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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 Prefs y 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 
7 1 

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 
;lo 7 
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, — 

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 
J 4 
J 5 
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 Princi pI e s ,and fo ElWiv,'] 

lore th re ;: no ,n -° : vn '"*. " hirh lt ** tri * - «* b ^ *L 

hat.t i, ,«j,. 6 ,U e for a V oneto Sing „ Pl^ t* an, degree of perfection wi th„ot it, therefore T „„, >,f rc 

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, m ahe 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 ' 
S ree 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 Alt f and 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,Are f 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/V r iz , 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. 



(Baf s ) 
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,Sol y La.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, I st th ere 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 feldom f but 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 



2 djj ^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. this 1 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,e 7 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' J rtich 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 ^ j s ^ 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 Semiquaver 1 ^ <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 w hich 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 Re P eat ' 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 the y 

muft all he Sung to One and the fame Sellable. 

^ A fin § le Bar . ferv " to divide the time in Mufick, accord i n g 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. P 1aced,fomething longer than it'* 
proportion of Time . ° 

r" ^ A CWM. Three Fonr,.r more Bars together, Set after . pi.ee of Mu fick ,. ni eh fi^ifl.. . ..„cl u 
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 WD eh 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 



f t 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.X 4 . 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 movement f the 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, v C 
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. 
2 1 ! 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 V ou 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 v N ,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 tlv 1 
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 r c ft . 



C L of the the* proportions in Triple Time . 
j 1 ••n : 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<> v otes. in Common lime, ana o „ . «,hich is mark <i 

of *.hr,e K.t«.,t. t« fuch hhe , ftcM ike quantity of other Kotes.«h,c 

■„s v.,„din.loi.s three Minims,, prick . the mea f-,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 * tit y 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 < „ , fw M, 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 thns jggi^ 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. Un ifon.^ ft 2$ | ?3 d 5™ b^n i? 7 th ^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 2 d . 



!3 Intervals afcend in g, „ 4t n . s „ T 2 5 „ - 5 - l ) ls , r ^* ^'V^-J' 
7* Hm, f m, (lAt,f Hm]Ff ; f t 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. 




I2 X A 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 \ r nke,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 
'V " 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 - tj t * ■ | Jo • [ ■ ' | U | J... | | | ■ [ "' l^fc rtperf^^fS^ 



. J The Turn,mark'd thus^ ^ 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 G race 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: n I y 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 gradually y fo 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. r 1 , Propriety of Exprefsion .for tillyou havelearn*d thefejrou cann.-t 
'inrt the others true. And Firft. 



i — 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 m 1 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. p r iy 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,a SJ o» rayr f « in the fofog^ e—,,.. 
B orooer ^ Tranf P° 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 °»* ^li i 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 . 

,„ it hi,.a„„ ot fce brougK ''^^ *« ™ «~y Semitone in the Oct**. R 

» Sir, „* y „„„„, , he ^ . 

«... o r Step co „ M be " K 7'"" •*« » *• o*„. S e mi tone S . 

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 Pl a , r. c ' — * 

tJ ^*»*« of TranflJ0fiti0n . Md , . ~'™.-)°»U, find by exa rai „ ing fuch a Leffi,,.. 

"w* », , MtfeV,both Plat, and Sharp: and f^, ,,r ' !a ' n 
W Hie feveral Flat K-y hi ,k , 

* e 7 s >ra the lame effect » a il n . , 

» A t 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, K C ys,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,b T 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|| 2 ds | 4.1)15 7*.' s 

m 



Concords . 
5ths 




« v i r v r n , inir ^ a nd 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-f rr nr1fArt 



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 f a n, 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 n M' f 1 f f f f i f f m i f 




Intervals 



■ I , , Third s rifinc 5 aad Seconds fafl 3 d . S felling k 2 ? s rif ing 




4T rif^'arfall? 





7 f . 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 jflo K 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^iii f ; 



^fJf fFffTMfef l ' | 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 a n > 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 T his exam 



any Ko te 



N. B.Th at 

voice 



: mil f i 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, f Jie. 
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*-"* 



°"ll u MH ' y^ 

mill 5 nlll n tt m T 

D 1 B G 



* 



3Tt 



TT 




IP 



— O ' ' ?^-f-r^ 
Iff 1 



-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, ^ 
77 TA 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 'i 1 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 -Jg p 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 l 1 . in: 1 1 u m 



XE 



M. 

m 



1 



3m 



i 



41 



I 



n 1 r, Q 



1 O Fo-r a Shout of f ac — -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 - ed 1 err 1 - eth un - to thee 




Stanes. ; 



VMm^S u : DT W. CM. ^^, 4s 



1 li-ihiH li^i m 



n n .n n 



IS 



TO thine Almi ghty Arm we owe The Triumphs oftheDaj Thy Terrors Lord confound the Foe And melt their£trengh aw 



i 



Z3 



-3t 



-a 



a 



Egham . 



Pfalm 



D r . W. 



C. M. 



I 



C|1'J|L||^ q|'|,l |^y 




C 4r 



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 



r i rfrnfxcfJf i c i^ 



j?# n nnoio ? » i q^.i ciiq r P. 



J J i J 'O i k 



-1^1° lid 

q 

- Q Ql O HQ 



ii^ r f 1°) ^ji c ii^ f ^' n ^h^i °ii c i r r i ° 

e To Heav'n his chearful Voice. And bleft with thy Sal-vation raife ToHeav'n his chea- - rTfulVoi 

ii^r r i ^ i -iin | j i ) m , i ii ] i w ww 



Sal-vation raife To 

m 



P 



5 



E+ 



iipiiq r J i rHij i oir i f 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 'i f i' if i ni i f r n f p' i irnri'ir i '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? jlol l Ql'p). lld/a 1 , II flfp )c|l^ l l fo | | o| | <j ifj^cCT 1 ) 



ft: 



i ?n ii tii?ry' i .ii i " ' | i rfi| i fi ii- i| i rrr r r(^ 



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 f ha ll my in^w ard 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 








--©-el 








■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 



i i ' i i'utjt 'if? ' I - »'i f ' ii r?'' i I 



I 



Windfor. 



Pfalm 115 V 



th 



11* ?\ 



D r . W. CM. 



53 



1 



I 



2k 



n— r, 



6 



xj 



m 



n-if) 'Hi 1 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^ l liih HUH 



£5 



1 



1 



=£3 



X2ZS 



TT 



run 



3 



Wantage. 



Pfalm 8.9 f . h 



D r . 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 


~f~f — ^~ 


# r! — 

a T J 




rH H 


-0— - 




c: 


o 11 1 


-4— 






n II u *■ 




J 


— h 

When 
J 


Ifreal^frpec 


U — 1 (J 

IfiomPharah's 

i r r <!-■ 


HandjLeft 


y prov 

""f~T" 


ldTyr 

— e- 


ant<j 




)Land,TheTi 




arfclll 


^oma 

t — ry 


ge own Their Ki 






> ■ - 


M= 




* — 


+- 

9 — 


— H — 




— 1—1 




° II i - 

H^c- 




-ffh 

i 




H-^ — F 

- - ILa -■ 


■ 








— 1 




i 

. t 


:s: Dr< 


Bfdei 


■ 


A 


-L- © 
H 


IP ' 

y mil o 


n the D 


eath 

=*= 


=t 
of 


Chri 


tl 1— " 

ft. 




fa 


j ^ L- 




if » . 


P 




1 

, i . r r , 


» 


I J 




L 

■ 


/ and Ju 


dahwashis 
p f r 


Throne. / ^ 5 fe di ' eS * th 
\ .a. On my. poo 

— ■■■ 1 Pl ^ — 'A— 


e heav'nli 
r Heart S 


fe 

bin 


ver 

g*:d 


dies. Tl 

sephelle 


1 1 i 1 l i 

\e Tidings ftrike a d 
s In the cold, Caverns 


ojetu 

ofth 


1 Soundj 

e Ground 
— 


pi 




1 — © — i 


p/fp- — 

J J .o. 




■ » 




3 1 J J J- f I* 


■ — J- 


1 L 






m 




11 'EU' 




4 — - — J^-i 





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 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-'INllTl l lfte 




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 1 16 MI^ I I-^IM Ql I l l o'lUILllQ Ml 1 ^hi. I I ,- 



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 
r> 1 f% ■ ■ ■ r> ■ ■ -. 1. . . ■ Q , . ■ ■■ , r> ■ ■ ■ l ~^rr. ■ r> ■ — — 



Ipend my dailyBreath. 



5S- 

/—Q — 3 — I 


Burfc 


)rd. 




Pfal 


iq 27 


th 




T. 


G. 


M. 












1 

n r 


*— - 


-i — 1 — 


i 


1 

c> c 






1 


■ 


' i 


i 


a c 




a 
a 




Lord of 


Glory i 


s my 


Light^An 


dmy Sal 


vatioi 


ltooj God 

^= 


is my 


ftrengthnoi 
-n e— 


r will I 

Hi 


fearWha 


tallm^ 


foescar 


ide 


/ 






% 

' I 




1 


>s 




ft 

n c 


■£-*: " q 


c: 




i 






\ 






. ,<J . 














- — c 






# 





2. One Priviledge my Heart defires; Ograntmean abode Among theChurchesof thy Saints/TheTemplsof my God . 



A C 

0'*'.i J ] 


anon ,of 4 


in One 


• 

ri 1 


















y d 






-d — n— 




-- e — r - 


^=4 













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 48 l . h B. 2 A . DF W. C. M. Th ™, 

ft r n m in fiw nr inii | ^rnr i rrnnrn r ir '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 J n i Un J i J^ i jiiJ i J r f^TnT i ll i H n | ? ij 

f/in r n r i l r i 'ifrni i nif i i i 'i i i ir i Hr i iifiW^g I; 

Snare.Thebrighteft things below y Sky GivebutanattringLight^Vefh 0n i^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 |dr r 



^ Jll J 

tew 




i 




P — 9- 




-m — 






are To^ t] 


line A-bode nvv 


r Heart 


ifpin 


f=Ff= 

is With v 


arm de — 1 


'ires to fee my 


God 

J rllii ■■ 





















llppl 


— ' 1 


4 











■ 



S 1 . Hellens.' or New IB* Pfafcn 146-* Dr W. P. MY ' 

J i - ni. 1 ; Hi.. J i . in J l n in I I q i n-ir 



i 



km 


T7 L " 


o 


"T' 


- n C| | 






-n ^- 


— U — ^ 




-© — 9- 




































M 





I 



31 



21 



•c — 



i 



zx 



5 



zz 



XT 



3 



XE 



XT 



XT 



I 



XT 



XE 



1 



-e— e 



fctzt 



XT 



t i -rf i n ii 1r f i lfrn 



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 [ ""if 1 - 1 I dr l dld m lo|| u l "d 



C. M . 



Z2 



XT 



-e — a 



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 | 



•cHemaK.es my 6 oul a 1 



Pi 



XL 



i 



xx 



IX 



XX 




Walingford . Pfalm 27.' 



C. M 




XX 



XX 



§=xx 



XXX 



1 l n ll1 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 




lj')|Q ^||f|^ | M|fg 



m 



XX 



IX 



IX 



xxatx 



XT 



TT 



(§3 


Weft 

-U-Q 


erham. 


Pfalm 1 


as? 




-U-Q- 






C. 


VI. 




6 


3 


•TT" 




T5 <^ 

■ — r 

iii 


a 

Eg 


-U — 


-H 1 Mil 


— ^ — H- 

— n — r "i 




1 11 




^ .a — c. 


#1 


ILp_L 


' 1 'II vS: 


u 


/r o 

to 


* i 


7 Man whc 


>fe Sou 


1 is i 




thZeal and r 

- i.O 1 i 


er'rent 


Awe His 


lips 1 
ft 


o Go 




rHono 


ure yield His Life 


adorasf] 








llrr/j # 

r-r-e 


, Q x- 










5% 

j ■■ o 


r 




— Q- 












St . 


Simons . 




Pfal 


— ^ — ■ ■ — 

m 25. 


m 

—V 


w 




- n 1 

v» 




n 

— K- 






s. 

X : 


M. 

n |J|o 






mm 


[o <j | 






- — i- 


-TT- 1 - 




=©=ct= 




I" Mm) 


" 1 


w U- 


VII 


Wheri 


1 fhall the 

=*=*=: 


Manb< 

& 


! found That 


fear t'c 


iffendl 


lis God Thai 


loves the C 


Jofpe 




ound Andtreml 


lies at the 


Rod 




1 |_i 

i \ r 






n r 












u 11 d .'o 

—H ., 1 


c 


1 

1 — 1 




■ 























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 J iWr 



Qi I i C. p^ M ^ i n 

<0| 



r r r i r r T JirN ri ji i n T ^ 



rr ■ri |l -p 



Alderney. Pfalm 81? 

^j i j j i j j i j ■■ j i J r i r? ,J f ■ J ii r i ^ i J i °i r M r i ii i r i 1r i Jj 



DC W. 



S. M. 



m 



l#.'t-J_= 












ej || jo 














" 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^l r J^l l ^^llilll J JUqU. ill-j j 



I 'l cft il'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 i i ^ r ri7|F i h r >n c tirr i| M c i. J J'rr 



elpair. 



si 



5 




Alelburj 



Pfalm 234 



r r iii^ i ;iirri'i ^ i "i i j iirr firr.^ r l! H l l!l 1 ' 



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 1 1 1 , 1k I 1 rf-rrf'fo-ffr II i J . I n ' ■ i l , = 



m 



as 



i, j r i'j 'ii n i l' 



Rochford, Pfalm li7 l . h DT W. 



,ii Rochlw i ; i i . 

& r ijjJl>j Ji,iJ i Jii r iirn r T|Ji 1 iirjJ | l iricf^MiiJi j 



E t , 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 AeLordwithjoyfnlV oiceLeteY^LandhityameadoreTheBritiflilflesfliallfend theNbife Acrofsy Ocean to the She re 

; pjNJh rWrijJij juTPPhfi^f i 1 r I ii 



'lUmiiiUji-'iiji 



IV 



?8 . Wareham.- Pfalm 19 . . D r . W. 




L. M. 



ir'frnjjrwri'i r iiiiuiiiiii|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. 

J irir? i' r i fr iji r i i^ 




ii i iJigrriryrrhiirifrr i r^r ir : J uirirft f i iirta 



^nW rn m i nun m -ni i 



yOW let our Hp3withho— lx Fear Andmoran-fallPleafurefingTheSuffnngpof ourgreatHi^prieftTSorroTO of our King 

I — I i — ^\ I 1 Ml ■ ""> » 1 i^ - *^ . / I I 1— 1 — *~ I I ^ ~~* _ I ^ ■■ 1 — I— I 1 f * I ^ 1 1 I <S~\ . i l l 



4t¥Mr0tt^ \ icii 'ijj f i' i f in H 1 ci 1 1 1 1 1 1 , i iij i ii 1 1 1 'i 
InrriM'rn i nn' 1 ^rir i nWr i wr i rTfrn 



fffM rMT i i frffri 1 if i i^( i L Tfj | i f i n 



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 



J frr ijTiiV'rrinir r ^fjJJii'iijrrffjT^ 



3»; 



HI 



! frrn n j r r r r » 



" ^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" N orwich- or DF Greens * Pfalm 136"^ D. r W. 



sens l4&? Pfalm I3g? D. r W. P. M. , 



GIVE Thanks to God mofth igh The un^erfalLordThefoVrignKingof Kings And be his Grace ado rtl His PowV and Grace ' 

r Ml lll l ln^TtjH II Hi! 'Mi, 'I l l | i if^ i 

J r>n , iriiffji4n i , iTrnJi" i »irrh--ii irl r r\ M 



n r rH f 'loLu^iaJr r i f|i..ii'i 



i-iirrirj # rr 



Are ftill the fame And let his Name Hate endlefs Praife. 



rr J i frrrh '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. 




7 2 






f f r (P | 






miHYrn 




-f-J d || Mil ■ ■■ 


f 


n HKManis 


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 . 


=~ IIP" 

5 corner^ Chair 
II ■■, . 






f r J j 1 






hi iir J r n 




J ■ d III! 



V IT a i r 

Alcel 


r^~|* — T — 

ter. 1 


■ 

A Do 


xoigy. 




p. •> 










1 — h-H 




II" " ' 












-II - m - — 


pi p # 


mi 


w p r 






#^ 

SlNGw 


e to our Gc 


)d above 


IS* 

Praife e-te 


rnalashisi 


=m=t= 

Love Prail 


=1=a= 

e him all < 


ire heav'nly 

41 


Ho ft Fathe 


F=fc=£= 

r Sdniand 

Bfll 


HolvGl 


lOft 










m 






f = 








We 


^ u 










^-H 1 — 






M 







72 ^ Sydenham. Pfalm 92 d . 



C. M. 






-no with 


one accord Am 


i to thy 


Name.0 

#p 


thonmol 

i — — m- 


r thigh 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 



Q Q 



3 




St Albans. Pfalm 134* W. O. , V. 



S. M. 



1 1 



BHHODlD&haYeregardYefervantsoftheLordWhoinhishoufeby night do watch Praife him with one accord. 



ui'ifi jH jnrinh i urijh fn r hiirn i i 1 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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Sing 


^ ' v 

to the 


Lo rd . 


[e— hovah^sJJ 


ameAnd in- hi 


s Strengths 


a 

'joiceW his Sal- 


1 1 

ration 


is 


ourTh 


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be our"\ 


fa ice. 


Halle4u-iah 

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Hallelu-iah 












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 



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u in pi u 



\ ^ THIS fpacieusEarth is all the Lords AndMenk^mis^eaftsKBirds ^ralfciy BundlngQri theSeas And g a ve it for their 



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f 

{place But theirs a 


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. abcrv 


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cy.SltvWhoihalla 


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Parindon. 



Pfalm 3.9 th ' Dl W. 



C. M. 



TEACHj^ethe Meafure < ^C-^ m 7 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 





)rley . H/mn l 1 / . B . IV D£ W. C. M 

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urn r r i ' i 'j 



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idsHarp of folemnScund. V 1 1 BEHOLD the Glories o- ^--f the Lamb A - midft ^ his Father^Ihrone Pre — 




ULcUtne Clones o- r--r tne i<amD a — miait ^-. nis iatflersinrone 



1 





ire ne> 


v Honours 


for his H 


^nie Pre- 

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-pa re new Ror 


i — ours for his] 


•fame And 


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ng. 


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P. M. 




1*« li ' "NOTto ourNamesthouonlvJuftandTrue Not to ourworthlefsNaraes is Glory due ThyPowV&Grace thy Truth and Juftioe claim Im 

;,fi-ji r r r r iff J ji.j i -jij J jJiJjf r J| °'H |JJ r r'r ^ 



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y r f.rrir r r r i -VHf r r'r i f?r?, n°iH i rcr Effrr fti q ii 



tH-tf r rr i rr r? r rnpr^Tf r? r 



- mortalHonours to thy fov'reign Name Shine thro' ^EarthfromHeav'n thy bleft Abode Nor let y Heathens fay,'And where'sy.God 



rrNrr'ri° i Mirrr Mr J >W- j rfrirtrr 



■■'rf.rf i f 



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 



r-, 



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m 



m 



XL 



i 1 « 



Ye. ho 1 j Throng Of Angels bright In World! of Light IBegin the - Song 



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■M-l- 



II I 



8 A, Giles's. Pfalm 133? W. or lz2 d . , , t O. V, , ^ P. M,. 




« — © 



m 



3: 



o r 122? , , t Q. V. ^ P. . M, k ^ 

,ii3iiJ|jjj,ri^ii^ ^ 



pleafant ' tis to f ee Kindred and friends agree, Each i_n their pijo— per Sta -jtiotvpiov z 



How 



1 2 



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3 



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5 



5 



And each fulfill their Part With fympathi — 




Littleton. A Hjmn, Pag ltf4. 



G. W. 



P. M. 



'HTrff i r r J r i r'F 



if r J r i r'r 



w— w 



rrcrrcrr^irTt jl A ,l " J JjJ| r r J J' 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 



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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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it* 

ex— to 1 His. Kingdom-is glor'ous And rules ov-er aJJ . 



m 



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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. 



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^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 i i 1 1 <Tq n . ~r*» 



■i i MiTiihiini.il <\ \ nf ^ i -jiq" \im m 



Virginia. , Hymn 14$. DF W. . . L.y- M. / ^r^ 

i^ji^iL'irrnii^jii i i Jjr i LJ^jiJt i Ji i Ji^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 

^ r i rTrh| r i i jifirfrnft r^ Jnirifffrir r ritf f n 




His worth his Glo ry or hisGraceHis worth his Glo ry or 



his Grace. 





Dalfton. Pl'al m 12}* D. r W. 



P. ,M. 



91 



■h i t r rr i°n-i 



p—p 



m — w 



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I 



How p leafed and Me ft was I To hear thepeople Cry Come let us Seekour Godrto Day , Yes with a Chearfull 



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Zeal We hafte to Zions Hill And there our Vows and Honow Pay. 

in **- 



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ometo this 


reviving ] 


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iketield 

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pip 


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l cry alo 


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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 F ee t 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 




fc S rceI y cryHelp m eOLord,help m eOLirdor e "jfe'ld I 



I 



uwnanW die. 



SSEagle Street.^ f>mn ' lioT D. r ,W., . B. 1 lx . P. , 



b. i f : 



M. 



I 



i 



JOIN all the fi Io r — io us Names Of Wifdom^Lo ve,tnd Fow'r That e —ver Mortalsknew^ That i 





Pfalm I2<S l . h 



Arli ngton. , , Pfalm 12<^- h D^, ,W. _^ , G. M. , , ' , J>7 

Mm^ \ \J M*o llJ l Jj 'I iff J I ii I II 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 rni i - i i. 



|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 



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i 



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BlewWy. , Pfalm 61 z t 



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 



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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 



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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. 

i mj i .iii r iJjji 



i-our triumphantSonosTo an immortal Tune. Letth 



I 



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1 

3s C< 



S 



^ R ^ISEv^urtriumphantSonosTo an lmmortalTune.LetthewideEarthrefoundtheDeeds Celef-tialGracehafs don< 

? 1JU r l l?Jh ll r l WW.I til fff%lfMUa 



ill? I 'H " ' I 1 -" 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 

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lie/. 10 • 


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nr 


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M. 






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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 




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■■ ir« 


Tarn 

TV., 1? ri 


of thefe 

i. 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 



Jr i r?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 

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 . 



f n^ f l Tf l J^pL l lll.^ | r ^ | Jl l l| l Vir ' ^n-( ll l ll ffli'u n 

JTTir Jljg T . ,,L^ „1 „ • *T. D„ TL _ D ' L_ O 1 ^1™. A !„ A?, T d A • tj,,, ■> rr!„j r A „J *^ J.A^. 



WHY Jew proclaim their ft a 8 e ^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 

o ll-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| ||i i 



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 



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Q- 1 



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e ? f j? i jyjjr i f o j j i ^uj i n u 'tin 



Heart lift upyoujVoiceRejoice again I fay rejoice re-joice^ re— j oice ^ 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%j i J | '°i.yiij i L iiii nij l i i i iiiii H i h ii ^ l a^ 



Re-joiceje fhining Worlds on high Be-hold the King of Glory nigh Whp c^L t hisK ing of Glory be Themigh-ty 

Q =-i Urn ■ Q 1 mi i-^l 1 1— 1 , ■■ ■ P , rf m f~ , * U rn ■ Q ■ mm r-^=> 



i'rn j i i n r?|ii|i n i. iPT i iin f h 



^ 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 



nrr i ty/N i i "" 



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 (irf i ii i fffifi%nrnr i |jr i r fpy f 



10': 



1 1 ^ i ° i i c 



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 • 

^j alj J J jU f i r^ ! i - | ■■' J^ r i r*^r^h | - i "i prp f i ^ i 1 1 7 ) , iT' 1 



W 



2 TbDajjS aviourfromonhigh, lhviteshisownd'Qiildre^^omeWbrfipnowbe fore his Face, And taftey fweetnefs of his Grace 



CTrrrir i grrnrrrfir i r hJ i ffr i ^ rrrnrrf r i r r J? if f a 

^ 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 » 



ffi i ' i i JJ i J j i t r 1 ' 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 i jjj 



lo 



MY Soul thy Great Cre-at or Praife W. clo ath'd in his Ce-lef rial Rajs He infullMaiefty appears Andli — 



m 



rfftnr ffji ° i i-^i r rirrrm Ti^riTiifrrjio inir? 




Magdalene. Pfalm 18. O. V. 



C. M. 



ju i r-i J J i ^Jij 



lis Glo 



tea Ro^hisQlory wears "\ ^ O Godmy^Fjt Fortitude Of forceI A lovetheeThouartmjCaftle^efenceInmjNeeefsit^" 



*joamy6tFK.i-ortituae ui rorcei A lovetneein 

jjj i J rr Hijjjjj i l iig 



Evening Hymn. 



or to a Morning Hymn. Awake ^c. 



^W^ircf)ififfrh rrjiiiiTii| i |ih 7 t i ■■ 



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 


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 I h B. 2^ I 



D r . 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^)Jk i i^ i ^| i V^|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 v i olin- 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 Wif e> the dreadfulGod 



TO r-l 



-_ r - t-miureu ia^f ineoreaty nq e tne ar eaaruHJOd 

irifOTr i vHo ii T7rirFr j i yi i i i ] r"! 



err 1 ' 1 ^'h^ J h 1 i..i , irnrrfrirrii°ir- 



Chatham. Page ISO. G. W. P. M. 




How ho l y is his Way. 



A To., hiiiii that was flain The fcorn'dNazarene 



Howho — __— ly is his Way 



-h_ is his 



War how 



r r l rr r Jh sl^h ll-l l '^'- v ^r l ^ 

o L ^ jg! |,i s 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.im i J.J i J 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"2 d B . I 1 ! 



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 



H fU fH'I'l HT|M'|llf 



-a 



^- I I I , I 

rr J h»r | { i 



"r h r ' rfw^ " J 'l J JU JIJI I NI " 
nrfl nfl r i r^ r i ^ hni r i frr |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: 

— ■ ■ -r i - ■ i ■ 1 ~I " -- - I IB- 




THELORDnlyP^'ture^llpre^Andfeed me with a Sh^erd* Care; My No or, ^ay Walks he 
!S . H i a 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 . 



Pfalm 84 . 



th 



DF w. 



=5— E 



~rr 



Q I O - Q i O 



fT J* ' 'I A Ni l' 



C. M. 



123 



llJL'| l ( ? "lUll r 



q i o q e g 



3^ 



My Soul haw lovely is thePlacelcK-whichthyGod reforts^Tis Heaven to feehisfm 11 in gFace/Tho'inhis earthly Courts 



3 



i 



i 



-O- 



rrp^[iT i ^ijr,a ?i 



-3-a 



Namure. 



Pfalm 84*. h 



DF W. 



G. M . 



JlJ J|J JlJllj ^ J-jMl l J l J J l J JllJlll l J l J 



1 



4 i. 



3=5 



Q P -3 



ThereygreatMonarchoftheSkiesHisfavingPowl difplays^AndLightbreaksinuponoiirEyesw.kind^quickningKay 



i 



124 Holborn. 

k 



The Chriftian SOLDIER 



P. M. 



at* 



a — rr 



frp r rH^Yr 1 ^ r r |C i r r 1 r r r c£r 1 r r r rift 



4 



SOLDIERS of CHRIST arife,Andput jour Armour on,Strong in the Strength uhich God fupplies,Thro'his Etrnal Son; 



i 



T7" 



f+fttf Jffl.l r r i r gJ^r J IJ f J J |J iihnjJUM 

^rrrg i c i r ri^ r? fn r r i r r r rirr?r i rr m ^ 




m 



Strongin, theLORD ofHofts Andin his mighty Pow'rWho in the Strength of Jefus ttufts Is more than Conquorer. 



he LORD o 

mm 



r ff i rcrfr i |l|, f i r J J J |J rr t\\ & 

f i f f i ■ i f i i if ^ 1 1 1 * i 



ate 



v f tj r r r r r 



Pi 

1 Lontinnw 





, Hymn 4o f 
j [ | |- 


K 


Continued. 


G. 


w. 




|H 125 


— b 




^-J — J—i 
mm? — m- 


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to 










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. Stand t 


t r r f 

hen in his ore) 

J , . ] 


it Might, With 
a p- 


all niQ Rtr^r. 
nil 11 Lj OllclJ 


nth An 

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du'd,And 


take to ai 


rm you 
1 


111 = 

for the Fight Th 


in ii 

e Panoclv o f 


1=1= 

God; 


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tTVJH - 


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Hn 








That ha 

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Ting all things 
1 


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s part 


=^ 

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may o'erct 

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)me thro'Ch 


rift al^ne, And f 
Hm P P 


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ift. : 
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126 Rineton. 




ton. Pfalm h 11S : D , W. . CM. 

JU J i ii i ^i- i ^iijji i iJJJ i j j i .l J)J. r ifj)jjy M m 



HiTf i i7 ' in l i ' H 



Q • P 



THE Lord appears my helper now Nor is my Faith afraid What all the Sons of Earth can do SinceEvav'n affords his Aid. 

^ 1 -r- 1 \^ - , i I I i 1 ■■ I I I , 1. . . , - . ^ ^ , U 



' r r i ■ i h q I 1 i Tirr 1 i i , I jigii 1 i r r r i ' ih 1 1 h ■ r uJJ Jh 



b 



it 



l lJ J J I J '-l i d J|,| Jl^'ph J |^ | 



II 





-a 



^ ^jj'Tis fafer Lord to hope inThee And hare my <^od my Friend Than truft in Men of high Degree And on tl^eir Truth depend 



my yoamyirnena in 

i#pi| 

|I.NI" I !'I 



on their 

m 



m 



5 



Or 



SB 



-e-» j — k 



A Funeral Thought. Hymn 63^ Dl W. . C. M. . ^ 12? 

p'i rip,f riiLii&cr'iriiHi^i ric- c 'riHiip c p si 

HARK ffomtheTombs a doleful Sound My Ears attend the Crj> Ye living Men <x>me view the GroundWherevoumuftfhortly lie'. 

^^^u^ ■ r lli) li'iT 1 I' Hs jS p 1 1 H r J 1 I'll- 1 1 If 

Sutton.' Pfali is* 1 ' Dl W. 1 1 ^ ". 'm. 1 ■ ^ 1 1 





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...... fa 


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TOLD th 


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as 


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HP 


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Make 


r God, And 


all the 


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rO 


• Works o 


n high Pr 


j claim h : 


m 

s Pow'r 


abroad , 

II' 












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12S Blpfom. Pfalm S5 l i 



th 



w. 




c. 




m 



m 



C7 



Clv4 1 ..l.T.„jTT 1 tIAV.T^ W „ * 1. 1. ft ' • • t.rt. 1- n-1 .... • . Tl[_.tx J L . V 



to theLord JEHOVAH'S Name And in his ftrength reioice-^Tienhis Salvation isour Theme, Exalted be ourVbice ; 



<;"ti'. l I 1 111 1 1 ' 1 1 y 1 1 n ll g I T 1 1 1 ^ 1 m&\ V 1 1 1 j l o I I ^IT |1 1 {[ I p i 



mm 



3 



5 



Wallbrook . 



iouk . Pfalm ' $5 » u . tt . N" 1V1 * 



t 



3 M I t. 



ffi i : i r :i li°ii^f?Pr f i 1 ,j irir 1 ^ i° tt ^ 



WITH thanks approach his awfoll Sight, And iPfalms of HonourfingTheLord's a God of boundlefsMight,ThewholeCreatiorisKi 




5* 



Wickham . 



Pfalm 6>?? 



i 



C. M. ,129 



o no c 



3 COMB fee the Won - ^ - ders of our God How glor'ous a - — re his Wavs! In Mofes Hand he 



mm 



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-e 



F 



I 



ii 



JlflDJlfcJU JUTE 



He made the ebbing Channel dry, 
While If rael p afs'd the Flo o d ; 



pVs his Rod And cl^ga^ the frighted Sea — s j^dcleavesthe frighted Seas. There did the Church begin their Jov> 
| ''1 I °lt ° \ f^\f P |**l^jj5i °\ I ^ jj" 1 ^ ''1 lo I I 1 And triumph in their God. 



13 o 



Hanover . 



Pfalm 67: 11 T. B . 



P, M. 



I 



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5 



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PI 



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n 



33 



q [ -| q 



1 



OUR God blefs us al l wit h Mercy and Love The cherifhing Beams of Fav-our be ftow That Earth his juu Dealin 




hU' i 



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33 



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33 



(.1 r> L 



33 



in ay fee and approve His healing Sal-va-tion all People may Xnow. 

— ^ C*^ 1 — I — ' — . — - — - 



inyjrii-ulyih y\\\<\%\ - in 

^rt^q inn,, | ft u q i m ,, |m _ m M . 



PS 



7-—. 




Ik of all thy Truth at Night 




Sweet is the Da; of f acred Reft, 
— • No mo rtal Cares fhall feize my Breaft; 

r: 

— ; O ma; Heart in Tune be found 

Lite Davids Harp pf folem'n Sound. 




m 



\ 




Warwick . 



Pftlm S4? N. V. 



i 



C. M. 

1 



133 



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 

■ u 1 ■ii# r J if firjrW"^ r nr fin? r iy h - »' 



fag 











ii 




















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134 Winch efter. 



Pfalm l4l? 

m 



D r . W. 



L. M. 



a: 



-e 



3^: 



a 



1 



33 



I 



ii 



2 



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MYGod accept my early Vows Like Morning Incenfein thine Houfe And let my nightlyWorftiiprife Sweet as the Fv^ui 



P 



E 



fid 



I 



n: 



5 



-A 



A Canon of Six in One, 



EE 



1 



3 



For E after 



33. 



Daj. 



i 



f 



Sacrifice. 



PI 



HAILGlor'ous Day on which th'Almicjhty gave To this NewWorld the Firft Fruits of the Gra 



hty gave To 



32 



1 



Hail Glor'ous Day in thy Jl -luftr^usLjght What Faith °° u ^ frarreb elieve appear'd in Sigi 



■e — a 



-QTT. 



Hail thou moft Glor'ous Day it was on thee Death loft his Sting the Grave its Vic - tory 





S'. Mat 
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hews . 
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Pi 

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d d 


* — X= FP 


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— 1 — 4= 

H Songs an 

t FF=f 


d Honoui 
-TT—f 


■s foundi 

L-n— 


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ngloud / 

r~n-ff 


i i 

^ddrefs the 
■ i ^ 


Lord on 
I — | '^7 i 


ii "r rri 

high Over the H< 
-IU - It 


1 

:ax ns hq 

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i 

;ads his ( 


r ii r 1 1 1 

31oud And Wat« 

D II J | , ■ 


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;rs vail the Sky . 




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Ol d 81? 



Pfalm 145* 



C. M. 



thy Name Mv Kino mvGod of Love My Work and Joy fhall be the fame In the briahtWorld above . 



13.9 



a-prfg) pit i f 



LONG as I live I'll blefs thy Name Mv King mvGod of Love Mv Work andjoy fhallbe thefame In the brightWorld above. 



ip 



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M-itf-r 5 ) n r m i ^iim r i ^ r i'/ ri'/ urn 



| Great is theLord his Pow'r unknown And let his Praifebe great I'll fing the Honours of thy Throne Thy Works of Grace repeat 



unknown And let his iTaile be great lilting tne Honours ot thy Ihrone lhy 



I 



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9- 



240 : Stxoudwate'p, 



Pfalm l45 l . h 



dt w. 



A 



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C. M. 




3 



1"° OIO i 



.q 



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SVEET is the Mem'ry of thy Graoe My God my Heav'nlyKing Let Age to Age thy Righteoufnefs In Sounds of Glory fing 



1 



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2=3 



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' Pfalm 



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Canon. ' ' " Pfalm 113* ^ Dl ~ W. 

^]j rr irrfrirrrrirr?jiii^^j: 



rV 




j#t^jjji rr jjijjT#^^JiJjj^ 



YE Servants of th'AImighty King In ev'ry Age his Fraifes fingWhere e^er theSun (hall rife or fet TheNations fhall his Praife repea 



1 o O 1 1 



v37 



An ANTHEM, taken out of the £6"PSALM. Verfe 1,2,3,4. 



raife his Name Sino untotheLord Sino unto 



4-t- 



lino unto 



3 a 



2 



Sing fing unto the Lord Sing fing unto the Lord arid praHe his Name Sing untotneLord Sing unto the 



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pppp 



Sing firig unto the Lord Sing fing unto the Lord arid praife his Name Singuntothe Lord Sing unto the 



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Lord and praife his Name be telling of his Salvation be telling of his Salvation from Day to Day Day 



Q I □ 



Lord ana praife his Name be telling of his Sanation be telling of his Salvation from Day to Day Day 
t i — n — i r— I 1 — I K — N — I i — - s—i 1 r— Q 1 — * — . 



p p, p p 



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y i42 Treble^r, Tenor k Bafs 



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<e/ Declarehis Honour di 



96 Pfalm Continue 



dec! 



:lare 

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inued. 



lisHonourhisHonour his Honour un to the Heathen an 



d his wonders his wonders his 



M'in.i-ifi d^n i! Ti i | in mi 1 1 



6 



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un to th* Pe 



XT 



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<y Pvi A *0 nders un to thi People and his wonders his wo .-.nders u 



nders un to the People. Sing fing kc 



1 



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For the Lord the Lord is creat for the Lord the Lord is creat and cannot cannot worthily be Draifed be uraifed 

Q 1 m 



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lot wnrtAily DeDrailec 



3 



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IX 




-o 



lore to be tear 



tiore to be fe 



Jt~TX 



he is more to be feared than adGods he ii more to be feared than all Gods is more to be feared than all Gods . 









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Chorous to ,$6 Pfalm. 



^^m^n^ J Vr f r nr^r 1 J 

Hallelujah till . .Ml: _ .^IvL _ III: Hal 



m 



p p p p L»-p. 



rnrrf nrfn 



Hal — le — lu — jah . 



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fc^4Jirfr J irrrnrrrnrr r rff^rf 

/ Hallelujah ill: ;||: :||% . ^ :U: Sf IT 



IP 



■ — ■ 



Hal— le — lu jah, 



p — m 



MM 



An ANTHEM taken out of the 14. Chap. of Revelations Verfe 13. 



i 



I heard a voice from he av'n fayingun to me faying un-to me write from henceforth write from henceforth 



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6^ 



P 



I^eard a voice from heav'n faying un to me fayingun to me write from henceforth write from henceforth 



heard a voi 

MM 



un to me la 

mi 



m 



m 



A 144 



14 Chap. , Rev 




3 



1 -j blWedaretheDeadwhWieintheLord: ev-en fo ev^en fo faith y Spirit-, 



they 

* — P— 



tor they reft from their lab ours,from their 




r 1- E 



1 " , . . , v from their laboursfromtheirlabourefromtheirlabou 

ft from their labours,from their lab ours, they relt Tromtneir ^ Q O * fr-L^Tf 




labours, they 



from their labours, they reft fromtheirlabour^mtheirlabou^frprntheirlabou 



laboukfrom their labours, they re 



=fc 




tfromtheir lab ours,from their lab ours, they 



»m thrir laboun>,fronitheirlabou 




from their labours/romtheir labours, they reft 



from their labours/rom their labours/romtheirlabou 



An Anthem, taken out -of the 1224 Psalm. 



14o 



mm 




















3^= 


I was Or 


ladwas 


Gla 






was Gli 

f£=f 


id whenthei 


mm 

ffaid unto 


a 

m e 

T . 





I was Gladwas 



Wewill go 




Wewillgo Wewill oj)^ in-to the houfe of theLord 



Wewill go Wewill oo intothehoufeofy Lord 





■ 




■— ^~ 




fi 


ft 


We w: 




) 












iv * 


— C" 


Our ] 


-eet fhall 


ftand i 


n_ t 


hy Gate 


sO 






l rrf 


j 


e- 


ru-fa- 


-lem . 










. .. " . . __ 














H — ^ 





Our Feet fhall ftand 



122^ Pfal m continued. 




1H , 122? Pfal m con 

* e/ . Je-ru^alem isbuiltas a Ci-ty thatis at un-rt-ty in it felf 



si 



ru^Hiera is Duutas a L-i-ty tnatis at un-rt-ty in ltleir 

^r i rwflrf PFg|gp^g|Tr|rrrn rp n;i ffP Off 



For thither go theTribes the tribes even^ tribes Of 




Je-ru-fa-!em isbuiltas a Ci-ty thatis at un-i-ty in it felf 

JA>J Ijtf if f^^ ' 



toteftifie un-td If-ra-el to tefti-fie un-tolfira-e. 



«/ Lord . c . 



5 



efti-fie un-to Ifra_el to tefti-: 



Lord To tefti-fie un-to Ifd—el to tefti-fie unto If ra -el 

0-0-0 



12 24 P/alj^gis: continued. 



Tenor N. h- Is . 



Hi 



T-t- 



• m 



3 



nks un-to the name of y Lord. Lord. Counter alone 




l-ro tne nameor y L.o 

m nrf M 



d. Lord. Counter alone '^Tr^ \ *J even the Seat 



± 



XE 



nks give thanksun-to 



1 



ame of y 



1 



2 *J-*/ /■j Forthere is y Seatof Judgment 




I 



1 rni ) 

at ofthe houfe of 



thanks give thanks un-to the name of y Lord. Lord. < d eventheSeat even the, Seat of the houfe of Da — v'id 

i — -^,2 i -Q- _ -e- ■ J 



p 



tha -— <_ nks un-to Chorous. 



tot 



»* r n.r f p 



?ace be with in thyWalls' 



9 



4 



O pray for thePeace O pray for the Peace O pray fo r thePeace o f Je-ru —fa —lem . . Peace be with in thy Walls 



V — m 



i r cc|Tr|i r g cj iff f fp'pi " ij e 



■ » ■ » 



BE 



Slot 



J pray for the Peace O uravforthe 



. Slow 



O prayfor the Peace O pray for the Peace Op ray for the Peace of Je-ru - fa -km • Peace bewithnith> Walls 



Trr 



ra ■ a a: 



j « » « * 



12 2 d . Pfalm continued. bri 



3= 



1 



i Peacebewithin thv Walls Peacebe within thy Wails Peacebewithin tHy Walls and plenteoufnefs and p lenteoufnef; wit 
I— A , l t m m — Q , • ft v P i Q • i — , ft . ,« . - ■ ■ — - — - r ft •_• m 




De witnin tny wails rcaceDewitnin tny 



ft ft 



bnllc 



a ft ft 



» ft ft » 



Peacebewithin thy Walls Pe aceb e witfiin thy Walls Pe a cebe within thy Walls and plenteoufnefs »nd plenteoufnefs with 




tenteoufnefs w 



:Sti 



Counter it Bafs. 




ft n 




in thy Pal4c-es.:Sl\ " 
P ~r % -m L_ 



Formy Brethren and Companions faltes 



t *J in thy Palac-es , Formy Brethren and Companions faTces 



I will wifhtheeprof* 



IE 



/ — ^ i Will WUH 

S3 



i <J in thy Palac-es. 



Iwill wifh thee profperity Iwill wifh thee pro fperity 

M^.fti „ —fir 



E 

perity Iwill 



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