they occur in any Tune, or peice of
Mufick, they fignify that the Performer may in fuch a cafe, fing or play , which he pleafes, .
pleales^and omit the other,without fpoiling the Air, or if there he Voices 'fejc.enough^hey maj tal<e them botKfoi
thoHhey are two in found^yet/tn time they are hut one,-for,they do not add to the time but onlytothe variety.
':- • ' ' f v chap . ., - 1 ' ■ ; - - ^ ^ 'H:
Of INTONATION: or fome uieful directions concerning the right found or pitch of the Keys^
in Vocal Mufick.
*lA&>, There is nothing more necefsary to he underftood by the Vocal performer,then the true pitch or
found of the Key Note, for unlefs a Tune he founded on a proper found,it can never give any pleafure to the
y> rformtr or hearer, in order to this,Firft view all the parts and prove their compafs from the Key Note in the
ftnfs both above and below,(if any there be below^next try jrour Voice or Voices,fo that^ou may perform all
parts clear and ftrpng, without fqueaking above. or grumbling below, when this is done the Time may he faid to
be pitched in a proper Key . Suppofejrour Key he in A Natural^andjrour Tenor rife a Fifth above the Key,
and the Bafs reach to A below, which is twelve Notes, then prove it thus.^
T.' t the Bafs give the found firft,the Tenor next y,c. and let there be one
leader to each part,(the tenor leading the whole Song in true time,) and
i> me^hodyou may £ive the true pitch to any Key whatfoever .
bv th
i
1
CHAT.
Of the feveral Concords and D ifcordsjboth Perfect and Imperfectjand of Figures/ifed in ThoroughBaf?
ZAb. Th ere i:. but four Concords in Muficlc,Viz,the Unifon, Third, Fifth^and Sixth, their Octaves are
alfo meant,. The Vnifon is call'd a perfect Cord;anS fH ;- "the Fifth,but the Fifth may be made imperfect,
Th, Difcorf. are a Secord,a Fourth.and a Seventh,and their Octaves,tho' fomet.me, the jreaterFour.h be .
comes an imperfect Fifth . Concords. Difcords.
But I will giye^on an Ksample of the feveral Concords,
and Difcords.with their Octaves under them thus .
r
5
their
2
7
8
IO
12
r?
tights.
_P
rr
14
15
17
u>
20
Iff
18 •
1 21
22
24-
2T
27
23
-
25
28
NVThat if a Voice or Inftrument could reach a thoufand
Octaves.they are {till the fame as one^in Nature. : _ %
But I will gUr« another Example of all the Concords and Difcords,b„th perfect and .mperfect. Major or
Minor, as the, ftand in order:their Interval or diftance being counted between Tenor and Bars .
ii , i Difcords. . \
,ths|| 2ds | 4.1)15 7*.'s
m
Concords .
5ths
« v i r v rn,inir^ and Difrords are made *reater,or lefsor,(perfect.or impf.rf rt,;
By this kxamplevou may fee how Co-nrords ana uncoiu i 6 , rL^rr;„nnrc-frrnr1fArt
3^2
-<ed,,h,fe ^ l-.Qltr. rl>f"Ve ,ha* *" "-^ afi»«k *>*.<» .ft* „
•* ".I; Uv 16 ;»,r„JuM c,lmmoll Concords h" 7 - k».C«UA are D;rcordo arc m„
^-T^^^S^>./U-=X ) The fan,e,w,t„ fh Sharfr a( fc B,n;n^
^^^^^^^
n ! Leffon 3^
L ■
Treble
mm
a Tett o r
Leffon 4 .
B=1l>--
— -- ■ i
r r r r H"-
i
#M (»*■! H-U-
=
Tenor i
K-|
r^J J II"-
! — H — l-^ — — — —
i
1-H-' "''ML
In this LefTon, the intermediate Notes, ferve as fteps,
to lead you to the right Sound of the next Note.and
when you have learned them,leave out the intermediate
Notes, and only fiQjg the extreams thus.
Twill npyt flivp vnil a T.nffriYi in flia vanntio ruffe. . ^ . , J .", - el''t, „th,
)C1' >v
IwiU next give you a Leffon in the various Cliffs. ■ The 6 middle octaves {g ^ fame^Treblean8 above|Eafsa
.th
34 Leffon 5. or, Some eafy Lefsons.in the two ufual Cliffs? Tenor and Baft.
| I * * * 1 X 1 1
f 1 nM' f 1 f f f f i f f m i f
Intervals
■ I , , Thirds rifinc5 aad Seconds fafl 3d.S felling k 2 ?s rif ing
4T rif^'arfall?
7f.hs & ff*F
The method ofTuneing thefe btenab.ii explained Page 33, but more at large.Page 18.A* for any tHng farther,}
wouldjrefcrr jou to fome eafy Pfalm Tune,which,by chufing the Part that heft fait, your Voice will become a,
eafy as an; Leffon that canbe given. I fhall next fhew yon,how to compare one Part of Mufick.with an, .,„
The Interval or diftance between 3%S£U and their octaves are called Concords and the others Difcoi J
Bat 1 will draw eleven Lines according to the Gamut andplacethe Cliffs in their order by which you may count
the true diftance of all Intervals.
The Parts fep era ted . The fame tny G Cliff.
#10 22 IQ ? K#Io 15 jfloK Jo
Scale of all the Four Parts.
5^ L—Jfc— - ,q a , q " ,-t,f„Thr CI oil
J? 8 J2
Thr CI oik.
Jtzfcr
theGClifi
it=t=
in|i-iT^iiif;
^fJffFffTMfefl'|fl|f UKV-
By this Scale youmay fee the true Diftance,
and aifo the places of all the Feu Parts
<ȣ Afufir>,according to the Gamut. '/'SL,
Thefe Four Parts are taken out
of the Scale,and fet down in
their order as they proceed
from the Bafs.
N.B. If any, through inatention,or want of leifure,fhonld think this
Scale dificult; the following Table is aanore expeditious method.
Here the two midle Parts are
fet in the G Cliff,and fung in
the eighth beIow,the TenorVbict
being an eighth below the Treble
3*
A Table, fhewing the true diftance between Two or more Notes, in all.pr an> of the Tour Parts of Muftck.
A lamire i" Alt
G folreut in Alt
F faut
E la
1) lafol
C folfa
B fabemi
A lamire
G folreut— Cliff
F faut
E lami
I) lafolre
C folfaut
B fabemi
A lamire
G folreut
F faut — Cliff-O;
E lami
D folre
C faut
E mi-
A rc
G amut
FF&at
tHl!9 ac>jai|22b \ Key the Note
Explanation,
ltaiirls,*he-,i gvVv
you - Eye directly
v '.along the Line or;
3 ' .- !
'kSpace'tiij you |
come to the Fi
.SVgure Oue,ic then
J\jafcend ordefcena
'till you come to
-J the Key on which
the other Note
ftands^nd there
ou wiU find the
pq/ number of the
diftanqe fi.-tdnv.u
The C CliffbeLng now but little ufed,and not at all in the following work, it may not be amifs,to fhew you t
between the Bafs,and theTe0or,in the G Cliff. , qaBCDEFG
pie is fttficicnt to fhew how you may count from
in the Bafs,to it's oppofiteNote in the Tenor.
-<~r
C D E F G A zQri 77
-f-f * * 7
A B CD R PGA 37
n Q This exam
any Ko te
N. B.Th at
voice
: mil fi voice
it this Octave is fungby a Boy,or Woman it is then* a proper Treble; their Voices being an 8- abore a Tenor,orMan;
J. Sir, I humbly thank, you for your Inftructions, which appear fo plain, that I hope foon to become a Maftef of
this delightful exercife.
. 1 hate ! en careful to lay every thing down in the plaineft manaer;and I prefume, that, if duly attended to,fJie.
Kulef; laid down^will fully anfwer the end propofedlBut yet, you will find the help of a Mafter,or fonie Skilful
Voice, very ufefull to guide you in fonie things; fuch as the true Sound of a Tone, or Semitone ,&c. which is Im— ..
-pofsible to fet down fo plain, as may be exprefsed by a good Voice , or Inftrumeut.Thelre are li kewife, fonie- thing
very proper to be kept in the Memory, fuch as the removal of the Mi, by Flats and S harps; fcee . which have
been •: explained at large,but the better*°f ur nifh the memory, obferve the follow ing things.
If no Flat, or Sharp be fet at the beginigof a Tune, kc. then Mi is in B.
L(lf Bhlon, hasta>Fjai,Mi is in - E.
iOf B,andE have) Flats ,Mi is in A.
J (If B,E,and A have)Flats,Mi is in D.
*(If B,E,A,andI) have)Flats,Mi is in G.
5(If B,EA,D,andG have)Flats,Mi is in-C.
lClfF alone has a) Sharp, Mi is in F (# )
2Clf F, and C have)S harps, Mi is in- - C (#)
3Clf F,C,and G have)S harps, Mi is in G
4(1 f F,C,G,and T) have)Sharps,Mi is in 1) (#)
5(lf F,C,G,D,and A have)S harps,Mi is in A
'I hus , h a v t 1 1 a fow n> i
tht- Mi ajl y Notes
abdve and belowj"
are y fame as in ,
y Natnral Key.
Abqvj the Mi,twice Fa Sol La;and under Mi,twiceLa Sol Fa;andthen comes Mi, in either way;as iny followingTable,
38
The Gamut or Scale of Mufic fhiewing at one veiw the Ufe of Flats and Sharps in the three Cliffs
7 By y help of thij
Scale )ou may readily
Sol Fa a Tune with any
number of Flats or Shar
in y 3 Cliffs by looking t<
Columne w-y fame number mad
at j Top
p
A Table fhewiuo how all the Cliffs may be reduced to the Treble or Gfolreut Cliff
3iy
o
3 E n ^ c A f r, B G y „t f f 1 f U
HEX
B
n d n g
-RH-
i II ||P Mil
E
is*-"*
°"llu MH'y^
mill 5 nllln tt mT
D 1 B G
*
3Tt
TT
IP
— O ' ' ?^-f-r^
Iff1
-Q.
cr-e
-m-
B C A y j m t 1 1
-B— G E 9 f 1 f * 1
s y f i r
j In the cqjpafs of every Octave,there are 12 feveral degrees of Soundhead! Degree having a proper Name fromthe
49 loweft Note, which are called Greater or Lefser, Perfect or imperfect;which are here fet dowu,with their Compounds^
12 A Diapafon,or S*]1 or Octave, ^
77TA Semidiapafon,or Defective S . J
\\ §ept. Major, or Greater - J .J
lO A Sept. Minor, or Lef er- - 7^
9 A Hexachord Major or,Greater 6" .
8 A Hexachord Minor,or Lefser 6"^
7 A Diapente, or Perfect 5 ^
fA Semidiapente,or Imperfect 5*iM
|a Tritone,or Greater 4^J
6
5 "A
4 A
3 A
2 A
1 A
Diatefsaron,or Perfect -
Ditone,or Geater* - -- -3
Semiditone,or Lefser — - 3
4™
d
d
-2<?
Tone,or Greater
Semitone, or Lefser 2?
contains
Semitones
((Compounded of a)
JPiftk and Pourthicc- -
Fifth and # Third
Fifth and p Third
Third and Fourth
Fourth and b Third .
Two Thirds]? and#,
3 ^ Major and ToneMajoi
3^ Major kToneMinor—
3* MinorScToneMinor -
2. Major andToneMiin
Two Tone Major
One Tone Minor
(la the Scale}
G.
P#or
F. —
K. —
D#orEb«
D.
C^orDb.
C.
B. —
A#orB#.
A. -
G#orAb.
G; —
H h That thePxrticfl
Scmi,":P iS'emidiapafol
&cc.fi(jnij\es that the!
want a Semitoneof I
their Ferfection.Anj
that the defective
and greater 7, th an
both o f one Interval
Alfo the greater 4 V
and lefser 'i1 1
A Unifon,is one Sound,tho' performed by feveral Voices, or Inftrnments together.
Thns have I gone throngh what I propofcd;I could have been fhorter,or Icouldhave kept y. n '. : r , b n t I wo r. Id a
-vend extreams,yet, have been carefnl to omit nothing that appeared to me necefsary,to promote the k i -Jgp of this D
-vine exercife. What remains then, but , that you ufe I)illigence,and beg that the Lord, would acconp wvh his Blef:
-ing,what I am now recomending to your Study and Practife; that while we attempt to fing his Prnifes here below: v. e
may have a happy foretafte of thofe Sublime Ioyes, which fhall be revealed hereafter. So that, whether Living, or Dying;
we may be found in Chrift, giving Glory to Fathef,Son, and Holy Ghoft, who Liveth,and Reigneth one GOD, World wit
out P.nd, Amen. ^
4'
Savor.
Pfclm 41.
th
t>: w.
c.
XX
u n 1 l1. in: 1 1 u m
XE
M.
m
1
3m
i
41
I
n 1 r, Q
1 O Fo-r a Shout of fac — -red Joy To God the love — reign King! Let er' — rj Land their
3 — Q
i
xz
^ #
XI
1
^=x
1:1 II r,
I
u c
m
Jngue
s em
iploj And
Hymn
j of
Tri — umph
fing.
-i<-1
3
in ' ft !
Rehearfe his Praife with Awe profound,
-
Let Knowledge lead the Song,
Nor mock, him with a folemn Sound
Upon a thoughtlefs Tongue .
M.
LET the old Heathens tune their Song Of Great "Diana and of Jove But the fweet Theme that moves my Tongue"*. Is the
- — ble And the Spirit that is Tex - ed1 err1- eth un - to thee
Stanes. ;
VMm^Su: DT W. CM. ^^,4s
1 li-ihiH li^i m
n n .n n
IS
TO thine Almighty Arm we owe The Triumphs oftheDaj Thy Terrors Lord confound the Foe And melt their£trengh aw
i
Z3
-3t
-a
a
Egham .
Pfalm
Dr. W.
C. M.
I
C|1'J|L||^ q|'|,l|^y
C4r
q — c
3=
Q
3
a
Si
f3
I
"'TIS by thine Aid ourTroops preTail,And break, united Pow'rs,Orburn thei'rboafted Fleets or fcale The prou deft ofthcirfow'ra -
Weftmirifter.
C. M.
THE King, O Lord,with So-^
ii^ngs of Praife Rh all in thv Strength re-ioice; And bleft with th
[■[, I JOT J J I o II ' 1 f
m
Lit
!
E
rirfrnfxcfJfici^
j?# n nnoio ? » iq^.i ciiq r P.
J J i J 'Oik
-1^1° lid
q
- Q Ql O HQ
ii^ r f 1°) ^ji c ii^ f ^' n ^h^i °iici r r i °
e To Heav'n his chearful Voice. And bleft with thy Sal-vation raife ToHeav'n his chea- - rTfulVoi
ii^r ri^i-iin | j i) m ,i ii] i www
Sal-vation raife To
m
P
5
E+
iipiiqr JirHijioirif r i r r
3
I'd' ■
WHEN I with pleafinWonder ftand,And all my Fbune furvey;Lonl',tis thyWork.1 oirnthy Hand Thus tuilt my humble Cla
^-L ~. . ■ . J ^\ Y L I Y ^\Un \
'i fi'ifi'ifiniifrnfp' iirnri'iri'irhif
i
I
i
Burnham. Pfalm 11* *h W.
c.
M.
p
j
33
EX
rr-r
O q iu
m
u 11 um
1
WHAT {hall I render to mj God For all his kindnefs fhewn Mj Feet fhall vi— fit thine Abode Mj S n-_ ad
|<jl' '7 I? jloll Ql'p). lld/a 1 , II flfp )c|l^ llfo ||o||<j ifj^cCT1 )
ft:
i?niitii?ry'i.iii" '|irfi|ifiii- i|irrrrr(^
as
JSC
-cr»-rn
i
TO
32
3D:
i
23
m
drefsthj Throne. Hal-le — lu -j ah Hal — lelujah Ha
♦cm
— le - - lu, - - - jah.
32
30:
32
31
XX
33zj
t. To be fung with, or
withotthe Hallelujahs.
HI
Brentford.
Hymn
th
B. 1?
TV. W.
C. M.
NOW fhall my in^ward Joys a -rife And bu -rft in to a-Song Almigh ty Lore infpires my Heart And Plea - -
And blefs hiswond'rous Grnce.
i
m
Lift up jour hands bj Morninglight,
And fend jour Souls on high;
Raife your admiring Thoughts by Night V
AboTe the Starry Sky. A bore Sic.
The God of lion cheare our Jiearts
With Rajs of quicltning Grace;
The God that ff read the Hearts abroad,
And rules the fuelling Seat. And kc.
N.B. I have altere
'. e „ vt
or 3 Notes in y B
k Treble of thisT
but, I h
left j old Notes
ing:*hic^mav b
when ? Countei
left out.
1
3
] JOYto the World theLord is come Let Earth 1
^7
Great Milton. Pfalm 58? pi W. , C. M. ,^ ■ < 5y
] JO Yto the World theLord is come Let Earth receive herKmg Let
re ceive h e r King Let ev ' ryHea rt p rep are him Ro o m And He av'n an d Nature f ing
St
i^Vlrni
L^lHl'ni'lU
r
IS
Q m k ^
i
Ll
(Joy to the Earth the Saviour reigns Let Men their Songs employ "WhileFeildskFloodsRocksHills&cPlains Repeat the founding Joy.
t , T ^
i
52
out!
PnrH
uru. •
P-Mt
•n 51**
11 D x »
Dl
w.
F
C.
M.
■-e — r-
1— d
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■4
ri
P
O God of Mercy hearmy Call My Loads of Guild remove Break down this feparat- ingWall That bars me from tfrv ^l0Ye*
II- Ma tjl'j "I S
I
Colchefter.
Dl W.
3
C. M.
XZ33
a
g
Size
i
i
Wl
MY Heart and Hefticrjr out for Thee While far ] from thine Abode When fh all I tread thy Courts and fee My SaYionr and my Goc
ii'1 W
ii'ii'utjt 'if? 'I- »'i f 'iir?''i I
I
Windfor.
Pfalm 115 V
th
11* ?\
Dr. W. CM.
53
1
I
2k
n— r,
6
xj
m
n-if) 'Hi1 ii "ft
O that theLordwould guide my Wavs To keep his Statutes ft-ill O that myGod would grantme Grace To knowand do his Will.
I ■■ll^lliih HUH
£5
1
1
=£3
X2ZS
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run
3
Wantage.
Pfalm 8.9 f.h
Dr. W.
C. M.
o j| q
1
xx
ii
Ul O
I
It
St
XXX
ft
^ th
WITH ReVrence let the Skints appear And bow before the Lord His high Commands w Rev'renceftear And tremble at his Word.
m
•e-
I
g
ESxS
xx
ex
f
low terrible thy Glories be ! How bright thine Armies fhine '.Where is the Power that vies with TheePOr Tru'hcompar'd to thine?
5* Wells. Pfalm ll4\h - D? W. L. M.
■T 4 1
h
d 1
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a T J
rH H
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When
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y prov
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ge own Their Ki
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eath
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dahwashis
p f r
Throne. / ^ 5fe di'eS*th
\ .a. On my. poo
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e heav'nli
r Heart S
fe
bin
ver
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dies. Tl
sephelle
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Hymn continued
55
# — »
pp
» r r
Co me Saints and drop aTearor two^On the dearBofomof yourGod^Hefhed athoufand drops foryou,A thoufand drops of
T
5i
» I 0 0 P
-jiJ J iirirJir J r f lilrJ|r J
w
p
Here's Love and Grief b eyond degree
TheLORD of Glory dies for Men!
But lo, what fudden Joys I fee I
JESXJS thedead revives again.
The rifing GOD forfakes the Tomb,
Up to his Father"^ Court he fliesj
Cherubic Legions guard him home,
And fhout Him welcome to the Skies.
Yarmouth.
A, Hymn by I, S
1
m
at
14 Years of Age
i
Q — e
5
xx
n
1
R Lord thy faving Grace make known Take me a Sinner for thine own Lord let me thy Salvation feel And 1
IT -1 1 '■ ll'm^'Uklr/LH-'INllTlllfte
m
it my defeafes heal.
m
mm
Lord Jefus let me Tafte thy Love,*!
It's faving Inftn'nce from above;
Keep me in thy appointed Way,
Leaft I fhould from thy Precepts Stray
O help me Lord in all my Wavs,
To glorify and give thee Praife:
Wafh me from all my filthy ftains,
E'enev'ry Sin that in me reigns.
Eternal Majefty Divine,
My Nature by thy Grace refine;
Tho' by affli&ion it'fhould be,
So it from Sin doth fet me free.
"Southwell.
Pfalm 5o;h
T)r. W.
S. M.
57
LORD what afeeble Piece Is this our mortal Frame?OurLife how poor a Trifle'tis That fcarce defenes fheNamel
■IJ HQ 116 MI^II-^IM Ql I llo'lUILllQ Ml 1 ^hi. II,-
fhe
i
W.1 S. M. •
33
PS
Let Sinners taVe their Cuurfe And chufe theRoad to Death But in theWorfliip of myGod I'l
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Pfal
iq 27
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Lord of
Glory i
s my
Light^An
dmy Sal
vatioi
ltooj God
^=
is my
ftrengthnoi
-n e—
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fearWha
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2. One Priviledge my Heart defires; Ograntmean abode Among theChurchesof thy Saints/TheTemplsof my God .
A C
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in One
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ri 1
y d
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EiiAISE
GOD,from wl
i'om all Ble
m
ffings flow,
Prafe hii
n all Creatures hearbeloir; Praifehim above ye *
heav'n -ly
Hoft., Praii
e Fa — ther,
Son, and
Ho-Iy
■ II '
Ghoft.
Twyford. Hymn 48l.h B. 2A. DF W. C. M. Th ™,
ftrn m in fiw nr inii|^rnrirrnnrnrir'g
*^ How vain h i e allthingshe rebelow Howfalfe,andyethowfair Each PleafurehasitsPoifon too; Andev^ry Swe^t ft
flu J 1 1 epimni JirWh-i^W
gvJM ritrU JniUn JiJ^ijiiJiJ rf^TnTilli Hn| ? ij
f/inrn ril ri'ifrniinifii i'i i iiriHriiifiW^g I;
Snare.Thebrighteft things below y Sky GivebutanattringLight^Vefh0ni^fufpectfomedangernighWherewepoffefs De -
5° M Bethefda.
■ ./ XT
PfSm Mr* Df W.
M.
Lord of the Worlds a bove How Pleafant and how Pair The dwellings of thy Love Thy Earthly Temples
J
f rir|drr
^ Jll J
tew
i
P — 9-
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are To^ t]
line A-bode nvv
r Heart
ifpin
f=Ff=
is With v
arm de — 1
'ires to fee my
God
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S1. Hellens.' or New IB* Pfafcn 146-* Dr W. P. MY '
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Pow'rs My Days of Praifeihall ne'er Jbe paft While Life and Thought and being laft Or Immortal -i-ty
n | O v
endures.
I
J c M . • Pfalm 27 . DT
W.
cM d [""if1-1 Idrldld m lo||u l"d
C. M .
Z2
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nam o 1.
WHEN ,» Troubles rife and Storms a^pearTheremay fcisChJld-renhideGod hasji a bi
pear ineremay s^sUiiia-reniucietjoa Has a 1
J1J l^llt'|oHJ|llf|
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Pi
XL
i
xx
IX
XX
Walingford . Pfalm 27.'
C. M
XX
XX
§=xx
XXX
1lnll1 r 1f
-CX
u q I 'xxq
I
XX
XX
NOWfhallmyHeadbe lifted high Abovemy Foes around And Sojigs of Joy and Vic-tor-y Within thy Temple fouh
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erham.
Pfalm 1
as?
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thZeal and r
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Awe His
lips 1
ft
o Go
rHono
ure yield His Life
adorasf]
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fear t'c
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lis God Thai
loves the C
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ound Andtreml
lies at the
Rod
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St Iamet'g. Pfalm 34^.^ JX ■ ■ W C . M. ^ ^ ^ fe
I
DEPART from Milehief practice lore Pcrfney woifa of Peace So fhally.Lorajrourwaysapp roTc And fetj So^Js at Eale
^ r r JiWr
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Alderney. Pfalm 81?
^jij jij j i j ■■ j i J r i r?,J f ■ J ii r i ^ i J i °i rMriiiiri1riJj
DC W.
S. M.
m
l#.'t-J_=
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" Sing i
to the I
ord a
loud And i
SB
m
nake 8
joyful]
ioife Go
m
d is our
Strenoth onrSariour
1 1 i i
God Let
! Ifrae]
m
hear his
Voice.
If all ■■ gl
m
m
5*
t From vile Idola.try PreferTe my. Worfhip clean:Iam the Lord who fetJthejt Free from Slavery find Sin
66 Rochefter. , Pfalm 73 £
DC W.
Cy- M.
J l^lr J^ll^^llilll J JUqU. ill-j j
I'lcftil'ii'i
GOD my Supporter and mjHojie My Help for ever near Thine Arm cfMercy held me up Whenfinking in Pefp
^ui^Ji-ij j ii^ r ri7|Fih r >nctirri|Mci.J J'rr
elpair.
si
5
Alelburj
Pfalm 234
r riii^i;iirri'i ^i"iijiirr firr.^ rl!Hll!l1'
S.i 1^
PTT«I T. _ j „_ CI 1 1 »' » /l .11 I 11 J\ 1-.»J O * 6 V- ! • IT- 1_ • -1MTL L» I _ » t I J _
THE Lord my Shepherd is I fhall be well fupply'd Since he is mine and I am his' What can I want befide .
h ^ I'r-crr- llTTTTT 1 111 ,1k I 1 rf-rrf'fo-ffr II i J . In ' ■ il, =
m
as
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Rochford, Pfalm li7l.h DT W.
,ii Rochlw i ; i i .
&rijjJl>j Ji,iJiJiiriirnrT|Ji1iirjJ|liricf^MiiJij
Et, M,
.5"
a
FROM all that dwell below theSkiet Let theCreatort Praife arife Let t^Ffedeemers Nainje bj^uncr^hro'eYVYL and by eytylbn
If.lBS
- ^^IKG to AeLordwithjoyfnlVoiceLeteY^LandhityameadoreTheBritiflilflesfliallfend theNbife Acrofsy Ocean to the She re
;pjNJh rWrijJij juTPPhfi^fi1 r I ii
'lUmiiiUji-'iiji
IV
?8 . Wareham.- Pfalm 19 . . Dr. W.
L. M.
ir'frnjjrwri'i riiiiuiiiiii|iiT 'i i 'Li'
urn fir?rir7riiiri'i ri 1 r^ minr>n^^
'rHEHeavnsdedarethyGIory Lord In .eV— ryStar thyWifdoihfliinesBut w . ounEjes behold thy WoidWereadtfiyNamein fairer Lir.
Jirir?i'rifrijirii^
iiiiJigrriryrrhiirifrrir^r ir: J uirirft f i iirta
^nW rn mi nun m-nii
yOW let our Hp3withho— lx Fear Andmoran-fallPleafurefingTheSuffnngpof ourgreatHi^prieftTSorroTO of our King
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InrriM'rn inn'1 ^ririnWri wrirTfrn
fffM rMTi i frffri1ifii^(iLTfj|i fin
Old 50^'' - Pfalm 5o?h p\ W. { P. M.
Pfalm 5o!h DF W.
THEGodof Glory fendsfosSunmmsforlhCaUs^SouthN^tions and awakes the North Fniml^fttoWeftltH'efavfoign Orders fprefl'd Thro
m
fig; Iff
is
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3»;
HI
!frrn n j r r rr»
"^TniirriiiftrrrniiiH.
"Hell
» — j>
lunds^trem ble
diftant "Worlds and Regions of the Dead The Trumpet founds^trem ble.sHww^ejoices Lift up y. Headsve^intsw.Aearrul Vo ices
m
7" Norwich- or DF Greens * Pfalm 136"^ D.r W.
sens l4&? Pfalm I3g? D.r W. P. M. ,
GIVE Thanks to Godmofthigh The un^erfalLordThefoVrignKingof Kings And be his Grace ado rtl His PowV and Grace '
r Ml llllln^TtjH II Hi! 'Mi, 'I ll| i if^i
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nrrHf 'loLu^iaJr rif|i..ii'i
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Are ftill the fame And let his Name Hate endlefs Praife.
rr Jifrrrh 'i irni""""
2X2
How mighty is his Hand,
What Wonders hath hedewie$
He form'd^thc Earth a«d Seas,
And fpresd the Heav'ns alone:
Thy Mercy Lord,
Shall ftill endure,
And ever fure
Abides thy Word.
rreicot.
TO
TVT_ 1 ift
Plalm IV
. V.
C. M.
72
f f r (P |
miHYrn
-f-J d || Mil ■ ■■
f
nHKManis
bleft that hath not!
, m j J 1
lent To i
otto"
wicked men his
- 1 f ilm
Ear Nor led his Life as
Sinners do Nor fat in i
-p fl q .
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II ■■, .
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e to our Gc
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IS*
Praife e-te
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=1=a=
e him all <
ire heav'nly
41
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72 ^ Sydenham. Pfalm 92d.
C. M.
-no with
one accord Am
i to thy
Name.0
#p
thonmol
i — — m-
rthigh To
fi , i i -no with
ijfflffiftri
one ac-cc
>rd.
m
IP
d* w.
L. M.
Leeds. Pfalm lo3«* DF W.
S. M.
Hhtl .11.1 JklhHl '|N .HoHili'iHl ^I'll
75
H
a — e
H
EE
n — r
:THB Lo rd the Sov reign King Hath fix'd his Throne on high O'er all the heav^v World he rulesAnd all beneath theSky.
e on nignu'er ail
a — a
■ I q
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3
St Albans. Pfalm 134* W. O. , V.
S. M.
1 1
BHHODlD&haYeregardYefervantsoftheLordWhoinhishoufeby night do watch Praife him with one accord.
ui'ifijHjnrinhiurijh fnrhiirn i i1 iijii ■
Lift-apyour hands onhigh UntoEis holy place And give the Lord his praifets due His benefits embrace
76 u S1
ffff
Pfalm 55?
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w.
ni'rifcr
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ameAnd in- hi
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Halle4u-iah
v AAA
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d ir^ r r r f i
With Thanks approach his awfiill Sight, And Pfalms of Honour fing;
l
The Lord's a God of boundlefs Might, The whole Creation's King .
Grantham. Pfalm 24? W. 9
fa
L. M.'
77
3
-
u in pi u
\ ^ THIS fpacieusEarth is all the Lords AndMenk^mis^eaftsKBirds ^ralfciy BundlngQri theSeas And gave it for their
KUl|yl|il#ll''irg^
turds He rait a y cuucring on the seas J\na gave i
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{place But theirs a
3 lighter
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etfd
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well fo i
ies rhisJ
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God "
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Parindon.
Pfalm 3.9 th' Dl W.
C. M.
TEACHj^ethe Meafure <^C-^ m7 DapThou Maker of my Frame I wqt^ fur-ve^ Lifes narjrowSpaceAnd lea
# cJ I " 11 Stortford. Pfalm 9 9* DI W.
1Q_
I BO.W
rn how frail I am
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idsHarp of folemnScund. V 1 1 BEHOLD the Glories o- ^--f the Lamb A - midft ^his Father^Ihrone Pre —
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1
ire ne>
v Honours
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1*« li ' "NOTto ourNamesthouonlvJuftandTrue Not to ourworthlefsNaraes is Glory due ThyPowV&Grace thy Truth and Juftioe claim Im
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- mortalHonours to thy fov'reign Name Shine thro' ^EarthfromHeav'n thy bleft Abode Nor let y Heathens fay,'And where'sy.God
rrNrr'ri°iMirrr Mr J >W-jrfrirtrr
■■'rf.rfif
Old 148. Pfalm 148. DI W.
P. M.
83
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YE Tribes of Adam join With Heaven and Earth andSeas And offer Kotes dWine To y our Creators Praife
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Ye. ho 1 j Throng Of Angels bright In World! of Light IBegin the - Song
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8A, Giles's. Pfalm 133? W. or lz2d. , , tO. V, , ^ P. M,.
« — ©
m
3:
or 122? , , tQ. V. ^ P. . M, k ^
,ii3iiJ|jjj,ri^ii^^
pleafant 'tis to fee Kindred and friends agree, Each i_n their pijo— per Sta -jtiotvpiov z
How
1 2 0
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3
f JUJ JljjjjJkllH^JlJ^ ,H»ll.)lj,hlj,l vT 1 0 Hi
■&1 I c IP
1
#
1
5
5
And each fulfill their Part With fympathi —
Littleton. A Hjmn, Pag ltf4.
G. W.
P. M.
'HTrffir rJrir'F
if rJrir'r
w— w
rrcrrcrr^irTtjlA,l"J JjJ|r r JJ'J r
LO he coraeth countlefsTrumpetsclow before^ bloody Sign Midft ten thoufandSaintsN. Angels See the Cru ci
i "i ir, i ^ i
1
II « '
^ -fi-edfhine Hal le-lu -iah •"- *- *• *-»
.*//; Hal— le— lu-iah Wei -come wel— —come bleeding Lamb.
3B^
Saints, who Lne him,view his Plory, Shining in his bruifed FacejHis dear Perfon on the Rain-bow, ■
|Jie comes. ■
Now his People's head fhall raife. Hap pv Mourners , happy Mourners, happy Moumers,Lo!in Clouds, he con
Hallifax . Hymn 50 l* G . W.
M.
3
J ..YE Servals of Gc
5
act
I
=*3
1
3
IP
YE Serves
of GodYo ur Ma fter proclaim And publifh abroad His wonderful Name The Name al] v|cto#ous Of JVfus
5
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la
4-
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ex— to 1 His. Kingdom-is glor'ous And rules ov-er aJJ .
m
1
-1— r
s
ii
God ruleth on high.
Almighty to fave;
And ftill he is nigh,
His preience we have.
The great Concregation
. 'His Triumph fhalifing,.
Afcribing Salvation
To Iefus our King •
8 8 Buckingham. Pfalm 12* V.
C.
M.
/ ft- -> r-
- " Q
LI . [
O IT.
5
XT
^HF>L"P iord for goodfc-God-lyMen X)o perifh and de-cay And Faith and Truth fromwo rid ly Men Is part— ed cleana
a i q ■ o n ^"n q , ■■ ■ o ■ 1 1 i I ■ ■■ . o ■ 1 1 ii 1 1 <Tq n .~r*»
■iiMiTiihiini.il <\\nf ^i-jiq" \imm
Virginia. , Hymn 14$. DF W. . . L.y- M. /^r^
i^ji^iL'irrnii^jiiiiJjriLJ^jiJtiJiiJi^ra^au
/"-J GO worfhip at Im-manuel's Feet See his Face what wonders meet Earth is too nar-row to t f . exi
^rirTrh| ri i jifirfrnft r^ Jnirifffrirrritff n
His worth his Glo ry or hisGraceHis worth his Glo ry or
his Grace.
Dalfton. Pl'alm 12}* D.r W.
P. ,M.
91
■hit r rr i°n-i
p—p
m — w
O— Q
I
How p leafed and Me ft was I To hear thepeople Cry Come let us Seekour Godrto Day , Yes with a Chearfull
i
j-^ii-'iir rr rr'T^rtrrn
3
U ji JlnlHU J-J-J
= oih- =
1
J r
0 p 0 F
Q Q
Zeal We hafte to Zions Hill And there our Vows and Honow Pay.
in**-
3
i
3
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ttle Ma
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ome fwee
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'hat fa
■w the
Lo rd
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arife^V
felc
ometo this
reviving ]
Jreaft,Andtr
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lefe rejoicing
«
P+5 = :
4 II
1 1
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iketield
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r Speechbe
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oice of Go
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ves it no Re£
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Rjcmanfworth. Pfalm 8 4
th
I
ex on Earth Exceeds a thoufandDays of Mirth
Might I enjoy the meaneft Place
r Within thine Houfe,0 God of Grace,
Not Tents of E a fe,n o r Thrones of Power
Shold temptc-iy Feet to leavethy Door.
94- Strawburry.
<-»"' -T-ii V, a 1 aV«nurs fh
whof«arstheLord>knd Jalk-j^
| ill nu — | ■» -,-
- »-'"- -his Day*. ^
^T^abo^fh.llrewa,^ Honoarand reacefhallcrownfu^y
Angels Song.
Pfalm S6
A. Canon in .the TJnifon.
pmein thia timeofneed^ Sonldotf
fcSrceIycryHelpmeOLord,helpmeOLirdore"jfe'ldI
I
uwnanW die.
SSEagle Street.^ f>mn ' lioT D.r ,W., . B. 1 lx. P. ,
b. if:
M.
I
i
JOIN all the fiIo r — io us Names Of Wifdom^Lo ve,tnd Fow'r That e —ver Mortalsknew^ That i
Pfalm I2<Sl.h
Arlington. , , Pfalm 12<^-h D^, ,W. _^ , G. M. , , ' , J>7
Mm^\\J M*o llJlJj 'I iff J I ii III In '||dj,||^^
m
s
WHEN God revealed his gracious Name, And changed my mo urn full State My Rapture feem'd a p leafing
i*t n
23
ii rnii- ii.
|l I'"" T- I'll 1
Dream. The Grace appear-3 fo great,
Egg
The World beheld the glorious Change^
And did thy Hand confefs;
My Tongue broke out in unknown Strains
And Sung furprixing Grac«.
g5
m
VP
■
S8
i
th
BlewWy. , Pfalm 61 zt
D.r W.
m
m
M.
3
22
i
5
SHINE mighty God on Britain fhine With Beams of heavenly GracejRe veal thy Power thro^allourCoaft
i
Reveal thi
&
m
5
3
ii
i
g==o
— &
q o \—&
m
Andfhewthy fmiling Face.
Amidft our lfle exalted high
Do thou our Glory ftand^ t
And like a Wall of Gaurdia n-Fire
S urround the Favourite Land.
th
- Putney. Hymn, 14-6. B. 2? DT W.
L. , M.
S3
I
3=q
o q
» n i g
q m
i
q i p
I
MANhas a Soul of vaft Defire, He burns within with reftlefs FiresjToft to and fro his Paffions fly
i
3
i
O' Q
331
S
f-i-
Prom Vani — ty to Va — ni- — ty
1
i
In vain on Earth we hope to find
Some folid Good to fill the Mind:
We try new Pleafures^but we feel
The inward Thirft and Torment f till.
4
Great God. fubdue this vicious Thirft^
This Love to Vanity and Duft;
Cure tht vile Fever of the Mind^
And feed our Souls with Jo ys refined.
loo Kew Eagle Street.
Hymn 14^ B. 2?
DT W- S. M.
imji.iiiriJjji
i-our triumphantSonosTo an immortal Tune. Letth
I
3—0-
1
3s C<
S
^ R ^ISEv^urtriumphantSonosTo an lmmortalTune.LetthewideEarthrefoundtheDeeds Celef-tialGracehafs don<
? 1JU rll?JhllrlWW.I til fff%lfMUa
ill? I 'H " ' I1-"1
Plaftow.
Pfalm 83?
D.r W.
■
S, M.
AND will the God of Grace Perpetualfilencekeep^TheGodofJufticehpldhisPeace^Andlet hisVengance fleep .
y la. * ' — i - - i j* — lct *
2 B ehold,wh at curfed Snares TheMenofMifcheif fpread;TheMen that hate thy Saints andThee Lift up their threatViing
Head
i. laXIIl
— Q a
lie/. 10 •
■Tart.
nr
W
M.
• lai
j^*q=)
ft
My
'Soul lies
■ m r
cleav— ing
to thel
)uft Lord g
ive me
±4
Life
divi
pi
ne From \
/-\ 1 1 /-\
a in de—
fires and
r^rnT
ev— ry
Luft
- " " q
^=
— r-2
- v ■■
.11
-e — a—-
: t= :
Q 11 II
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1
-> ^
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■■ ir«
Tarn
TV., 1? ri
of thefe
i. 0 q
Eyes of
- <> i i
mine turn
'T, itq
of thefe
■^■Q— n
Eves
turn
of
thefe
Eyes of m
IMI'" =
ine
— ^
m4±
- II II =
A Canon of Four in One.
It) Fath-er Son and Ho — lj Ghoft OneGo — d whom we a-dore Be Glory as it was is nowAnd fha — 11 be ever -more
102 Barnet.
Pfalm i45t
th
Jrir?rifrnr~rrhi
BX W*
C. M.
PI
LONG as I live 111 blefsthvNameMp King mj God ofLoveMji)
Joy fhall be the fame In thebrightWorld a- bore.
* i~ •
EE
Ears A fov'reignBalm for ev. 'ry Wound for ev
0 J m
'ry Wound A Cor dial for our Fears,
I
i
EF
:s:
m
A fov'reignBalm for . ev — 'ry Wound
ev — 'ry wound
q • m
:s:
m
A fov'reignBalm for ev — 'ry Wound A Cof dial for ourFears^
^
1
-I
BE
A fof^eignBalm for ev — 'ry Wound for ev -'ry Wound
Armly. Pfalm 2^ DI W. L. M.
HTTF
I
B
M M Ti.
fn^flTflJ^pLllll.^|r^|Jlll|lVir'^n-(lllll ffli'un
JTTir Jljg T . ,,L^ „1 „ • *T. D„ TL _ D ' L_ O 1 ^1™. A !„ A?, T d A • tj,,, ■> rr!„jr A „J *^ J.A^.
WHY Jew proclaim their fta8e ^he Bomans why^eir SwordsemployAgah^ L^l
heirPowrsem
i r • ~
Hisd. Anomt-ed to deftroy.
Jo4
Elenbo rough
Pfalm 42.
Dr
w.
C ^M.
ook So pantsthe hunt-ed Hart to find fo pants th
oll-ql'l 1 iff'lh '1 H Jftlf'^
~ 1 ^/ ' ' 1 ' 1 I I ■#" ' 1 " 1 1 I I 1 1 I | | I ■ | I I | ly I 9
WITH earneft Longings of theMind My God to thee I Look So pantsthe hunt-ed Hart to find fo panfa
as
m
1
[_) t,„Jf Sf4 Barf ♦ /-» f«f ^ VK
W i|0||ii
ii 1 1
hunt Njd Hart to find And taf :e ftie cooling Brook and tafte the cooling Brook-
. ^ /T> « ^ ■ rTW i*^ i*"!*"
-0 •
Continued.
l0,§
1
E
Q-1
£1
e? f j? i jyjjri f o j j i^uj i n u 'tin
Heart lift upyoujVoiceRejoice again I fay rejoice re-joice^ re— joice ^ ji^-gain I fay rejoice
$ Q r
i
2
mi
TO
Down. Hymn 6. B. 2? Df W. C. M.
C. M.
ONCE more my Soul the rif ing Day Sal— utes thy waking Eyes Once more my Voice ^ Once mo
Once more my Voice thy Tri butepaythyTribute pay To him Sec
DL W.
L. M.
lo* Kin^sbridge. Pfalm24.
J%jiJ|'°i.yiijiLiiiinijliiiiiiiiHihii^la^
Re-joiceje fhining Worlds on high Be-hold the King of Glory nighWhp c^LthisKing of Glory be Themigh-ty
Q =-i Urn ■ Q 1 mi i-^l 1 1— 1 , ■■■ P, rfmf~,* Urn ■ Q ■ mm r-^=>
i'rn j i i nr?|ii|ini.iPTiiin fh
^I'liff in'
Brighthelmftoiie. Hymn 69 Book 1 .
site
L. M.
XT-
Saviour's he. ^ " ( The\foiceof my be-love^— ed founds Owe r y Rockskrif ing Ground OerHills of Guilt &. Seas of
sup
#4
< ^ Grief* O er
Hills of G
-#
-uiltfc
^=
. Seas ofC
rriefHele
aps he f
-0 r
ies He le
m
lies He le
flies to i
ny Re —
lief.
1 — i II —
— f cll.llit
-■ —
mm .
IV -
4 II —
Plymouth. Hymn 3&.Pag^ i44f G;W.K.M . .
Children of y Heay'nly Kino As yejourney fweetlyfinfl Sinay I
i
nrrity/Nii""
Childrenofy Heay'nly King As ye Journey fweetlyfing Sing j S ay i out's worthy PraifeGlor'ousinhisworfcj&.Ways.
"Norfolk.
3
Pfalm {
si.
N. V.
L. M.
i(irfiiiifffifi%nrnri|jri rfpyf
10':
1 1 ^i°iic
O co u?e" An them s let us fing Loudthanksto'cmAJmighUy Kmg Fo rweouffijiees hjgh ihouldiaiieWbu^ahfations Rockwe Praifi
XT
| «/ couie^Antnems let us ling ljOuatnaiiKstoourAimign-ty mng i-orweourvoices mgn inomaraiterrourp>ajv
Harlow. A Hymn bvMS I. S. at l4 Years of Age. L. M. For Sunday
t) 1 Singtoj^ordw AeajMVoice^SonsMenrejoioereioice/rhis is our Saviours gloj^ous Day* "Wherin he madeHell'sTroopg^prey •
^jaljJ JjU f ir^! i-| ■■' J^rir*^r^h|-i"i prpf i^i 1 1 7 ) , iT' 1
W
2 TbDajjS aviourfromonhigh, lhviteshisownd'Qiildre^^omeWbrfipnowbe fore his Face, And taftey fweetnefs of his Grace
CTrrririgrrnrrrfirir hJiffri^ rrrnrrfrirr J? if fa
^B 3^ Mav nought b ut Grace now ft] 1 ou rTon gue s, O r b e J fubiect of our Songs«,S ince ought befides thyNam4moftriigh^emtinefs&!Vamty. ;
Q n » 0
ffii'iiJJiJ jit r1'1"""
4rTay ev'ry thing on Earthgite place Unto y wordof Truth,icGrace;0 KingofGlorr,en^r in,Andturn outerVj Thought unclean
108 Goodman's. Pfalm 2 3. O. V. CM.
sap
< My ihej
)herd is the
liv — ing Lord Nothii
ig therefore I need In
Paftures
falrjiea
rplea-lantStreamsHeietteth m
-^J JllJlfrfl
to feed
Foundli]
#-
Pfalm 27. O.
V. or to
the ]
Hi!
ing-s Hymn .
\ TheLord
is bothmyhe
r.
'alth&LightShJVTanmatem
e afraid SinceGoddoth
givemeSt
renotnM
-*> 9 m^J ' — ^r -
ightWhylhouldl be
afraid.
Bexley
, Pfalm
mm
84. Dr
w. c
m.
m
< My He?
irtkFlefhci
7 out forTheeWhilefarfr
1 n •
omthineAbodeWfhall I
tread thy
Courts
fee My Saviour and my <
.Ok # ^s, Os
rrfir?riftj
Sod. Bkj
TheSparrowbuildsherfelf a Neft, And fuffers no remove; O mateme,likethe Sparrows,bleft,To dwell but where I Love.
To fit one Day beneath thine Eye, And hear thy gracious Voice, Exceeds a whole Eternity Employ'd in carnal Joys.
Maryland. Pfalm lo4. Bl W. L. M.
5 1 -ryi -jajm JfPgirar r iJifc i jJtj i>rr HrTBiSagprriT i if^r r ijjj
lo
MY Soul thy Great Cre-at or Praife W. clo ath'd in his Ce-lef rial Rajs He infullMaiefty appears Andli —
m
rfftnrffji ° ii-^i rrirrrm Ti^riTiifrrjio inir?
Magdalene. Pfalm 18. O. V.
C. M.
juir-iJJi^Jij
lis Glo
tea Ro^hisQlory wears "\ ^ O Godmy^Fjt Fortitude Of forceIAlovetheeThouartmjCaftle^efenceInmjNeeefsit^"
*joamy6tFK.i-ortituae ui rorceiAlovetneein
jjjiJrrHijjjjjiliig
Evening Hymn.
or to a Morning Hymn. Awake ^c.
^W^ircf)ififfrhrrjiiiiTii|i|ih 7ti ■■
th ' fweet t
leep downy Sleep^plo femyEyes Tir dw beholding vanU-i — ty Welcom j^p y dm^ ajvay The ToUs^tc Foil ies of the Day
13
thy foftBofomlet me lie,Forgety Worldklearn toDie:0 Ifrael's watchfulShepherdfpreadThy guardian Angels roundmyHe J.
not^ Spirits ofyAir,"Whilft I repofemySoul infnare,But guard thy Supliant£reeitvdmharms,Clalp'd in thyeverlafting Arms.
110
Welfh. Av Hymn Page 145.
vpT)ivTne all Love exelhnq Joyo:
G. ^_
it
Love thou art
ffit ttfvith thy Salvation L^r^^Ue m b lingHeart .
Bray. Hymn
5
Awake my He a.. _
-cere When fhall I wake when, fhall I wake and find me there.
m
.0 glorious Hour, O bleft A bode,
If] all be near and like my God;
•And Flefh and Sin no morecontroul
The facred Pleafures of the Soul. ■
My Flefh fhall flumber in the Ground, Till the laft Trumpets jo y full found*,
Then burft the chains with' fweet furprize; And in mj Saviours Image rife.
Bdtania. Halm' 115\h , "Lift ver. Dl W.
P. M
• • • • i •
J [J J J[cl n| o |1 J
e-e-
i
■e--€r
O Britain truft the
Vll-I.l? qlq^|qqT|/&^i»qrh,Fl',| ■ I I ' I
Foesinvain Attempt thy Ruin and oppofe hisReiqn R^ad they prevail'd Darltnefs. had
3S
E
m
f o q
i clof'd our Days A*nd "Death and Silence had forbid his Praife But we are fa\'d and live let Songs arife And Britain
3
1 i Continued.
V - Canon of ^ in One.
Womb of Night
S.
I
m
0 QU Q
3#EE
-2
Mi
ifl |
r God my
Life my
LoTe To
thee to
thee I
'-fa
call I
canno
i
p
t lire if
-
thou re
more For
thou ar
t all in
all.
1 a o
- U C|
Cj-U
a l
a c
— hi, —
— a
m
— e-
1 1^0,^ — -
'Itt Chefliunt.
P. M.
Then only believe,
And truft in his name,
He will not deceive,
Nor putjrou to fhame,
But fully fupply jou
With all things in ftc
Nor will he deny you
Becaufe jou are poo
Derby. , ' Hymn 35 Ih B. 2^ I
Dr. W.
C. M.
.115 »
ce But our loud Sona fhallftill record The Wonders c
4.
I
LKT them negleft thy Glory Lord Who never knew thy Grace But ourloud Songfhallft ill record The Wonders o- — - f thy Praife. .
Ct A„U I ti J r^th d ^d " t\X w 1
I
Ann's.
Hymn S^t
B. 24
w.
C. M.
;iii|N^)Jkii^i^|iV^|ffriiL|fpi^a
"IVAv- r» — j_ . t -km.. ' _ i_A! *n ti ' •c-.^i.- • l«rJ *_ _i <-\ .til tj_h
. MY God my Portion and my Love My ever lafting All I've none buttheein Heav'n ab ove Or on this earthly Ball.
What empty Things are all the Skies,And this inferior Clod? There's nothing here deferves mj Joys,There^s nothing like my God.
ft
ft
as
— ^
1
i — e
. ■ Q '
YE Nation round the Earth rejoyce Before theLord the fov'reign King Serve him with cherful Heart and Voice Wi/h all jo
'mm
e-
13
■hidiji'i'ih
I
m
5
3
its
yi violin- Ally |
' .Tongues his Glory fing. * R TO God th
CANON of 4 in One.
3
TO God the Father, God the Son, And God the Spirit, Three in One,
Cj ' 1 | J C | q || II
3=X
XT
I
n
Be Honour, Praife,k Glory giv'n^ Bv all on Earth,and all in Heav'n.
L 1 HOWawfiil 13 thy chaft'aingRod [May thx____pwn children fay TheGreaty Wife> the dreadfulGod
TO r-l
-_ r - t-miureu ia^f ineoreaty nqe tne areaaruHJOd
irifOTrivHoiiT7rirFrjiyii0ii] r"!
err1'1 ^'h^Jh 1i..i,irnrrfrirrii°ir-
Chatham. Page ISO. G. W. P. M.
How ho ly is his Way.
A To., hiiiii that was flain The fcorn'dNazarene
Howho — __— ly is his Way
-h_ is his
War how
rrlrrrJh sl^h ll-ll'^'-v^rl^
o L ^ jg! |,is Way howho 1v is 1 his Wa>
— ly | is his Way
Be Glory and Honour let all fay A — men.
How ho — •
118 Mo
th
a th th th d t\T yj )
. 23? 24, 2J, 28. (or 33. D. ;
Continued.
J J f p |JJ Jl.imiJ.JiJ p^rU-^j-^
• m
r rfl nr mh ^ir r r r n ^i^p
fhall he ne'er be quite oppreft yet fhall he ne'er be quite oppreft For God for God upholds him for God uphold-shi
zr
mm*
as
1
A Canon of 4 in One .
IS!
with his Hand.
'-4 * *
33:
Is
In '1 ■ ■ • But that my
I Nothing am, I Nothing have, I Nothing can, I Nothing crave,
i
ft=m
XE
H l| I 1 I'M 1 1 J
But that my JBSUS I may fee, And that he may be all to me.
KO Wefton Flavel. Hyinn 6"2d B . I1!
it
C. M.
■6i
OMElet us Join our chearful Songs With, _ gels roundthe Throne Ten-thouffjnd thoufand are^ their Tongues B
? ongs With An —
rounotne throne len-thouland thouland are their longaies
C5
i q
HfU fH'I'l HT|M'|llf
-a
^- I I I, I
rrJh»r|{i
"r h r'rfw^ "J 'lJ JU JIJI INI"
nrfl nfl rir^ri^ hni rifrr|r y^u*
all
their
roys are
ft
one Tei
i-thou
fand
thoufand
ire theii
r Tongues But
all but
all their
Jo^jr
e one •
r — '
» ■
~~f~=l
7+1-
■=*— T
Hp
-7^
•*> * ''■4
■ _
4-
gf!
2 -
1 GREAT U the Lord our God And let. his ftaif b
He mates his Churches Ins A bode His moft de Holjful Seat.
. ^
our Nature Place, And Bulwark? of our land.
4
A Parap"hrafe on the 23 d. Pfalm.;s:
— ■ ■ -ri- ■ i ■ 1 ~I " -- - I IB-
THELORDnlyP^'ture^llpre^Andfeed me with a Sh^erd* Care; My No or, ^ay Walks he
!S.Hia pre -fence fhallmyWantsfup^ly.An^na^ ^ ■ njfc
Tho'in the Paths of Death I tread,
With gloomy Horror orerfpread,
My fteadfaft Heart fhall fear no 111,
For Thou O LORD, art with me ftili;
Thy friendly Crook fhall gireme Aid,
And guide me thro' the dreadful fhade.
Bedford .
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THE Lord appears my helper now Nor is my Faith afraid What all the Sons of Earth can do SinceEvav'n affords his Aid.
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to theLord JEHOVAH'S Name And in his ftrength reioice-^Tienhis Salvation isour Theme, Exalted be ourVbice ;
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in ay fee and approve His healing Sal-va-tion all People may Xnow.
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O Godot Hofts OGod of Hofts themighty Lord How lovely is how lovely is the Place Where thou enfhron'd v. herethou enthron'i qp
Gloryfhew'ft Thebrightnefs of the brightness of thy Face. the brightnefs of the bright nefs of thj Face
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1H , 122? Pfal m con
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